Latest / Booked On Rock with Eric Senich / 'Goodbye Yellow Brick Road': The Making Of An Epic [Episode 353]

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'Goodbye Yellow Brick Road': The Making Of An Epic [Episode 353] · Booked On Rock with Eric Senich

0:00
Speaker 1: Elton John's Goodbye Yellow Brick Road. It is an absolute masterpiece,
0:04
Speaker 1: thanks to the hit single Saturday Night's all Right for Fighting,
0:06
Speaker 1: the title track, Benny and the Jets Candle in the Wind.
0:10
Speaker 1: It stands as Elton's best selling album and among the
0:12
Speaker 1: biggest selling albums period. It's since sold more than twenty
0:16
Speaker 1: million copies worldwide. In this episode, we get into some
0:20
Speaker 1: amazing stories behind the songs the album, Martin so much
0:23
Speaker 1: More with authors Andrea Grassi and Luca Parasi.
0:27
Speaker 2: Next, We're totally Bummed rock and Roll.
0:32
Speaker 3: I mean gotta leave you.
0:33
Speaker 2: You're reading.
0:33
Speaker 3: Little Hands says it's time to rock and roll road Up.
0:37
Speaker 3: I totally booked.
0:43
Speaker 1: Welcome back to book don rock the podcast for those
0:46
Speaker 1: about to read and rock On'm Eric Sanach. Our guests
0:49
Speaker 1: are Andrea Grasso and Luca Parassi. They are the authors
0:53
Speaker 1: of the new book titled Elton John Goodbye Yellow Brick
0:56
Speaker 1: Road The Making of an Epic Album. Thank you so
0:59
Speaker 1: much guys for coming on the show.
1:00
Speaker 3: Hello Eric, thank you for usting us, and hello everyone.
1:04
Speaker 2: Hi Eric again, and thanks for the invitation. And we
1:08
Speaker 2: will talk about an incredible album with Andrea and we
1:11
Speaker 2: will have fun.
1:12
Speaker 1: Yeah. No, it's a hello again to Luca because we
1:15
Speaker 1: had you on previously and people can check out the
1:17
Speaker 1: episode that we did on Back to the Egg, Paul
1:19
Speaker 1: McCartney's album last album with Wings. So let's talk about
1:24
Speaker 1: Elton John's Goodbye Yellow Brick Road. Indeed an epic album
1:27
Speaker 1: released October the fifth of nineteen seventy three. If I
1:31
Speaker 1: got that correct number one on the Billboard Top LPs
1:34
Speaker 1: and Tape chart, as well as also topping album charts
1:38
Speaker 1: in the UK and Australia and Canada. Five weeks at
1:41
Speaker 1: number one, it has since sold more than twenty million
1:44
Speaker 1: copies worldwide. Let's first start with what this album means
1:48
Speaker 1: to both of you and if you could share some
1:50
Speaker 1: personal experiences, maybe hearing it for the first time, any
1:53
Speaker 1: you know, standout moments for you to start with.
1:55
Speaker 3: Andrea, I started listening seriously to John in nineteen ninety
2:01
Speaker 3: two when I was fifteen year old, and when the
2:05
Speaker 3: album When the One album came out, because you could
2:10
Speaker 3: hear the title track The One on the radio and
2:12
Speaker 3: on TV. So I asked a classmate that was a
2:16
Speaker 3: kind of a fun to lend me the album The One,
2:20
Speaker 3: and another classmate also lent me the compilation from the
2:24
Speaker 3: nineteen ninety the very best. So this was my real
2:28
Speaker 3: introduction to help us music in nineteen ninety two about
2:32
Speaker 3: the Better Record. Well, if I can make a sort
2:36
Speaker 3: of history. Nowadays you can listen to music for free
2:40
Speaker 3: on YouTube or Spotify or whatever, but at the time,
2:45
Speaker 3: if you didn't want to buy an original record, you
2:48
Speaker 3: had to hope for some friends to lend it. There
2:53
Speaker 3: was another cheap way. It was to rent cities actually,
2:58
Speaker 3: like you did with the movies in video cassette. Maybe
3:04
Speaker 3: hard to believe, but for a few years it was
3:06
Speaker 3: legal in Italy for recidies. So or when I decided
3:10
Speaker 3: that I wanted to listen to other after John albums,
3:13
Speaker 3: I started renting them, and Good Record was one of them,
3:17
Speaker 3: I think. In nineteen ninety three, for sure, I remember
3:20
Speaker 3: being very surprised when I heard the Funeral for a
3:24
Speaker 3: Friend intro, maybe also a little bit scared in a
3:29
Speaker 3: good sense. That was a formative period for me. I
3:34
Speaker 3: was learning to know rock music. I was already a
3:38
Speaker 3: fan of Queen, but I was so hungry to discover
3:41
Speaker 3: other artists.
3:42
Speaker 2: I'm a bit older than Andrea, so I started, you know,
3:49
Speaker 2: becoming a music fan around eighty two eighty three, when
3:54
Speaker 2: I was thirteen fourteen, and that's when I discovered the
4:00
Speaker 2: musical Paul McCartney. And well mid eighties, Elton was very
4:06
Speaker 2: high in the charts and also successful in Italy, so
4:11
Speaker 2: for sure I knew him. And the first album I
4:16
Speaker 2: bought of Elton John was Live in Australia, because I
4:21
Speaker 2: heard it one evening at a friend's house, and so
4:26
Speaker 2: I fell in love with this arrangements and stuff. I
4:30
Speaker 2: didn't know the original songs, and so I bought this
4:32
Speaker 2: album and was ninety eighty nine. Then I started at
4:42
Speaker 2: some point thinking that I loved Elton and so I
4:45
Speaker 2: wanted to go back and Discovery is catalog. But the
4:50
Speaker 2: problem was that good Bye Yellow Recruit is a double album,
4:53
Speaker 2: and at the time it was a double CD, so
4:56
Speaker 2: double expense, you know. So it took me sometime and
5:01
Speaker 2: I vote it in September October nineteen ninety three, so
5:09
Speaker 2: he kept me company for the whole autumn and then
5:16
Speaker 2: during during the following summer. So I can't honestly remember
5:22
Speaker 2: what I thought immediately on the first listen, I knew
5:28
Speaker 2: it was a famous album and so I loved it.
5:32
Speaker 2: I mean I've listened to to the album so many
5:37
Speaker 2: times in that first year, and so it's linked to
5:41
Speaker 2: good memories.
