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Februar 2010

28. Februar 2010

Special Guest bei Eltons Oscar Party

Eltons 18. Oscar Party rückt immer näher. Am 7. März 2010 ist es soweit, dann wird die Gala zu Gunsten der Elton John AIDS Foundation im Pacific Design Center in West Hollywood stattfinden.

Special Guest wird in diesem Jahr Grace Jones sein. Elton sagte in einem Statement:

"Grace Jones is not only an amazing performer, but a dear friend and a fellow activist in the fight against HIV/AIDS. Without a doubt, Grace will put on a show for our guests that will have them talking for years to come. It is an absolute honor to have Grace as part of this evening that means so much to the foundation."

Ob die beiden auch ein Duett  zum Besten geben???? Wir werden dran bleiben und berichten.

Elton John und Jeff Bridges "I don´t know" - ein Kurzvideo

Hier ist ein kurzes Video, dass 23. Februar 2010 aufgenommen wurde. Ihr seht Elton John und Jeff Bridges wie sie den Song I don´t know performen. Viel Spaß beim anschauen!

21. Februar 2010

Ist Eltons Aussage über Jesus eine Reaktion auf Papst Benedikt XVI?

Ist Eltons Aussage über Jesus eine Reaktion auf Papst Benedikt XVI?. Dieser fordert jedenfalls "missionarischen Eifer gegen Schwule" und wettert gegen ein britisches Gesetz, was Schwule an ihrem Arbeitsplatz schützen soll. Und das im Vorfeld eines Besuchs in Großbritannien.

Hier ist ein Artikel von Welt online.

Papst will "missionarischen Eifer" gegen Schwule

Papst Benedikt XVI. empört England: Dem Heiligen Vater passt nicht, dass die Briten ein Gesetz gegen die Diskriminierung Homosexueller auf dem Arbeitsmarkt verabschieden wollen. Mit aller Macht sollten sie sich gegen die Regelung stemmen, forderte der Papst seine Amtsbrüder auf der Insel auf.

Große Ereignisse werfen lange im Voraus ihre Schatten. So der bevorstehende Besuch des römischen Pontifex Benedikt XVI. in England, im September dieses Jahres. Es wird der erste Papst-Besuch sein seit 1982. Dazwischen liegen 28 Jahre einer Metamorphose des Zeitgeistes, die den Vorposten Europas zwischen Nordsee und Atlantik, die britische Insel, tief greifender erfasst hat als andere Gesellschaften. Seit den Thatcher-Jahren ist eine "Anything goes"-Mentalität herangewachsen, die Annahme grenzenloser Verfügbarkeit existenzieller Optionen. Kompass ist das säkular-libertäre Prinzip, welches Gleichheit an die Stelle der Rücksicht setzt und Homogenität an die Stelle unterschiedlicher Lebensinhalte.

Papst Benedikt, der sanft spricht aber entschieden markiert, hat in diesen Tagen den britischen Episkopat auf Besuch im Vatikan, und diese Gelegenheit war ihm gerade recht, sogleich zur Sache zu kommen. Im House of Commons wird zurzeit eine Gesetzgebung behandelt, unter dem Titel "Equality Bill", der zufolge im britischen Arbeitsrecht künftig keine Unterscheidung mehr zulässig sein wird zwischen Lebensgruppen diverser Ausrichtung.

In praxi: Niemand, der sich zur Homosexualität oder Transsexualität bekennt, darf in seinen Beschäftigungschancen in irgendeiner Weise zurückgesetzt werden. Dafür hat die Labour-Regierung eine eigene Regierungsbehörde eingesetzt, das "Government Equalities Office".

Das Denken hinter der Gesetzesvorlage spiegelt einen weit gehenden Konsens in der Gesellschaft. Alle Umfragen der letzten Zeit kommen zu dem überwältigenden Schluss, dass Toleranz gegenüber Lebensorientierungen im Sexuellen nicht nur gewachsen sondern zum prägenden Denkmuster der modernen Briten geworden ist. Ermittelt wurde aber auch, dass solche Toleranz nicht immer nur von entschiedenen eigenen Positionen ausgeht, sondern oft mehr einem Achselzucken gleicht, mit dem der Zeitgenosse den Dingen einfach nolens volens ihren Lauf lässt.

