Goodbye Yellow Brick Road (песня) — Goodbye Yellow Brick Road (song)
Goodbye Yellow Brick Road (песня) — Goodbye Yellow Brick Road (song)
» Goodbye Yellow Brick Road » — баллада в исполнении музыканта Элтона Джона и заглавная песня его одноименного альбома 1973 года . Музыка песни была написана Джоном, а слова написаны Берни Топином .
Он получил широкую оценку критиков; некоторые считают его сильным претендентом на звание лучшей песни Джона за всю историю. В 2010 году журнал Rolling Stone поместил эту песню на 390- е место в списке 500 лучших песен всех времен . В США она получила золотой сертификат 4 января 1974 года, платиновый 13 сентября 1995 года и дважды платиновый 2 марта 2020 года RIAA .
- 1 Выпуск и прием
Выпуск и прием
Песня была выпущена в 1973 году как второй сингл альбома и вошла в десятку лучших в Великобритании и США. Это был один из самых больших хитов Джона , который после своего выпуска быстро превзошел его предыдущий сингл » Saturday Night’s Alright for Fighting » как по продажам, так и по популярности.
«Goodbye Yellow Brick Road» получил в целом положительные отзывы музыкальных критиков. Янис Шахт из Circus описывает его как «нежный и красивый». AllMusic пишет, что эта песня — «вокальный триумф» и «вершина ее стиля».
В 2010 году журнал Rolling Stone поставил его на 390-е место в списке 500 величайших песен всех времен .
Billboard заявил, что «звуковое впечатление от песни по-прежнему сильное и захватывающее», а «смешение голосов со струнами на мостах — это прекрасно», хотя тексты иногда трудно понять.
В Канаде сингл занял первое место в национальном чарте синглов RPM 100 22 декабря 1973 года и удерживал эту позицию в течение одной недели, став третьим номером 1 для Джона в 1973 году в этой стране (после » Crocodile Rock » и » Даниил «). В рейтинге US Hot 100 она заняла 2-е место после « Вершины мира » Плотников и « Самой красивой девушки » Чарли Рича . В американском чарте Easy Listening он поднялся до № 7 и провел в чартах 18 недель. В Ирландии он достиг 4-го места; в Великобритании — 6-е место.
Оборотная сторона песни изначально называлась «Screw You», хотя в американском выпуске песня была переименована в «Young Man’s Blues», чтобы это не оскорбляло американских покупателей пластинок.
«Goodbye Yellow Brick Road» до сих пор регулярно включается в живые выступления Джона, и Джон назвал свой прощальный тур в честь песни, назвав его Farewell Yellow Brick Road Tour.
- Элтон Джон — фортепиано, вокал
- Дэйви Джонстон — электрогитара Лесли, бэк-вокал
- Ди Мюррей — бас, бэк-вокал
- Найджел Олссон — ударные, бэк-вокал
- Дель Ньюман — оркестровая аранжировка
Диаграммы и сертификаты
Еженедельные чарты синглов
|Диаграмма (1973–74)||Пиковая |
|Канадские RPM 100 лучших синглов||1|
|Канада RPM Современная музыка для взрослых||1|
|Немецкий чарт синглов||49|
|Ирландский рейтинг синглов||4|
|Нидерланды ( Single Top 100 )||23|
|Новая Зеландия ( слушатель )||2|
|Норвегия ( VG-lista )||9|
|Южноафриканская таблица одиночных игр||7|
|Одиночный разряд Великобритании ( OCC )||6|
|US Billboard Hot 100||2|
|Современная музыка США для взрослых ( Billboard )||7|
|США Cash Box Top 100||1|
|График (2019)||Пиковая |
|US Hot Rock & Альтернативные песни ( Billboard )||17|
Графики на конец года
|US Billboard Hot 100||72|
Данные о продажах и потоковой передаче основаны только на сертификации.
Elton John: On the Yellow Brick Road
Over a two-week recording binge, it grew from a single to a double album, its 17 tracks including hits such as Bennie and the Jets and Candle In The Wind.
Its release came at an exciting period in the star's career. His previous record, Don't Shoot Me I'm Only the Piano Player, released just nine months earlier, had become his first UK number one.
