Elton John – Empty Sky

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  • This outstanding pressing of Elton John’s debut solo album boasts Shootout Winning Triple Plus (A+++) sound throughout
  • With plenty of energy, killer bass, and clear, present vocals, this pressing has all the key qualities we look for in an Elton John record
  • About as quiet a copy as we can find, they’re usually pretty beat which is why you so rarely see them on the site
  • “… it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin. Empty Sky is quite indicative of the post-Sgt. Pepper’s era. With its ambitious arrangements and lyrics, it’s clear that John and Taupin intended the album to be a major statement…”

The undiscovered gem in the Elton John catalog! This original British Import demonstrates just how good a recording this is. The sound is excellent and the music is surprisingly good — and weird in a fun way! It certainly bears little relation to the middle-of-the-road pop songs Elton’s been making since the ’80s. These guys were young and figuring out their sound here, and this album takes Elton to some pretty interesting places. A fun debut album that is certainly worth a listen if you’re a fan of the classic albums that were soon to follow.

We’ve had dozens of these on our shelves for years but struggled to get this shootout done until recently. The main thing holding us back was how noisy most copies are, even the minty looking ones. Anyone who’s played DJM Brit pressings knows those guys had a very hard time pressing quiet vinyl.

This isn’t the best sounding Elton John album, but it’s certainly one of the best sounding copies of his debut we could find out of the dozen or so we played. While it varies a bit from track to track, the overall sound here is wonderful.

This is a bunch of young guys figuring things out — some of it works very well and some of it not so well — but I think any Elton fan is going to enjoy hearing this early material with sound that’s always correct and often wonderful. It’s been a long time coming, but we think in the end the music is worth all the trouble we went through to find quiet enough vinyl with good sound.

What the best sides of Empty Sky have to offer is not hard to hear:

  • Transparency and resolution, critical to hearing into the three-dimensional space of the studio
  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1969
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Size

One of the qualities that we don’t talk about on the site nearly enough is the SIZE of the record’s presentation. Some copies of the album just sound small — they don’t extend all the way to the outside edges of the speakers, and they don’t seem to take up all the space from the floor to the ceiling. In addition, the sound can often be recessed, with a lack of presence and immediacy in the center.

Other copies — my notes for these copies often read “BIG and BOLD” — create a huge soundfield, with the music positively jumping out of the speakers. They’re not brighter, they’re not more aggressive, they’re not hyped-up in any way, they’re just bigger and clearer.

And most of the time those very special pressings just plain rock harder. When you hear a copy that does all that, it’s an entirely different listening experience.

What We’re Listening For on Empty Sky

  • Energy for starters. What could be more important than the life of the music?
  • The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
  • Then transient information — fast, clear, sharp attacks for the keyboards, guitars, and drums, not the smear and thickness common to most LPs.
  • Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
  • Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
  • Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
  • Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.

TRACK LISTING

Side One

Empty Sky 
Valhalla 
Western Ford Gateway
Hymn 2000

Side Two

Lady What’s Tomorrow 
Sails
The Scaffold
Skyline Pigeon 
Gulliver / Hay-Chewed / Reprise

AMG Review

Although he had made a number of re-recordings of popular songs for a budget record label in the late ’60s, Empty Sky was the first true solo album Elton John recorded after leaving Bluesology; it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin.

Empty Sky is quite indicative of the post-Sgt. Pepper’s era. With its ambitious arrangements and lyrics, it’s clear that John and Taupin intended the album to be a major statement. Though it shows some signs of John’s R&B roots, most of the album alternates between vaguely psychedelic rock and burgeoning pop songcraft, capped off by a bizarre reprise of brief moments of all of the songs on the record. There aren’t any forgotten gems on Empty Sky, but it does suggest John’s potential.