Nicht der Papst, nicht die katholische Kirche. Das neue Gesetz sieht zum Beispiel vor, dass auch die Kirche außer bei streng klerikalen Belangen wie Priester- und Diakonatsweihe Arbeitsanträge von Homosexuellen, auf Ausschreibungen hin eingereicht, mit der gleichen Offenheit zu behandeln habe wie alle anderen Bewerbungen aus dem säkularen Umfeld. Rücksicht auf Bedenken aufgrund einer anderen moralischen Tradition entfielen mithin. Dagegen mit "missionarischem Eifer" vorzugehen, hat Benedikt in dieser Woche seine britischen Amtsbrüder aufgefordert.

Freunde macht der Papst sich mit seiner Intervention in England nicht, was ihn wenig bewegen wird. Vielmehr hebt er auch diesmal wieder ein 2000 Jahre altes Erbe ins Bewusstsein der modernen Gesellschaft, die er nicht mit Parteipolitik, sondern mit einer Frage des Glaubens und der ethischen Toleranzschwelle konfrontiert. Der Primas der Katholiken in England und Wales, Erzbischof Vincent Nichols von Westminster, wurde in der BBC präziser: "Religiöse Praxis und Überzeugung wird allmählich gänzlich in die Privatsphäre abgedrängt, was der Freiheit religiöser Gemeinschaften ungerechte Grenzen setzt."

Benedikt macht dem Episkopat des Landes, dem er bald seine - in manchen Kreisen ungebetene - Aufwartung machen wird, Mut zum Widerstand. Fast braucht er keine Berater zu Fragen der englischen Befindlichkeit. Die Spatzen pfeifen von den Dächern, was selbst viele Briten ihre "broken society" nennen, eine fluktuierende Moral, die sich oft nur tolerant nennt, weil sie selber keinen Halt mehr anerkennt.

20. Februar 2010

Face to Face Show in Chicago abgesagt

Das Sommer Konzert von Elton John und Billy Joel in Chicago Wrigley Field ist abgesagt worden. Es war Billys Wunsch, der sich wohl eine Auszeit von einem Jahr nehmen möchte.

Elton sagte in einem Interview:

"as far as I know, there will be no more Billy and Elton shows after the Albany show in New York on March 11th and that breaks my heart since I was so looking forward to coming back there. I'm heartbroken and very cut-up. It's not my decision, it's Billy decision but unfortunately, that's not going to be happening." 

RP-online:Für Elton John war Jesus schwul

Folgender Artikel steht heuite im Onlineangebot der Rheinischen Post:

New York (RPO). Elton John hat seine eigene Vorstellung von Jesus. "Ich denke, Jesus war ein mitfühlender, superintelligenter, schwuler Mann, der die Probleme der Menschen verstand", sagte der Sänger dem Magazin "Parade". Am Kreuz habe er noch denen vergeben, die ihn töteten.

"Jesus wollte, das wir lieben und vergeben". Er könne nicht verstehen, was Menschen so grausam mache, sagte der 62-Jährige. "Wenn du als lesbische Frau im Nahen Osten lebst, bis du so gut wie tot."

John räumte ein, in früheren Beziehungen viele Fehler gemacht zu haben. "Ich war immer mit jüngeren Männern zusammen." Er habe seine Freunde vollkommen mit Liebe eindecken wollen. "Ich habe ihnen die Welt gezeigt, nach einiger Zeit hatten alle eine Cartier-Uhr, einen Versace-Anzug und einen Sportwagen." Gearbeitet hätten seine Freunde nicht. "Sie waren abhängig von mir." Nach spätestens sechs Monaten hätten sie sich gelangweilt abgewandt: "Sie hassten meine Stärke. Ich habe ihnen ihr Leben und ihr Selbstwertgefühl genommen", sagte der Sänger.