His elaborate live shows were winning rave reviews in the US while, simultaneously, his musical creativity was hitting a peak.
In its 40th birthday year, the album is being re-released in a box set crammed with live performances, film footage and a disc of covers by the likes of Fall Out Boy, Ed Sheeran and John Grant.
Using a combination of new and archive interviews, here is the story of the album by the people who made it.
TONY KING: Around that time, it was obvious that Elton was becoming a bit of a star. His recordings were becoming more exciting.
DAVEY JOHNSTONE: I remember being on a train, getting Melody Maker and seeing Don't Shoot Me was number one. And it was like, "Oh, that's great. It's happening!"
ELTON JOHN: I didn't ever envisage being a star. It happened so quickly and so stupidly. Suddenly, from nowhere, I was in the same room as George Harrison. I couldn't believe it.
CALEB QUAYE: He had money to spend. His wardrobe started to become more embellished. This is what he had always wanted.
The initial sessions for Goodbye Yellow Brick Road were due to take place in Jamaica, where the Rolling Stones had recently recorded their Goats Head Soup LP.
ELTON JOHN: We land the day after the Foreman-Frasier fight, so the island is swarming. We can't get into a hotel. The band, sensible lot, they went off to the other side of the island — Ocho Rios, which is the more glamorous side. I'm stuck in Kingston in the Pink Flamingo hotel, my only contact being a room with an electric piano in it. I wouldn't go out of my room, I was so frightened.
TONY KING: The Jamaica experience wasn't great at all. They only had one microphone. There was barbed wire all around the studio. It was just a complete mess.
DAVEY JOHNSTONE: We tried to cut Saturday Night's Alright For Fighting and it really sounded hilarious. It was like the Chipmunks or something. There was no balls to it. We all started laughing, but there was no panic — we knew it would work back at the Chateau.
The band decamped to the Chateau d'Herouville in France, where Elton's previous two albums had been made. Once in place, the writing and recording of Goodbye Yellow Brick Road took just two weeks.
ELTON JOHN: I'm not the sort of songwriter that writes all the time. I just write twice a year. If I starve myself from writing, I find I can write better.
BERNIE TAUPIN: It literally was like a mini creative factory. I would write in the mornings and, when the band were having breakfast I would come down and grab a cup of coffee and give Elton a couple of lyrics I'd been working on that morning.
ELTON JOHN: I would write at breakfast at the table. The band would join in. And by the time breakfast was over, we'd written and rehearsed two songs, and we went in the studio and recorded them. The boys did the backing vocals while I was in bed. It was the height of our powers.
DAVEY JOHNSTONE: Elton's notorious for being a very fast writer — and also a little impatient in the studio. But the band was almost telepathic. We'd each know what the other one was going to play.
ELTON JOHN: Gus Dudgeon [who died in a car crash in 2002], I'd have to say, was the fifth member of the band. The sound of the drums, the sound of the piano, the sound of everything on the record was extraordinary — that was down to him. Like the Beatles had George Martin, we had Gus.
TONY KING: Nobody makes an album in two weeks any more — and that's the pity. A lot of people spend too much time in the studio faffing about. If you go in and just play, you capture the urgency of it.
Unusually, the record opens with a long, bravura instrumental, called Funeral For A Friend.
ELTON JOHN: Gus Dudgeon said, a long time before that, "why don't you write an instrumental?" and I never got round to it.
Then I got very down one day and said, "Hmmm — what sort of music would I like to hear at my own funeral?" It sounds very bizarre but I like funeral music anyway, I like sad music. So I decided to write something like that.
TONY KING: I just found out a very interesting thing about Funeral For A Friend. David Hentschel, who did all the synth programming, included bits of the other songs on there.
You can hear the melody of Candle In The Wind, I've Seen That Movie Too and The Ballad Of Danny Bailey. He invented that instrumental using little lines from some of the other songs. It's very clever.
PETER ASHER: Gus Dudgeon is one of the heroes in this discussion, because it's a stunningly huge-sounding record. It starts with those amazing big synths of Funeral For A Friend, and the drums sound amazing on every track. It's a hell of a record.