5:42
Speaker 1: Yeah, it's interesting for Andrea two year coming out of
5:45
Speaker 1: twenty years after the album came out, and I know
5:48
Speaker 1: here in the US Elton was still is huge in
5:54
Speaker 1: so many hit singles.
5:55
Speaker 2: What was How was.
5:56
Speaker 1: Elton perceived where you guys were at the time when
6:01
Speaker 1: you were growing up. Was he as big as he
6:04
Speaker 1: was here in the States?
6:05
Speaker 2: Well?
6:05
Speaker 3: As I said before, during the one period he was
6:10
Speaker 3: very famous in Italy. You you could hear the song everywhere,
6:15
Speaker 3: the type of track I have shades of in the eighties. Yeah,
6:24
Speaker 3: you can hear a song from Elton in one ADVERTI
6:28
Speaker 3: the adverta on the radio. But I was I was
6:33
Speaker 3: very young to actually being interested in music.
6:36
Speaker 1: Did he tour on Italy? I don't even know. Did
6:39
Speaker 1: he play their line?
6:40
Speaker 3: Yeah? Yeah, yeah since since eighty four. Yeah, he did
6:43
Speaker 3: several concerts in eighty four, eighty nine and during all
6:47
Speaker 3: the nineties came very often before eighty four. No, because
6:52
Speaker 3: there was the famous or in famous I should say,
6:56
Speaker 3: uh dispute where the there was all kind of riots
7:02
Speaker 3: in the seventies during some Italian concerts and so people
7:07
Speaker 3: from artists from UK and USA would not be came
7:15
Speaker 3: to tour in Italy before before eighty four.
7:18
Speaker 2: I remember songs like Nikita or said songs or even
7:26
Speaker 2: later I Don't want to go on with you like
7:31
Speaker 2: that very very high in Italy. Lots of airplay, lots
7:37
Speaker 2: of videos on air. So yeah, definitely you cannot. You
7:43
Speaker 2: could not escape Alton even in Italy.
7:49
Speaker 1: Yeah, it's amazing. He's just worldwide famous, which it's in
7:52
Speaker 1: the book too. I think it's a quote from him
7:54
Speaker 1: more like he just never expected his fame to get
7:57
Speaker 1: to the level it did. It was just, you know,
7:59
Speaker 1: he's was making music and suddenly this overnight huge success.
8:03
Speaker 1: This was Elton's seventh studio album. It founows don't shoot me.
8:06
Speaker 1: I'm only the piano player. Let's start with where the
8:09
Speaker 1: album was recorded. You write quote Elton turned a nightmare
8:12
Speaker 1: into a fairy tale. Initially it was to be in Jamaica.
8:16
Speaker 1: Elton and the band went there for a short time.
8:18
Speaker 1: What happened while they were there and then where do
8:21
Speaker 1: they end up? Moving the sessions to.
8:24
Speaker 3: The chapter of our book about Jamaica is maybe the
8:27
Speaker 3: funniest one because all kind of things happened. Of course,
8:31
Speaker 3: we don't want to spoil too much the surprise, so
8:34
Speaker 3: I'll tell you something. In short, Elton was kind of
8:39
Speaker 3: forced to record outside, okay, mainly for tax reasons. They
8:45
Speaker 3: had previously recorded, like at the Chateau de'erville in France,
8:51
Speaker 3: but at that time it was not available, so they
8:55
Speaker 3: have that there only Stones and Cat Stevens recorded that
9:00
Speaker 3: Naming Studios in Kingston.
9:02
Speaker 1: Go had soup the Stones, right.
9:04
Speaker 3: Yeah, and foreigner I think like at Stevens. And apparently
9:09
Speaker 3: the producer Gas Dudgeon spoke with Charlie Watts who told
9:14
Speaker 3: him the experience was fantastic, so they had I hopes,
9:18
Speaker 3: but once they were there nothing world. And later they
9:23
Speaker 3: also discovered that the Stones has some issues too, but
9:27
Speaker 3: probably sold them with the ABI unit.
9:29
Speaker 1: A few cockroaches here and there, right yeah, yeah, definite, yeah,
9:35
Speaker 1: don't what do you say, don't open up that piano
9:37
Speaker 1: too quickly. There's cockroaches in there.
9:39
Speaker 3: Well, but there was a bigger issue because actually there
9:42
Speaker 3: was no red piano. There was a cheap piano with
9:46
Speaker 3: the cockroaches, and also they only had just one microphone,
9:52
Speaker 3: so they started asking to the staff for specific microphones
9:57
Speaker 3: and the stuff said, yeah, made tomorrow, tomorrow they will arrive,
10:02
Speaker 3: but tomorrow never arrived. Also, they tried to record for
10:07
Speaker 3: Fighting and it came out, like David Johnson said, like
10:11
Speaker 3: a cheapmunk song. So they said no, no, no, this
10:15
Speaker 3: is not good. Let's go out of here, or at
10:19
Speaker 3: least just complete a vacation and then we go back
10:23
Speaker 3: to the chateau when it's available again.
10:25
Speaker 2: Then mentioned the fact that Elton wanted to record outside
10:29
Speaker 2: of England for tax reasons, which is the same that
10:33
Speaker 2: McCartney also did in various occasions. He recorded band on
10:39
Speaker 2: the Run in Nigeria. For the most part, he went,
10:47
Speaker 2: he went to Nashville, he went in everywhere in America.
10:51
Speaker 2: Later he went in the Virgin Island, so recording on
10:57
Speaker 2: a boat for London Town. And the reason was always
11:01
Speaker 2: the same tax reasons. So it's a nice comparison that
11:07
Speaker 2: we can that we can make. And also also the
11:10
Speaker 2: the events that happened in Nigeria for Band on the
11:17
Speaker 2: Run are mentioned in the book because there are some
11:21
Speaker 2: similarities about what happened in Jamaica for for Goodbye Little
11:28
Speaker 2: Recruit and what happened on band on the Run for
11:31
Speaker 2: Paul McCartney. But that's uh, let's let let the readers,
11:37
Speaker 2: uh uh dive into these things.