Heute wäre er am liebsten nicht mehr berühmt, sagte John weiter. Ruhm ziehe Verrückte an. "Prinzessin Diana, Gianni Versace, John Lennon, Michael Jackson, sie sind alle tot. Zwei von ihnen wurden vor ihren Häusern erschossen. Nichts davon wäre passiert, wenn sie nicht berühmt gewesen wären." Er habe früher nie einen Bodyguard gehabt - bis Gianni Versace ermordet wurde.

 

Das Deckblatt des Parade Magazin von morgen

[1005056.jpeg]

Interview schlägt wellen in der Presse

Eltons Interview im "Parade" schlägt wellen in der internationalen Presse. Die deutsche Presse hält sich allerdings sehr zurück. Hier seht Ihr zwei Artikel von heute Morgen. Der erste ist aus der Budesausgabe der Bildzeitung, der zweite vom Kölner Express Ausgabe Düsseldorf.

Bundesausgabe der Bildzeitung vom 20.02.2010:

Auf www.bild.de online ist der Artikel ausführlicher:

Pop-Legende Elton John (62) sorgt mal wieder für Furore. In einem aktuellen Interview sagt er: Jesus liebte Männer!

„Ich denke, Jesus war ein mitfühlender, superintelligenter schwuler Mann, der die Probleme der Menschen verstand“, äußerte sich der schrullige Brite im Magazin „Parade“.

Natürlich hat John auch eine Erklärung für seine gewagte Theorie:

„Am Kreuz vergab er den Menschen, die ihn kreuzigten. Jesus wollte, dass wir lieben und vergeben. Ich weiß nicht, was Menschen so grausam macht. Versuchen Sie mal, eine lesbische Frau im Nahen Osten zu sein. Sie sind so gut wie tot.“

Alles klar so weit? Hm...

Der Pop-Sänger selbst outete sich in den 1980 als bisexuell; später bekannte er sich zu seiner Homosexualität.

Seit 17 Jahren ist er mit dem kanadischen Filmproduzenten David Furnish (47) zusammen. 2005 ging das Paar die erste gleichgeschlechtliche Prominenten-Ehe in Großbritannien ein.

Der Sänger engagiert sich seit Jahren für die Rechte von Schwulen; setzt sich außerdem seit Jahren gegen Aids ein. 1992 gründete er die „Elton John Aids Foundation“, die seit 1999 auch durch den „White Tie & Tiara“-Ball unterstützt wird.

Trotz seiner großen Popularität: Selbst Elton John erleidet in seinem Engagement immer wieder herbe Rückschläge.

Erst im vergangenen Jahr scheiterten seine Adoptionspläne. Das Paar wollte dem HIV-infizierten ukrainischen Waisenjungen Lew ein neues Zuhause geben, wurde aber vom Familienministerium in Kiew abgelehnt – weil homosexuelle Ehen in der Ukraine nicht anerkannt sind.

 

Express Düsseldorfer Ausgabe vom 20.02.2010:

Das Onlineangebot des deutschen Privatsenders Pro7 berichtet über das Interview:

 

Elton John: Ärger wegen "Jesus ist schwul"-Bemerkung

Elton John hat einen regelrechten Proteststurm im Internet losgetreten - mit einer kleinen Bemerkung in einem Interview. Der "I'm Still Standing"-Star hatte in einem Interview, das am Wochenende auf der Website der US-Zeitschrift Parade erscheinen soll, gesagt: "Ich denke, Jesus war ein mitfühlender, super-intelligenter schwuler Mann, der die Probleme der Menschen verstanden hat. Am Kreuz vergab er den Leuten, die ihn gekreuzigt hatten. Jesus wollte, dass wir lieben und vergeben. Ich verstehe nicht, was die Menschen so grausam macht." Besonders bei erzkonservativen Meinungsmachern in den USA haben Elton Johns Worte einen Sturm der Entrüstung entfacht. Auf dem Blog des US-Senders Fox News schreibt rhardin: "Ich werden mir nie wieder seine Musik anhören... Er sollte nicht über Sachen reden, von denen er keine Ahnung hat. Ich hoffe und bete, dass alle Christen in dieser Sache zusammenhalten. Elton Johns Lebensstil spricht ja für sich." Auch auf der Entertainment-Website TheDailyBeast.com wird gewettert. bobj72 schreibt: "Ich fand Elton Johns Musik gar nicht so schlecht, aber er kann in der Sache mit Jesus nicht falscher liegen. Selbst in der Bibel steht, dass Christus Homosexualität als abscheulich angesehen hat."

