This could be the best of all tribute albums because of the high level of recognizable names. Eric Clapton, Sting, The Who, Jon Bon Jovi, Hall and oates, George Michael, Sinead. It's probably an inside joke that Tina Turner does "The Bitch Is back." Sixteen cuts, and every one of them is someone from the hall of fame. Well, maybe not Joe Cockedr already, but that's just my humble opinion.

This is more a bow to Bernie Taupin than Elton John. Elton's voice made them famous, but these artists mostly take Taupin's songs in new directions, and that is what is makes the album original and great. If you want some EJ's greatest hits album, go buy that. If you want interesting and excellent re-interpretations of Taupin's songwriting, buy this. The least interesting tracks are those that sound more like the original. The Kate Bush - reggae - Rocket Man ain't one of them. Many other fine performances.

I purchased this CD ages ago when I was going through a folk/indie type phase simply because of the Sinead rendition of "Sacrifice." After listening to it though, I fell in love with the entire disk. I, of course, allowed someone to "borrow" it and lost it. I have been searching for it in stores ever since and was never able to locate it until Amazon.com came to the rescue.

This CD was a good concept, but the early '90's production values, with the soprano sax solo (god help us) at the beginning of Joe Cocker's other wise notable version of "Sorry.." and the vocals shrouded in harsh, excessive reverb are the worst of the crimes. For the most part the new versions shed no new light on the songs, and in most cases screw them up with overly-synthed arrangements.

The few exceptions, though, are entirely worth the price of this CD, first and foremost being "Sacrifice" by Sinead O'Connor. The synth accompaniment is sensitive and well-guaged, and, despite the excessive reverb on the vocals, her performance is emotional without being oversung, and simply sublime. Also, Kate Bush's "Rocket Man" is charming and approprately ethereal in places, and Oleta Adams' piano-based performance on "Don't Let the Sun go Down on Me" is a welcome respite from the overly-electronic sounds on the rest of the album. If they could only remake this CD with modern production values, like using real acoustic instruments instead of synths and applying vocal reverb judiciously, that would be great.

Congratulations,by stumbling on these CD reviews,you've manifested at least some level of inquisitivenss and or appreciation for other artists interpreting Elton and Bernies music. There's a reason,these two artists have built a serious classic body of work. Their music has reached the rare elevation of music defined as standards. This criteria used to be reserved for writers as Irving Berlin,Cole Porter, etc.
Music that tends to remain vibrant through the ages. Elton and Bernie's creations,given a 30+ year legacy, more then qualifies.
One ponders the music Lennon and McCartney would have created , if they had collaborated post Beatles. No one has to wonder about that with Elton and Bernie,its all out there. Their music creations continue to charm and reward the public as both these artists grow broader in life experiences. That said, what makes this CD a classic? It's the marvelous body of continually rewarding work interpreted by a wide range of legendary artists. Whoever selected this rooster has my eternal appreciation.
Sinead O'Conner gives " Sacrifice" a truly haunting and spiritual quality. It's simply one of the best recorded performances I've yet to hear from her. When listening to this track,please don't ignore the keyboard contributions of Paul Golding. This track alone is worth the price of admission. Same goes for Kate Bush's interpretation of " Rocket man". I'd love to hear her record an entire CD of Elton and Bernies tunes. Sting's version of " Come Down in Time " is breathtaking. Pay close attention to the piano contributions of Nancy Treadlight. This track wouldn't have achieved the same level without her artistry. Kudos to Hugh Padgham for the mix.
The Who and Beach boys turn in a yeoman's job with their choices. Neither group dissappoints. Wilson Phillips deserve special note. It's truly a discovery to hear their interpretion of "Daniel". Although considered a " light weight' pop group. They turn in a steller performance of Daniel. Their haromonies are magnificant and a female interpretion of the tune was long overdo. It makes the lyrics even more delicious. Honors for this track must be bestowed to another musical legend, Mr. Glen Ballard. Joe Cocker is the next artist to nail these body of work with his delivery of "Sorry..." One could almost believe the song was created exclusively for him. Of special note, is the sax work contributed by Deric Dyer. His licks are truly amazing and add to the tracks success.
Tina Turner delivers her version of "The Bitch is Back". She worked this tune to perfection through countless concert performances. Absolutely a classic and so interesting to hear a female interpretation. Rod Stewart delivers his version of "Your Song". Rod is a consumate artist. He makes everything seem easy and understated but its his huge talent that makes this perception deceiving. This tune is a perfect example. One listening with untrained ears might assume he phoned this in. However, it's just the opposite his artistry nails this tune in the manner it was intended. Thanks Rod! Bruce Hornsby's vocal interpretation, dare I say, exceeds Eltons. I know this statement is offensive to some but I stand by it. Just his keyboard work, delivered as an instrumental track, would have placed this track close to the top.
Oleta Adams simply kills "Don't let the sun go down'. Her lyrical/ musical interpretation makes this song a gem.
Finally, there's Phil Collins, Hall&Oats, George Michael and Bon Jovi tracks which I consider bonus tracks. They're really not needed but they don't detract either. Somewhat intertaining at best. My only wish is the a second CD ( box set ? ) with this concept is released sometime in the future. There's certainly enough E&B tunes out there ripe for the picking. I'd also suggest an instrumental project interpreting E&B tunes with leading jazz artists has a lot of potential. That's really the key to the greatness of this body of work. The lyrics could stand alone as published poetry and the music could also succeed strictly as instrumental versions. Putting the two together and including artists of this magnitude on this CD i absolutely inspiring.