11:40
Speaker 1: Yeah, there's so much this book gets into Ellen just
11:44
Speaker 1: a prolific songwriter, and you talk about it in the
11:47
Speaker 1: book the recording sessions. They may not have worked out
11:50
Speaker 1: in Jamaica, but elan a ton of songs there. Talk
11:53
Speaker 1: about that he just blew everybody away. I think it
11:55
Speaker 1: was a guitarist David Johnson and said Olton could write
11:58
Speaker 1: a complete song in the time it's come to make
12:00
Speaker 1: a chicken sandwich.
12:02
Speaker 2: This is again very interesting because I have a passion
12:08
Speaker 2: for understanding how these composers write the songs. And while
12:16
Speaker 2: in the case of McCartney, you have a preparation before
12:23
Speaker 2: going into into the recording sessions. So he got a demo,
12:28
Speaker 2: he thinks of an arrangement, and then he goes into
12:32
Speaker 2: the studio. With Elton, it's a it's a bit different
12:36
Speaker 2: because it doesn't write at all before entering the studio.
12:44
Speaker 2: So only when he's ready for the recording and they
12:48
Speaker 2: are in the studio or ready for recording sessions, he
12:53
Speaker 2: writes his songs, which is incredible because it needs obviously
13:01
Speaker 2: he needs lyrics and then he can go through the
13:06
Speaker 2: lyrics and maybe improvising his lines and finding his melodies
13:11
Speaker 2: and stuff. But it's an incredible process. So if you
13:14
Speaker 2: think that all the songs that del don't rights are
13:19
Speaker 2: written directly when he is recording, I think it's a
13:24
Speaker 2: It's an incredible process. I mean, you've got to be
13:28
Speaker 2: very confident to do this sure, otherwise you cannot have
13:32
Speaker 2: a the writer's block, because otherwise you're wasting tons of
13:38
Speaker 2: money because you got the studio booked and your musicians
13:43
Speaker 2: booked and everything is is already set up, and so
13:47
Speaker 2: you need really to write your songs, and to write
13:52
Speaker 2: good songs, good enough to make an album and in
13:56
Speaker 2: the case of good but good enough to make a double.
14:00
Speaker 1: And there was a lot of trust Elton had in
14:02
Speaker 1: his band, which was a long way. That's a huge factor.
14:06
Speaker 1: Who was in the lineup on this album. This is
14:08
Speaker 1: that classic Elton lineup, right.
14:10
Speaker 2: The classic lineup with David Johnson and guitars, Nigel Lawson
14:15
Speaker 2: on drumson and Dean Murray on bass. Fantastic band. I
14:20
Speaker 2: think they were able along with the with the producer
14:25
Speaker 2: and the engineers to really to achieve an incredible sound
14:31
Speaker 2: and yes, you were mentioning the trust that Elton plays
14:36
Speaker 2: in his band. This is another very interesting aspect of
14:40
Speaker 2: the team work that was part of good Bye Yellow
14:46
Speaker 2: Brick Rut and also of other Elton Johnes albums. So
14:51
Speaker 2: the whole band was very involved in making the arrangements.
14:55
Speaker 2: So there was no superstar kind of approach or well
15:02
Speaker 2: I'm the artist and you are my backing band or something.
15:06
Speaker 2: So uh, no one in the band could could really
15:10
Speaker 2: feel this kind of uh uh you know approach by
15:16
Speaker 2: by Elton, and it shows because given that these songs
15:22
Speaker 2: are all based on piano. Again, it's different McCartney uh
15:28
Speaker 2: composes on guitar acoustic electric uh and and on piano.
15:33
Speaker 2: Elton writes on piano. So you've got to be very
15:40
Speaker 2: a great band to come up with the right arrangements
15:44
Speaker 2: and ideas to add the color the songs need.
15:49
Speaker 3: There is also Recooper in just one song on this albums,
15:55
Speaker 3: but Recooper after this album will be permanent permanent member
16:00
Speaker 3: of the Elton john Man Elton and Ray tour in
16:04
Speaker 3: the in the nineties but also later as a duo
16:08
Speaker 3: piano and percussions.
16:10
Speaker 1: And one name we have not mentioned yet, which is
16:14
Speaker 1: very important Bernie Taupin. What is Elton John without Bernie
16:17
Speaker 1: Taupin's input. Let's get to the concept of the album,
16:20
Speaker 1: because it's Bernie who really shapes the concept of these songs,
16:23
Speaker 1: which are influenced by cinema and American culture.
16:26
Speaker 3: Yeah, well, we cannot say it's really a concept album.
16:32
Speaker 3: We could say it's a half concept or there there
16:36
Speaker 3: is a recurring theme cinema Hollywood, because there are some
16:43
Speaker 3: means in some of the songs. But this is also
16:46
Speaker 3: true for other Elton John albums, since movies have always
16:51
Speaker 3: been a constant inspiration for Bernie Taupin. We can we
16:57
Speaker 3: can mention the fact that the work title of the
17:00
Speaker 3: album was Silent Movies and Talking Pictures, and obviously the
17:06
Speaker 3: title track and the cover refer to the movie The
17:10
Speaker 3: Wizard of Oogues, but the actual lyrics are not about
17:15
Speaker 3: that are a metaphor to express the state of mind
17:19
Speaker 3: of someone tired of the fain, wanting to go back
17:22
Speaker 3: to his roots and to a simple, simpler life as
17:30
Speaker 3: I see. Other lyrics can be seen as short movies.
17:34
Speaker 3: And there is also a song called I've Seen that
17:37
Speaker 3: Movie too, but that is another metaphor for a sentimental
17:41
Speaker 3: breaking up, and there are also songs that have nothing
17:45
Speaker 3: to do with cinema or Hollywood.
17:50
Speaker 1: Andrea Grasso and Luca Prossi, the authors of the new
17:53
Speaker 1: book title Elton John Goodbye Yellow Brick Road The Making
17:55
Speaker 1: of an epic album. You're right with It. Seventeen songs
17:58
Speaker 1: good By Yellow Brick Road marks new high point for
18:00
Speaker 1: the Elton John Bernie Talbinduo, both in terms of musical
18:04
Speaker 1: variety and lyrical landscapes that extend the themes and subjects
18:08
Speaker 1: explored on previous records, helping to create something of a
18:11
Speaker 1: colossal Let's get into some of the tracks. Now, what
18:15
Speaker 1: an opening to the I mean, this whole first side,
18:18
Speaker 1: it's just it's just perfect. We start with the epic
18:22
Speaker 1: eleven minute Funeral for a Friend, Love Lies Bleeding. Can
18:26
Speaker 1: you break down that epic opening because Elton's original version
18:30
Speaker 1: started with his piano at around a minute forty seconds in.