 

Ein weiterer Artikel auf www.dnews.de:

NEW YORK – Nach Meinung von Elton John war Jesus mit Sicherheit schwul.

Dies sagte der Sänger in einem Interview mit dem amerikanischen Parade Magazine. Der 62-jährige gegenüber der Zeitschrift: "Ich glaube, Jesus war mitfühlender, superintelligenter Schwuler, der die menschlichen Probleme verstand wie kein Anderer.“

Er fügt hinzu: "Jesus wollte, das wir Lieben und Vergeben lernen. Ich weiß nicht, warum manche Menschen so grausam sind. Versuchen Sie mal, als lesbische Frau im Mittleren Osten zu leben - Sie sind so gut wie tot!“

Im Interview gewährte John auch Einblicke in die erste Begegnung mit Ehemann David Furnish. Der Popsänger: "Ich war sofort von ihm angezogen. Er war so elegant, so gut angezogen, aber sehr schüchtern.“ Über seine vergangenen Beziehungen sagte der Brite "Ich habe mir immer jemand Jüngeren gesucht und ihn mit Liebe und Geschenken überschüttet. Nach sechs Monaten war das dann zuviel für sie und sie hatten genug von mir.“

 

Ein weiterer Artikel auf  www.blick.ch

Popstar Elton John ist bekennender Jesus-Fan. Doch was er jetzt von sich liess, sorgt bei Christen weltweit für Entrüstung. In einem heute veröffentlichten Interview mit dem US-Magazin «Parade» behauptet er, dass Jesus auf Männer stand.
Der Gottessohn, ein Schwuler? Für Gläubige undenkbar, für John selbstverständlich. «Er war ein mitfühlender, superintelligenter, schwuler Mann, der die Probleme seiner Mitmenschen verstand», erklärte der 62-Jährige.
«Noch am Kreuz verzieh er seinen Peinigern. Jesus wollte, dass wir lieben und vergeben.»
Der Schweizer Theologe Max Hartmann wehrt sich gegen die Behauptung des englischen Popstars. «Es gibt in der Wissenschaft nicht einen ernsthaften Beleg dafür, dass Jesus schwul war. Homosexualität war damals verboten. Wäre Jesus schwul gewesen, hätte er nicht eine so grosse Autorität im Volk genossen.»
Im Internet bekommt John für seine Äusserung mächtig aufs Dach. Bei Twitter und Facebook und in vielen Blogs hagelt es Proteste. «Ich werde nie mehr seine Musik hören. Wie er über Jesus spricht ist eine Schande», schreibt etwa User rhardin im Blog von «Fox News». (prp)

18. Februar 2010

Elton John schmiedet Pläne für die Oscarnacht

Los Angeles - Kaum sind die Grammys rum, schon widmet sich Elton John einer neuen Großveranstaltung: den Oscars. Und damit auch seiner Aids-Stiftung. Denn traditionell ist seine Gala, die nach der Verleihung stattfindet, ein Treffpunkt der Stars. Dieses Jahr haben sich schon die Beckhams, Nicole Kidman und Gatte Keith Urban oder auch Sharon Stone angekündigt. Bei der Veranstaltung wird natürlich nicht nur gegessen und getrunken, sondern auch Geld für Johns Stiftung gesammelt. Letztes Jahr kamen dort satte vier Millionen Dollar zusammen. Übrigens: Elton John wird wahrscheinlich auch wieder ein Duett zum Besten geben. Und zwar wie schon bei den Grammys mit Lady GaGa.