DAVEY JOHNSTONE: Saturday Night had a multitude of guitars on there. We layered something like 12 guitars throughout the course of the song. And with each guitar track it sounded better and better. Elton kept saying, "Another one! Another one!"
BERNIE TAUPIN: I swear I wrote Candle In The Wind long before Norman Mailer dragged Marilyn Monroe over the coals [Mailer's controversial biography of Monroe also came out in 1973].
I'd been a Marilyn fan for a long time — ever since Madmen Across the Water, I'd wanted to write a song about her. But I'd never found the right way of doing it without being incredibly tacky.
I tried to make it a song that told you the reason she was so popular, was that she was very much somebody people could fall in love with without her being out of reach. I really don't think people thought of her as a sex symbol.
Clive Davis said of Janis Joplin that her life was like a Candle In the Wind. It was a nice phrase to use.
DAVEY JOHNSTONE: That's one of the few songs that Elton's asked me to play a riff on. And I was like, "oh that's going to suck". But being the compatible guitar player that I am, the chorus came round and I played the thing — and it worked perfectly. I was like, "you bastard."
ELTON JOHN: I remember the record company phoning up and saying Bennie and the Jets should be the single in America. And I said "no, I want Candle In The Wind".
They fought and fought and fought, and I turned them down so many times until they told me that the record had gone to number one on the R&B station in Detroit.
For me, a white boy from Pinner who'd grown up loving black music, and played the blues and R&B all my life, I just went "oh. "
So I let them have their way. It shows that, as an artist, sometimes you know nothing.
TONY KING: I went on holiday with Elton in 1973, just before the album came out. He rented a house which had once belonged to Anthony Newley and Joan Collins, and we had a fabulous month in Los Angeles.
He had installed a really top class stereo system, and so anybody who came up to the house was played the album. He was really excited about it. He really felt it was going to be something special.
ELTON JOHN: I look back on it now and I think it's a lot of young adrenalin, and you only have that adrenalin for a certain part of your career.
TONY KING: The record company wanted to put out a 40th anniversary album but we weren't too sure how to go about it. I said to Elton, "the thing is, you don't have any tracks in the vault". And so he came up with the idea of getting people to cover the album.
PETER ASHER: Of course I said "yes" [to producing the album] because it's such a brilliant opportunity to rethink these legendary songs.
TONY KING: Initially we had the idea of doing big stars, but of course all the big stars were busy doing their albums. And I'm glad for that now — because we were able to craft something that felt much more personal. It feels curated.
ED SHEERAN: If I'm honest, if I could have chosen, I'd have done any song other than Candle In The Wind. Not that it isn't a brilliant song, it's just that that song's so special to England's heart. But I think we made it less sad and more upbeat.
PETER ASHER: It struck me in a fresh way, hearing somebody else sing it — because suddenly it wasn't something you'd heard 20 million times before. It's just a beautifully-written song in every respect. It's extraordinary.
TONY KING: Yellow Brick Road pushed Elton into a whole different category of artist. There was no-one bigger than Elton in the States at that time. It sold 31 million overall.
DAVEY JOHNSTONE: We were aware of one thing — we were riding a major wave of popularity. Especially in the States, it was just like a juggernaut. But without sounding egotistical, we weren't that surprised. We were just very happy.
ELTON JOHN: My records don't sell as much as they used to by a long way, but I'm not really interested in that any more. I don't have to chase the charts any more, I can just do what I like and that's a tremendous asset. I've been successful and I have the freedom not to care about that any more.
The anniversary edition of Goodbye Yellow Brick Road is out now. Tony King, Peter Asher and Davey Johnstone were speaking to Mark Savage. Other interviews come from the BBC's radio and television archive and Universal Music.
Goodbye Yellow Brick Road (Прощай, дорога из жёлтого кирпича) — Elton John
Песня от лица человека, который отвергает роскошь и пресыщенную жизнь ради жизни простой. Возможно, это отражение разницы в характерах Элтона Джона и Берни Топина — Элтон ведёт экстравагантную и шумную жизнь, в то время как Топин всегда выбирал простые радости.