18:34
Speaker 1: But then we have some work done to add some
18:38
Speaker 1: instrumentation by a couple of key people here, right, Gus
18:41
Speaker 1: Studgen and Henshell.
18:43
Speaker 2: Yeah, I mean this is a fantastic opening. Gets it's
18:47
Speaker 2: my favorite track on the album, along with Danny Bailey,
18:52
Speaker 2: the personal choices, and well, let me explain weekly to
18:58
Speaker 2: the listeners and future reader what we did in the
19:02
Speaker 2: chapter of the songs. So we were trying together the
19:11
Speaker 2: most possible, the highest number of anecdotes about what happened
19:19
Speaker 2: in the studio. So I thought we thought it was
19:23
Speaker 2: interesting two really build these details and offering them to
19:31
Speaker 2: the readers so to know exactly what was going on
19:35
Speaker 2: in the studio when they were recording. So there's a
19:38
Speaker 2: bit of musical analysis and lots of these anecdots from
19:44
Speaker 2: the studio. So what happened in the case of Funeral
19:48
Speaker 2: for a Friend Loveliss bleeding? So the title suggests that
19:52
Speaker 2: it's a sort of medley. In fact, there are two
19:56
Speaker 2: different songs linked together. But Eric, what happened was that
20:04
Speaker 2: the intro that we are hearing, So this this epic
20:12
Speaker 2: intro that is played on on the A r P
20:16
Speaker 2: synthesizer is played. It was added after.
20:24
Speaker 1: But that's the engineer, David Henshaw who's playing there.
20:27
Speaker 2: That's David Anschel who's playing so and it was added after.
20:31
Speaker 2: So Elton didn't know about it, and so it was
20:34
Speaker 2: it was taken by surprise when when he heard that.
20:41
Speaker 2: And I think it's a fantastic addition that that really
20:44
Speaker 2: sets the tone for for the whole album. But then
20:48
Speaker 2: you have you have other other anecdotes that are really
20:54
Speaker 2: really nice, like there's a there's a set of cast
20:59
Speaker 2: nets at some point during the song, uh, and that's
21:03
Speaker 2: Gus Dudgeon playing. So also this explains that the teamwork
21:09
Speaker 2: I was talking about before, because it involves even the
21:14
Speaker 2: producer and the engineer playing in the song as they
21:21
Speaker 2: were musicians. So that really that really is something that
21:27
Speaker 2: adds to the story of the album. And these little
21:31
Speaker 2: anectost I loved discovering or you know, finding the best
21:36
Speaker 2: way to present them in the book.
21:40
Speaker 1: A lot of people wonder what the song is about,
21:42
Speaker 1: but it's just out imagining what his funeral would be like.
21:46
Speaker 2: Yeah, I mean there are different versions of well about
21:51
Speaker 2: what the what the lyrics mean. In some cases even
21:57
Speaker 2: how the song the songs came up out. And this
22:01
Speaker 2: is a it's one of the best example examples. So
22:07
Speaker 2: if you ask Bernie says, well, there were one was
22:13
Speaker 2: written because of the other, then Elton says, and no,
22:16
Speaker 2: there were two separate things. And also in this case,
22:20
Speaker 2: as authors, we we've chosen to live different versions if
22:29
Speaker 2: we have different versions about all recollections about what happened. Also,
22:35
Speaker 2: because as is typical in these cases, maybe people are
22:39
Speaker 2: asked about a song many years later and so they
22:43
Speaker 2: can't really recall what happened. But it's interesting how memory
22:52
Speaker 2: shapes things a year after year, of decade after daked,
22:59
Speaker 2: and this is an example full of two versions flashing
23:04
Speaker 2: when you ask Bernie and Elton about what happened on
23:08
Speaker 2: this song.
23:09
Speaker 1: You know, just thinking too. Reading through the book, Eleon
23:11
Speaker 1: made a comment that was interesting. This is prior to
23:15
Speaker 1: his substance abuse period, right, I mean, he was pretty
23:18
Speaker 1: he went in there. He said he wasn't doing any drugs.
23:20
Speaker 1: I don't think during the recording sessions.
23:22
Speaker 3: I think it was he said he started with the
23:24
Speaker 3: album Cariboo, so the following year because said he said
23:29
Speaker 3: he always saw all the bands doing drugs and he
23:33
Speaker 3: was feeling kind of excluded, so he started just to
23:36
Speaker 3: join the group.
23:39
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24:13
Speaker 1: So the next track, Candle on the Wind, It's an
24:16
Speaker 1: Elton classic no matter what version you listen to, it's
24:19
Speaker 1: just phenomenal. Who is the song about? And can you
24:22
Speaker 1: talk about the two sources behind the song's title?
24:26
Speaker 3: I think the win is probably one of the most
24:28
Speaker 3: popular Edton John songs. As I said, which version, because
24:33
Speaker 3: apart from the original version that we're talking about, it
24:36
Speaker 3: was a hit again in the for the Live in
24:40
Speaker 3: Aslai album mentioned by Luca.
24:42
Speaker 1: That was the first version I ever heard. Who's the
24:44
Speaker 1: Australia version and I was a teenager?
24:47
Speaker 3: Thank okay? And the record breaking nineteen ninety seven Guyana
24:53
Speaker 3: version one of the most popular, but also one of
24:56
Speaker 3: the most misunderstood because it's not really a tribute to
25:01
Speaker 3: Marilyn More because people think okay, Elton and Bernie are
25:05
Speaker 3: fanatics about Marilyn, so they wanted to dedicate a songwriter. No,
25:10
Speaker 3: actually Marilyn is used as a symbol of dying young,
25:14
Speaker 3: so Bernie Tovin said it could have been also about
25:18
Speaker 3: James Deen or Jim Morrison or whatever. And the two
25:22
Speaker 3: sources you mentioned behind the song title. One is a
25:26
Speaker 3: book called Kendle in the Wind, and also Bennie said
25:31
Speaker 3: Clive Davis used the phrase to describe Jennis Joplin. Another
25:40
Speaker 3: another one that died young.
25:42
Speaker 1: Benny and the Jets one of my all time favorite
25:45
Speaker 1: Altum songs. First, before we get into the music itself
25:50
Speaker 1: there and what we're hearing, what is the song about?