Elton im Interview: Drogen ohne Ende

London - Elton John hat in seiner Karriere nichts ausgelassen. Auch von Drogen konnte der Musiker früher nicht die Hände lassen.

Gegenüber dem "Parade"-Magazin sagte er über diese Zeit: "Für einige Leute kann ein Gramm Kokain einen Monat lang halten. Nicht für mich. Ich brauchte eine Menge und dann wollte ich mehr. Und am Ende des Tages hat es mir nur Kummer bereitet."

Elton John war jahrelang drogenabhängig und litt an Bulimie. Er begab sich jedoch in Behandlung und ist heute clean.

 

Hier sind Auszüge aus dem Interview gegenüber dem "Parade" Magazin. Das komplette Interview kann am 19. Februar 2010 auf www.parade.com nachgelesen werden.

 

In this week’s issue of PARADE, Elton John talks to Dotson Rader about the transition from his raucous rock-star years to becoming a committed philanthropist. In the web exclusive below, the music legend opens up about the life-threatening downside of fame, his partner David Furnish and his take on Jesus.

Making early mistakes in love.
“I’d always choose someone younger. I wanted to smother them with love. I’d take them around the world, try to educate them. One after another they got a Cartier watch, a Versace outfit, maybe a sports car. They didn’t have jobs. They were reliant on me. I did this repeatedly. In six months they were bored and hated my guts because I’d taken their lives and self-worth away. I hadn’t intended to.”

Love and drugs.
“Just about every relationship I ever had was involved with drugs. It never works. But I always had to be with someone, good or bad, otherwise I didn’t feel fulfilled. I’d lost the plot.”

It’s all or nothing when it comes to drugs.
“For some people a gram of cocaine can last a month. Not me. I have to do the lot, and then I want more. At the end of the day, all it led to was heartache.”

Why fame has lost its appeal.
“Princess Diana, Gianni Versace, John Lennon, Michael Jackson, all dead. Two of them shot outside their houses. None of this would have happened if they hadn’t been famous. Fame attracts lunatics. I never had a bodyguard, ever, until Gianni died. I don’t like celebrity anymore.”

Remembering friends lost.
“Every time I sing ‘The Ballad of the Boy in the Red Shoes’ onstage, I say that this is a song written about a time when people in America started getting AIDS and your president, Ronald Reagan, did nothing about it. I get boos. There’s a lot of hate in the world.”

His take on Christianity.
“I think Jesus was a compassionate, super-intelligent gay man who understood human problems. On the cross, he forgave the people who crucified him. Jesus wanted us to be loving and forgiving. I don’t know what makes people so cruel. Try being a gay woman in the Middle East — you’re as good as dead.”

He’ll never stop helping.
“I set up my foundation because I wanted to make amends for the years I was a drug addict. People with HIV are still stigmatized. The infection rates are going up. People are dying. The political response is appalling. The sadness of it, the waste.”

Finding new relationships.
“In 1993 I went back to my house in Windsor for a while. I wanted meet new people so I rang up a friend in London and said, ‘Could you please rattle some new people together for dinner here Saturday?’”

An instant connection.
“I was attracted to David immediately. He was very well dressed, very shy. The next night we had dinner. After it, we consummated our relationship. We fell in love very quickly.”

Keeping the love alive.
“Every Saturday for 16 years, we’ve sent each other a card, no matter where we are in the world, to say how much we love each other.”

Communication is key.
“We’ve never been jealous. We talk about the sexual side of things, things that normally would have frightened me before.”
 

www.parade.com

 

 

13. Februar 2010

Elton John Live in Graz am 20. Juni 2010

Am Sonntag den 20. Juni 2010 wird Elton John mit seiner Band in Graz/Österreich gastieren. Das Konzert im Schwarzl Freizeitzentrum beginnt um 19:00 Uhr. der Vorverkauf ist bereits gestern gestartet. Tickets bekommt Ihr >>.