Фирма Ben & Jerry's выпустила сорт мороженого под таким названием в честь концерта Элтона Джона в Вермонте, где фирма основана.
Песню очень любил американский музыкант Эллиот Смит. Один раз он слушал её 18 часов подряд. В процессе он написал песню "Waltz #1".
"Дорога из жёлтого кирпича" — образ из "Волшебника страны Оз" Фрэнка Баума. Строго говоря, в книге она называется the road of yellow brick, фраза yellow brick road появилась в знаменитой экранизации 1939-го года.
Есть версия песни, записанная прог-металлической группой Dream Theater. Официально она пока не издана.
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Источник сведений (книга, интервью, издание, НЕ веб-ресурс)
Самую неожиданную версию о происхождении текста высказал на худсовете "Мелодии" поэт Игорь Шаферан, который был членом партии и хорошо знал марксистско-ленинскую историю: "Что?! Какая.
Перед исполнением этой песни на Royal Command Performance в Театре Принца Уэльского перед королевой Англии Джон выдал известную шутку:
"Для нашего последнего номера я бы хотел попросить вашей помощи.
Песню цитируют в компьютерной игре Warcraft III: Reign of Chaos. Персонаж "Бандит" произности фразу: "Бродяга, странник, кочевник, скиталец — зови меня как хочешь" ("Roamer, wanderer, nomad, vagabond, call me what.
Песню хотел записать Элвис Пресли, но он при этом хотел выкупить половину прав на песню. Долли Партон отказала ему, и была вознаграждена много позже, когда песня в исполнении Уитни Хьюстон принесла.
Джон Маккейн, кандидат в президенты США от республиканской партии (тот самый, что проиграл выборы Обаме) очень любит эту песню. Он обещал, что в случае победы, Take a chance on me будет звучать во всех.
Песня отражает вполне реальные личные переживания Стинга: в ней поётся от лица мужчины, который встречает свою настоящую любовь и принимает решение прожить с ней оставшуюся жизнь
Песня наверняка получила бы "Оскара" за лучшую песню к кинофильму, но Саймон и Гарфанкель не заполнили нужных бумаг: в 60-х авторитет этой премии был не таким огромным, потому дуэт просто-напросто.
По утверждению Пера Гессле, текст первых двух куплетов был написан как "рыба": нужно что-то было петь на репетициях, поэтому был набросан случайный текст ("Ходит как мужчина, бьёт как молот. ").
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When are you gonna come down
When are you going to land
I should have stayed on the farm
I should have listened to my old man
You know you can't hold me forever
I didn't sign up with you
I'm not a present for your friends to open
This boy's too young to be singing the blues
So goodbye yellow brick road
Where the dogs of society howl
You can't plant me in your penthouse
I'm going back to my plough
Back to the howling old owl in the woods
Hunting the horny back toad
Oh I've finally decided my future lies
Beyond the yellow brick road
What do you think you'll do then
I bet that'll shoot down your plane
It'll take you a couple of vodka and tonics
To set you on your feet again
Maybe you'll get a replacement
There's plenty like me to be found
Mongrels who ain't got a penny
Sniffing for tidbits like you on the ground
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“Goodbye Yellow Brick Road” by Elton John
“Goodbye Yellow Brick Road” is mainly centered on the narrator (Elton John), requesting for a shift from all the fame, glitz and glamour associated with his career. He wants to move from this to a more simple life where he can truly be fulfilled.
The narrator is saying goodbye to the ‘yellow brick road’ which is a symbol of wealth and fame, because he wants to take back control of his life. He does not want the fame and fortune to define him, and prefers to be back to his farming roots where he can live a more peaceful life.
In the second verse where the writer mentions getting a replacement, it appears that Bernie may have been the one request for a drift from the fame while Elton was not. Thus he asks him to find someone to replace him and write his songs since there are many who would love that opportunity. But if both of them were desiring to give up on fame, then it could probably be that they were saying that it wouldn’t be hard to find a duo to replace them.
Either way, the writer is determined to gain back control of his life even if it means giving up on his fame to settle for a low key life.