25:53
Speaker 3: I think personally there is a lot of imagination and
25:56
Speaker 3: also a little bit of nonsense. It's just a family
26:01
Speaker 3: that was used for a fun song. Anyway. Bareley described
26:05
Speaker 3: it as its vision of a futuri band that was
26:09
Speaker 3: fronted by an androgynous woman.
26:11
Speaker 1: As a kid, I never knew if it was live
26:15
Speaker 1: or not. I thought this, I don't know if it
26:17
Speaker 1: doesn't sound really truly live, but maybe it is. Talk
26:22
Speaker 1: about some of the things they do here with the mix.
26:24
Speaker 1: There's something called the slap back tape echo effect. Where
26:29
Speaker 1: do they get that crowd sound? And I love that
26:32
Speaker 1: they they leave the mistake in at the beginning, so
26:36
Speaker 1: then it makes it feel live even more.
26:39
Speaker 2: I have wondered erek the same myself for years every
26:43
Speaker 2: time I I was listening to the song on my
26:48
Speaker 2: CD or on the radio. I must admit it's not
26:53
Speaker 2: one of my favorites because I've heard it so many times.
26:57
Speaker 2: That's the only reason why for this song so many times. Anyway,
27:02
Speaker 2: it's it's a brilliant piece of music, and it's brilliantly
27:05
Speaker 2: built because of all these little tricks that you have mentioned.
27:10
Speaker 2: So that that proves how fantasy is a fundamentally more
27:19
Speaker 2: even more important than uh than uh you know, the
27:23
Speaker 2: technical uh uh perfect technical set up. You can really
27:28
Speaker 2: do incredible things exclusively using fantasy. And so what they
27:34
Speaker 2: did so Elton struck a chord uh for four beats
27:42
Speaker 2: before before the song actually starts. And so they instead
27:47
Speaker 2: of cutting it or saying okay, let's let's do it again,
27:52
Speaker 2: they left it. They left it in, so there's a
27:55
Speaker 2: there's a mistake, but they left it in, and which
27:59
Speaker 2: we can say it makes a song because it's something
28:02
Speaker 2: unexpected that that happens, and so introduces the song the
28:07
Speaker 2: right way to me. And then there's lots of other
28:11
Speaker 2: things that you have hinted at. So there's a plose
28:19
Speaker 2: all over the track so you can hear some more
28:21
Speaker 2: close and so they they took this from a record
28:26
Speaker 2: from Jimmy Hendrix at the Isle of Wight, along with
28:30
Speaker 2: some crowd sounds from Elton at the Royal Festival Hall.
28:34
Speaker 2: So the you know, I'm very fascinated by this kind
28:42
Speaker 2: of things, which also the Beatles did in many of
28:46
Speaker 2: the records, so relying on this sound libraries they were
28:53
Speaker 2: available maybe at Abbey Road or also other English studios
29:01
Speaker 2: or again dividential gas. Dudgeon and the assistant engineer Pete
29:07
Speaker 2: Kelsey did all the hand claps, so there are three people,
29:12
Speaker 2: but you know they overdubbed so many times that in
29:16
Speaker 2: the end you you really think there's a big crowd
29:22
Speaker 2: doing the hand claps. So this is an example of
29:25
Speaker 2: what you can find in the book. And so if
29:30
Speaker 2: you are a fan of how music is built in
29:35
Speaker 2: in the studio, I think this is a book for you.
29:38
Speaker 1: Oh absolutely, it dives deep into all this stuff that
29:41
Speaker 1: I love. That slap back tape echo sound is what
29:43
Speaker 1: makes it sound live as well too. Yeah, it makes
29:45
Speaker 1: it feel like you're in a stadium or an arena.
29:48
Speaker 2: Yeah. This is an effect that that was very used
29:53
Speaker 2: in the in the fifties especially, and so it's it's
29:57
Speaker 2: used also here too, great effect and it applies perfectly
30:03
Speaker 2: to Elton's voice and gives an added an added flavor
30:08
Speaker 2: to the song.
30:10
Speaker 1: The title track to the albums among my top five
30:12
Speaker 1: Elton songs, which it starts off side too. This is
30:15
Speaker 1: a song that came by accident.
30:17
Speaker 3: Yeah, this is a pot by Elton himself. He said
30:20
Speaker 3: he stumbled on the introductor records for record by accident
30:27
Speaker 3: and David Johnson the guitaries at first when he heard
30:31
Speaker 3: the demo of the song, complain about its complex structure
30:35
Speaker 3: because there are twenty chord changes and he was forced
30:39
Speaker 3: to write them down on paper, something he usually doesn't.
30:44
Speaker 3: And it's in my top five Johnson's too, probably because
30:49
Speaker 3: of these chord changes, and also because of the very
30:53
Speaker 3: natural way of going on and off from the fat
30:57
Speaker 3: set voice.
30:58
Speaker 1: And the rest of side to the song has no title.
31:01
Speaker 1: Gray Seal Jamaica Jerkoff. I've seen that movie too interesting
31:05
Speaker 1: that Jamaica Cherkoff was written prior to them being in Jamaica.
31:09
Speaker 1: I think Gray Seal, I don't think that was released
31:11
Speaker 1: as a single. Maybe it was, but I think it's
31:13
Speaker 1: included on his best of collections, isn't it.
31:16
Speaker 2: Well, initially it was released as in a different version
31:20
Speaker 2: as a B side to the single rock and Roll Madonna,
31:23
Speaker 2: So that could be the reason why if it's the
31:26
Speaker 2: original version, if it's see the version from good by
31:30
Speaker 2: Jett bick Rude, I don't know. I don't know why.
31:35
Speaker 1: Of the non singles. I'm curious as to each of
31:38
Speaker 1: you is do you have a favorite deep track one
31:41
Speaker 1: that wasn't released as a single.
31:43
Speaker 3: Yeah? For me, it Ceremony. And I know that many
31:46
Speaker 3: many people requested Harmony to be released as singles as
31:50
Speaker 3: a single, but the truth was that they had so
31:55
Speaker 3: little time because after a few months they started recording
31:59
Speaker 3: the Crib album, so there were too many, too many
32:02
Speaker 3: singles already released.
32:04
Speaker 2: I love this song as no title. It's a short
32:07
Speaker 2: song with the with Elton playing everything. And if I
32:11
Speaker 2: have to choose one of the less lesser known, let
32:15
Speaker 2: me say songs that that would be. The song has
32:19
Speaker 2: no title that's got a especially the diverse part. I
32:23
Speaker 2: love it very much. I love I'm personally inclined to
32:27
Speaker 2: love a bit more to the melodic Elton compared to
32:32
Speaker 2: the rocker. But this is a matter of tastes.
32:35
Speaker 1: Yeah, I'm with you on that though. That's my pick too.
32:38
Speaker 1: It's it's amazing when you look at it's not just Elton,
32:41
Speaker 1: it's it's all the artists during that period. How hard
32:44
Speaker 1: they were working on the road, in the studio. On
32:48
Speaker 1: the road, I mean an album per year, just like
32:51
Speaker 1: you say, Andrea, just no time to release any more
32:54
Speaker 1: singles like let's just get back in the studio. It
32:56
Speaker 1: speaks to the work ethic of those guys, you know,
32:59
Speaker 1: like Elton cranking out those songs. Thankfully he could write
33:02
Speaker 1: that quickly because you could see how we were driving
33:06
Speaker 1: artists mad. If the record labels like we need another album,
33:09
Speaker 1: it's like, oh, all right, I guess you know you
33:11
Speaker 1: got to write while you're on the road. I suppose,
33:13
Speaker 1: but it's it's really It certainly isn't surprising why a
33:17
Speaker 1: lot of them did have to start to resort to
33:21
Speaker 1: take drugs, just you know, the cocaine was a lot
33:23
Speaker 1: They talked about just to stay awake and keep going,
33:26
Speaker 1: which is, you know, it's not healthy, but it's kind
33:30
Speaker 1: of the way it was.
33:32
Speaker 2: We were joking with Andrea when we were researching for
33:37
Speaker 2: the book, and we were we were trying to find
33:43
Speaker 2: some more quotes by Elton himself about the songs, and
33:50
Speaker 2: we were thinking that he had no time for doing
33:54
Speaker 2: interviews in the seventies, so really compared to McCartney again,
33:59
Speaker 2: who did lots of interviews with the press, well for
34:04
Speaker 2: Elton at least in that period was a little bit different,
34:08
Speaker 2: so we struggled a bit to find a quote. So
34:12
Speaker 2: we were we came in thinking that there was plenty
34:17
Speaker 2: of his quotes from the magazines of the era, and
34:21
Speaker 2: it's not the case.
34:25
Speaker 1: Hey, guys, thanks so much for checking out the book
34:27
Speaker 1: Down Rock podcast. If you've just found the podcast, welcome.
34:31
Speaker 1: If you've been listening, thank you so much for your support,
34:34
Speaker 1: and make sure you tell a friend, a family member,
34:36
Speaker 1: share on social media and let people know about Booked
34:39
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34:42
Speaker 1: sure you subscribe give a five star review. Wherever you
34:45
Speaker 1: listen to the book, don Rock podcast, run Amazon, Apple, iHeart, Spotify, Spreaker,
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Speaker 1: tune in and on YouTube music. You can check out
34:53
Speaker 1: the full episodes on video, along with video highlights from
34:56
Speaker 1: episodes on the book Down Rock YouTube channel. Find it
34:59
Speaker 1: at Booked on Rock. Thanks again for listening. Now back
35:02
Speaker 1: to the show. Side three, Sweet Painted Lady, The Ballad
35:07
Speaker 1: of Danny Bailey nineteen oh nine to nineteen thirty four,
35:11
Speaker 1: Dirty Little Girl, All the Girls Love Alice. That's the
35:15
Speaker 1: track I know here in the States got a lot
35:18
Speaker 1: of airplay on classic rock radio. Grown Up Elton calls
35:21
Speaker 1: it a sinister song. Bernie Tauben was looking to challenge
35:24
Speaker 1: the centers lyrically on this one.
35:26
Speaker 3: Yes, Bernie said, this was deliberate and he wanted to
35:30
Speaker 3: see what would happen with this kind of lyric. He
35:32
Speaker 3: wanted to push the envelope. This is one of the
35:38
Speaker 3: short movies I was sparing to before. Alice was a
35:43
Speaker 3: sixteen year old girl, and after a few lines into
35:47
Speaker 3: the song, we discovered that she is a prostitute like
35:50
Speaker 3: the woman is with Pettit Leddy. Actually, but the character
35:53
Speaker 3: that character int with Petty Leddy was seen as very positive. Yeah,
35:57
Speaker 3: Alice was a prostitute, was lesbian prostitute, and she was killed.
36:05
Speaker 3: We don't know the real end of the story. We
36:07
Speaker 3: don't know who killed her, So it's like one of
36:10
Speaker 3: those short movies where we have to figure out by
36:13
Speaker 3: yourself what happened and if you want to extend on this.
36:18
Speaker 3: Bernie is a fantastic lyric writer because he can write
36:21
Speaker 3: these short stories, often without a real star or a
36:26
Speaker 3: real ending, but in a few lines it can go
36:29
Speaker 3: deep into the character's mind or give you enough elements
36:34
Speaker 3: to figure out the world story by yourself.
36:37
Speaker 1: Who was wondered about that chemistry between Elman and Bernie
36:39
Speaker 1: because when Bernie wasn't in the picture, the song quality
36:44
Speaker 1: that Elton was putting out wasn't as strong. But Ellen
36:49
Speaker 1: wrote the music right. Was it Bernie doing all lyrics
36:52
Speaker 1: or what was going on there that influenced Elton so much?
36:56
Speaker 1: What was that magic that they had?
36:58
Speaker 3: Bernie always wrote the lyrics first, then he sent them
37:03
Speaker 3: to Alton by hand or by facts in the letter
37:08
Speaker 3: years or by email, and Elton just read very click
37:14
Speaker 3: quickly the lyrics. He didn't study them too much, just
37:18
Speaker 3: give them a quick look, and then he started he
37:22
Speaker 3: started writing some chords on the piano, and it'srually is
37:27
Speaker 3: if a song is not complete in the first twenty minutes,
37:31
Speaker 3: then I throw it away and go to another one.
37:35
Speaker 3: So there are plenty of plenty of sheets of lyrics
37:40
Speaker 3: by very talking in the trash in the studio pavement.
37:44
Speaker 1: But it's fascinating because it's the lyrics themselves that actually
37:47
Speaker 1: inspired out and the rite just really step it up
37:50
Speaker 1: even more so. Or there was something that he was
37:51
Speaker 1: feeling that was special, that would really ignite something special
37:55
Speaker 1: on his end with the songs he would write.