More Light on the Meaning of “Goodbye Yellow Brick Road”
The Yellow Brick Road is a fictional location derived from the early 20 th century trendsetter “The Wizard of Oz” (1939). It is fundamentally representative of an individual enjoying a more-edifying life, though within the context of this song we can say it points to the ideas of materialism and fame. And such is the high-class, celebrity-like lifestyle the singer is apparently living. So to make a long story short, what he is saying “goodbye” to is that particular aspect of his existence.
Narrator has a slight beef with the addressee
Now the addressee is someone(s) who is compelling him to the contrary. So basically, what the narrator is doing throughout is beefing with the addressee. Throughout the beef, he is asserting that this individual can no longer force him to be part of a class he’s not interested in. Indeed the second verse reads as if the addressee has a personal stake in keeping the singer on the “Yellow Brick Road”. Thus many fans have interpreted this track as being indicative of the artist’s, particularly Bernie Taupin’s, desire to leave the music industry. Or stated differently, if he actually did take such an action many people who are dependent on his skills would likewise be affected.
Is the narrator really Bernie Taupin?
But more to the overall point of the song, what the singer actually prefers as opposed to the “Yellow Brick Road” is being back on the farm – toiling for his bread and enjoying a simpler life. This is yet further evidence that Bernie Taupin is in fact the subject of this tune. And why? Because in addition to being perceived in real life as more modest than Elton, he also actually grew up on a farm.
All in all…
Whether this track is a reflection of Mr. Taupin’s own mood at the time is ultimately irrelevant. For generally speaking, it is based on a rather-simple narrative which practically anyone can empathize with. The singer is fed up with an extravagant lifestyle, largely due to part the deal being his exploitation by others. And on top of that, he remembers the simplicity of how life was in a rural setting before he blew up. And returning back to that type of livelihood has a special appeal to him in light of what he is currently enduring.
Facts about “Goodbye Yellow Brick Road”
The music for this song was written by Elton John and the lyrics by Bernie Taupin. And the track’s producer is Gus Dudgeon.
“Goodbye Yellow Brick Road” was recorded at the famous Strawberry Studios in France.
“Goodbye Yellow Brick Road” is the title track from one of the albums Elton John dropped in 1973. It was released by MCA Records and DJM Records as the second single from that project on 5 October 1973.
This is one of Elton John’s favorites amongst critics.
The song was certified Platinum in the United States on 13 September 1995.
Moreover this track earned the distinction of being placed at number 390 on Rolling Stone’s 2011 ranking of the “500 Greatest Songs of All Time”.
The titular “Yellow Brick Road” is a reference to the classic 1939 film “The Wizard of Oz”.
Elton John performed this song as a duet alongside American music icon Billy Joel in 2000 at Madison Square Garden in New York City. This rendition is featured on the DVD edition of Elton’s album “Elton John One Night Only – The Greatest Hits”.
Elton John dubbed what he intends to be his final tour, which began in September 2018, the “Farewell Yellow Brick Road”.
Elton John finally got around to putting on a show in Vermont, after already performing in all of the other 49 American states, on 21 July 2008. And to commemorate the event, ice-cream manufacturer Ben & Jerry’s released a limited-edition flavor, only available in Vermont, named “Goodbye Yellow Brick Road”.
This track also makes a couple of appearances on Elton John’s 2019 biopic entitled “Rocketman”.
The “Goodbye Yellow Brick Road” Album
Sir Elton Hercules John (born with the name Reginald Kenneth Dwight) released “Goodbye Yellow Brick Road” as a double LP making it his seventh studio album. The album has sold over 30 million copies around the globe.
It contains songs belonging to the following genres:
- Pop Rock
- Glam rock
The album’s production was made possible thanks to the late English record producer Angus Boyd “Gus” Dudgeon.
All the tracks on the album were composed by John and English lyricist Bernard John Taupin (known for his long-term collaboration with John).
These were the singles that came out of “Goodbye Yellow Brick Road”:
- “Saturday’s Night’s Alright for Fighting”
- “Goodbye Yellow Brick Road”
- “Beenie and the Jets”
- “Candle in the Wind”
I always thought the song was about a young boy groomed by a rich gay man for sex.