37:58
Speaker 2: For music composer Calton, having lyrics already written with the
38:06
Speaker 2: with a great story but also with a good scan
38:11
Speaker 2: that absolute so we can, we can. I'm not I'm
38:15
Speaker 2: not a musician, but I love to play. I got
38:18
Speaker 2: a guitar, I got a piano and stuff, so I did.
38:21
Speaker 2: I did something on my own during during the years.
38:24
Speaker 2: And what I tried to do, uh sometimes was to
38:30
Speaker 2: pick up an album I didn't really know, so having
38:35
Speaker 2: the lyrics in front of me and pick up my
38:38
Speaker 2: guitar and trying to come up with some melody because
38:40
Speaker 2: I did know the lyrics. So but the lyrics help
38:44
Speaker 2: help help a lot.
38:46
Speaker 1: Oh wow, So that explains it a lot.
38:48
Speaker 2: Yeah, So I think I think it's a. It's a
38:52
Speaker 2: good process if you are if you think that you
38:56
Speaker 2: are not a good lyricist, or you don't want to
38:58
Speaker 2: struggle with lyrics. Of you, you got someone who is
39:02
Speaker 2: a real poet, as a berniethoupin that that makes an
39:07
Speaker 2: explosive combination.
39:09
Speaker 1: That makes a lot of sense. Takes the pressure off
39:11
Speaker 1: of Elton too. He doesn't have to worry about the lyrics.
39:15
Speaker 1: He frees him up to do the music.
39:17
Speaker 3: Actually, there was a period when Elton wrote with another
39:20
Speaker 3: lyricis called Gary Osbourne. I think it's the period we're
39:24
Speaker 3: referring to where the quality was worse, let's say from
39:30
Speaker 3: the seventy eighth It was an on and off until
39:34
Speaker 3: the first years of the eighties, and in this case
39:38
Speaker 3: they made that change. Elton wrote the music first, all alone.
39:45
Speaker 3: He also happened to wrote some snippets of lyrics like
39:49
Speaker 3: the chorus or something, and then gave the tapes to
39:54
Speaker 3: Gary and he would write all the lyrics.
39:57
Speaker 1: The fourth and final side features your her Sister can't
40:00
Speaker 1: Twist but she can rock and roll, Saturday Night's all
40:04
Speaker 1: Right for Fighting Roy Rogers, Social Disease and Harmony, which
40:09
Speaker 1: Andrea mentioned is his favorite deep track. We got to
40:12
Speaker 1: talk about Saturday nights all right for fighting, and that's
40:15
Speaker 1: just one of Elton's classics. Talk about Bernie's lyrics here.
40:19
Speaker 1: These are based on his teenage years, so it's semi autobiographical.
40:24
Speaker 3: Yes, Bernie said, This lady is inspired by when he
40:27
Speaker 3: was a fifteen year old going to pubs in the
40:32
Speaker 3: north of England with friends and all the gangs started
40:36
Speaker 3: drinking too much beer and somebody will satisfy.
40:40
Speaker 1: The guitar work from Davy Johnstone is very important on
40:43
Speaker 1: this track. Elton left the recording of his piano part
40:46
Speaker 1: until later in the production. This is something he never
40:49
Speaker 1: did before. What was his reasoning behind that.
40:52
Speaker 3: I haven't try that. First played piano along the band,
40:56
Speaker 3: but didn't work because there was already so you gave up.
41:02
Speaker 3: And then when the basic recording was finished, they had
41:07
Speaker 3: to combine him to play a piano part ala Jerry
41:11
Speaker 3: Lee Lewis, and so that's why while singing the main part,
41:21
Speaker 3: he was not forced to stay seated at the piano,
41:24
Speaker 3: so he tried new Kings and he standed up lying
41:27
Speaker 3: on the floor. He was also asking the other musicam
41:31
Speaker 3: insulting them, and of course the limit was the microphone
41:35
Speaker 3: wire since at the time wireless was not an option.
41:39
Speaker 1: Yeah, and it was interesting I think in the books
41:41
Speaker 1: it talks about too. There was some doubt as to
41:44
Speaker 1: whether they should even have a hard rock around the album,
41:48
Speaker 1: that that's not really Elton's thing, and it's like, no, man,
41:52
Speaker 1: he can rock. This is you know, this is why
41:55
Speaker 1: Elton still you know, some people will say, is Elton
41:59
Speaker 1: you know more popped and rock or whatever, But if
42:02
Speaker 1: he wanted to rock, he could and he still can't.
42:04
Speaker 3: After that, especially in the recent times. I'd say from
42:09
Speaker 3: the nineties was mainly as a balladier, so almost all
42:14
Speaker 3: the single the first singles used to promote the albums
42:18
Speaker 3: where ballat love songs. Yeah, he released many compilations called
42:22
Speaker 3: love Songs. So fortunately it's just a side, uh, not
42:29
Speaker 3: the only one. He did all kinds of music. He did, dance,
42:32
Speaker 3: he did, funky, did everything. He also did a dance
42:37
Speaker 3: album called Victim of Love. It was a disaster, but
42:40
Speaker 3: he did it.
42:43
Speaker 1: Find the Bookdown Rock website at bookdown rock dot com.
42:46
Speaker 1: There you can find all the back episodes of the
42:48
Speaker 1: show wit this episode in video and audio links to
42:51
Speaker 1: all of the platforms where you can listen to the podcast,
42:54
Speaker 1: plus all the social media platforms were on Blue Sky, Facebook, Instagram,
42:59
Speaker 1: TikTok and also check out book Down Rock Blood, find
43:03
Speaker 1: your local independent bookstore, find out all the latest rock
43:06
Speaker 1: book releases, and before you go, check out the book
43:09
Speaker 1: time Rock online store. Pick up some book down rock merch.
43:12
Speaker 1: It's all at book on rock dot com. All right,
43:16
Speaker 1: see right quote, an album so special needed a special
43:19
Speaker 1: album cover. Let's get into the album cover, talk about
43:22
Speaker 1: what the initial idea was, and then how does it
43:24
Speaker 1: come to be where we have the one that we
43:26
Speaker 1: see today.
43:27
Speaker 3: Initially the staff had several ideas, but actually one of
43:31
Speaker 3: them was, in my opinion, really bad, but fortunately led
43:36
Speaker 3: to the right artists because they saw the cover of
43:39
Speaker 3: an album by a singer called Jonathan Kelly and they
43:44
Speaker 3: wanted to use the same cover for Good Crowd. It's
43:48
Speaker 3: incredibly bad idea, It's kind of nonsense. So they approached
43:53
Speaker 3: the illustrator that cover. It's called Yambeck and Exclusive Exclusive
44:00
Speaker 3: interviewed him for the book and he told us the
44:04
Speaker 3: tail story. Luckily, they after contacting him, they realized that
44:10
Speaker 3: it was a bad idea, so they asked im to
44:12
Speaker 3: do a brand new cover and it seems that the
44:16
Speaker 3: idea for the cover we all Know was worked out
44:20
Speaker 3: by Ian along with David Larkham was the co art
44:24
Speaker 3: director and Steve Brown was the album coordinator.
44:28
Speaker 1: And the lyrics too. Ellen always wanted to make sure
44:31
Speaker 1: the lyrics were on there. That was because you knew
44:34
Speaker 1: how important those were and how important Bernie is to him,
44:39
Speaker 1: which is which is cool too. Yeah, there's so much
44:42
Speaker 1: more in this book. After breaking down the tracks, you
44:45
Speaker 1: got the other songs from the sessions, the single Step
44:49
Speaker 1: into Christmas is covered, the album's promotion, the commercial and
44:53
Speaker 1: critical response songs from the album covered by other artists,
44:57
Speaker 1: which is really interesting. Normal reissues TY seven version of
45:01
Speaker 1: Candle and the Wayne is covered in the book. There's
45:02
Speaker 1: also a chapter on the album's legacy and retrospective reviews.
45:07
Speaker 1: What was the reaction to the album by the critics
45:09
Speaker 1: when it came out and what is said about it
45:12
Speaker 1: today years later.
45:14
Speaker 2: Well, Eric, we wanted to give the you know, the
45:18
Speaker 2: best picture about the album, and so all all that
45:24
Speaker 2: you have mentioned is part of a book that you
45:29
Speaker 2: can take and if you want to know what really happened,
45:35
Speaker 2: you have everything in your hands. And I always thought
45:40
Speaker 2: that the critical reaction of the time is very important
45:44
Speaker 2: in a book like this because then after years past
45:51
Speaker 2: and decades past, and the album could gain a different status,
45:58
Speaker 2: and it's always interesting to see what really the critics
46:02
Speaker 2: think at the time. So, for example, good Bye the
46:06
Speaker 2: Bricruit was not universally acclaimed at the time of his release,
46:11
Speaker 2: so Rolling Stone was not so impressed up impressed, and
46:18
Speaker 2: someone criticized the double album format, which is a criticism
46:25
Speaker 2: I have seen quite frequently about good Bye the brick Rude.
46:34
Speaker 2: I understand it. When you got a double album, the
46:39
Speaker 2: first thing critics like to say is it could have
46:43
Speaker 2: been such a good single album. You know, it's it's
46:48
Speaker 2: quite it's quite typical. Even George Martin at some point
46:55
Speaker 2: thought that the White Album could have been really a
46:59
Speaker 2: great eight single album. But you know, double albums are
47:04
Speaker 2: like that. I mean, take it or leave it. I
47:08
Speaker 2: like it as it is, and the UK did. The
47:12
Speaker 2: reception was better compared to the US, and I would
47:16
Speaker 2: say that over the years and the decades, the critics
47:22
Speaker 2: only went better and better. So in two thousand and three,
47:27
Speaker 2: Rolling Stone ranked the album at place ninety first place
47:35
Speaker 2: in the list of five hundred greatest album of all time.
47:40
Speaker 2: So that's that's pretty much sums up how important this
47:46
Speaker 2: album is in the in a history of rock and pop.
47:52
Speaker 1: So for each of you, what is the album's legacy.
47:56
Speaker 2: Well, it's not easy to put it in a in
47:59
Speaker 2: a ranking, but it's a for me, it's a fundamental
48:03
Speaker 2: key album. For Elton, and who is a fan of music,
48:09
Speaker 2: could not have this this record in his.
48:15
Speaker 3: In his collection, I quote Luca, and I can add
48:18
Speaker 3: that Elton and Bernie in recent years I have admitted
48:22
Speaker 3: that this is their best album. They said they were
48:25
Speaker 3: bottom fire in the lyrical and musical sense. They release
48:30
Speaker 3: a thirty anniverse radition of fourth Diniverse Radition, not a
48:34
Speaker 3: fifty surprisingly, but in those occasions they did many interviews.
48:41
Speaker 3: In fact, most of the quots from Elton are from
48:45
Speaker 3: that period rather than the rather than the seventies, so
48:51
Speaker 3: they actually know it's one of their best albums.
48:54
Speaker 1: Elton John Goodbye Yellow Brick Road. The making of an
48:57
Speaker 1: epic album. It's out now. Find where our books are sold.
49:01
Speaker 1: Look for Engineer's bookstore. Look for Engineer's independent bookstore. You
49:04
Speaker 1: can go to bookdown rock dot com to find your
49:06
Speaker 1: nearest independent bookstore. And guys, where can people find you online, Luca,
49:10
Speaker 1: I know you are online in various places on social media.
49:15
Speaker 2: Yeah, I'm on Instagram, Facebook, Blue Sky and x so
49:20
Speaker 2: it's quite easy to find my name.
49:22
Speaker 1: And there's the Lily Publishing website yeah too, Yes, Andrea,
49:26
Speaker 1: where can people find you if they want to reach
49:28
Speaker 1: out to you, Well.
49:29
Speaker 3: I think it's best if they can if they reached
49:32
Speaker 3: me at my Italian fan club that is called Elton
49:35
Speaker 3: John Italia on Facebook. Also open to international funds.
49:40
Speaker 1: Great, it's fantastic to speak with both of you. I
49:44
Speaker 1: mentioned this before, Luca. It's great to be able to
49:47
Speaker 1: feature some books from Lily Publishing. Hope to do some
49:50
Speaker 1: more in the future. So thank you so much guys
49:52
Speaker 1: for coming on to talk about this, this epic album
49:55
Speaker 1: from Elton.
49:57
Speaker 2: We're building a nice catalog and we'll do something more
50:01
Speaker 2: together within the ass or we will be happy to
50:04
Speaker 2: be your guest again. M h.
50:08
Speaker 3: M hm hm.
50:11
Speaker 2: That's it.
50:12
Speaker 3: It's in the box.