Interview mit Nigel Olsson

Nigel Olsson, der am 10. Februar 2010 seinen 61 Geburtstag gefeiert hat, hat gegenüber Doug Fox vom Dailey Herald ein ausführliches Interview gegeben.

Im Original könnt Ihr das Interview unter dem nachfolgenden Link nachlesen >>

 

Growing up in Southern California in the early 1970s, Elton John spurred my original real foray into buying albums -- with "Caribou" marking the first real rock record I purchased.

It didn't take long before I was buying into John's back catalog, which included superb albums such as "Goodbye Yellow Brick Road," "Don't Shoot Me I'm Only the Piano Player," "Honky Chateau" and "Madman Across the Water," among others.

It was a different day and age then, without the Internet and downloadable music. The album sleeves often came with song lyrics and band photos, and occasionally there were picture booklets as well. Many was the night, with new album in tow, that I stretched out on the floor in my room, following along with the lyrics while embarking on a fresh musical journey.

Those journeys provided my introduction to Nigel Olsson, the drummer in John's band. It's hard to put into words, but I felt a sort of kinship with Nigel, and the other members of that original band -- Davey Johnstone (guitars), Dee Murray (bass) and Ray Cooper (percussion). It's part of the special magic inherent in music -- how a certain song can carry you back to a very specific time period or precise moment in memory. The early Elton John catalog always takes me back to those nights in my room, listening to an old crappy portable stereo that nevertheless spun musical magic to my ears.

My first concert turned out to be Elton John at Dodger Stadium on Oct. 26, 1975. It was a tremendous show, but I starkly remember my only disappointment was the absence of Nigel and Dee, as they had been replaced in the months leading up to the show. The new band members were great, they just had not been a part of my nightly journeys over the years.

I did, however, get to see Elton's original band surprisingly reunited on the Jump Up! (1982) and Breaking Hearts (1984) tours, before Murray succumbed to cancer in 1992.

Having the chance to intervew Olsson back in November in advance of the Face 2 Face tour -- featuring John and Billy Joel -- was an opportunity to be relished. The affable Englishman has laid down the backbeat on some of the most popular pop songs of all time.

This interview touches on many things, including Olsson's experiences recording those classic albums, his own personal five favorite John albums, how he still gets nervous before every show and the sudden death last year of band keyboardist Guy Babylon.

Olsson may not wear electric boots or a mohair suit, but he has always delivered solid walls of sound for Elton John.

Daily Herald: I just want to say what a pleasure this is for me -- the very first concert I ever went to was Elton John at Dodger Stadium ...

Nigel Olsson: Oh my word!

DH: ... and my biggest -- and probably only -- disappointment was that you and Dee weren't in the band then.

Olsson: That's right. That was the Roger Pope, Caleb Quaye days. Yep.

DH: And having grown up following all your albums and everything, that was something I'd always wanted to see, but then I was pleasantly surprised on the "Jump Up" tour, I hadn't actually heard that you guys were back in the band, but there was the original band again. It was great.

Olsson: Perfect.

DH: First of all, I know there have been several dates postponed, so I just wanted to get the latest on Elton's health and see if things are still looking good for you to start up again next week.

Olsson: Yes. Well, Elton is doing really well. He had a really bad bout with the flu, it wasn't the swine flu or the bird flu or whatever flu that's going around now. As it is now, we're all set to leave here on, I think, Monday. So we're packing our bags so to speak.

DH: Zero hour?

Olsson: Zero hour. (laughs)

[Editor's Note: During the week following this interview the remainder of the Face 2 Face tour dates for 2009 were postponed -- this time, due to an undisclosed medical issue with Billy Joel. The rescheduled run of tour dates kick off Saturday in Oakland and include the Feb. 19 show at EnergySolutions Arena in Salt Lake City.]

DH: Of course, the band faced an even bigger challenge recently with the death of Guy Babylon -- can you just talk briefly about him and what he brought to the band for such a long time?

Olsson: Well, obviously, we're still all devastated about it. Out of all of us, I feel that Guy was the healthiest amongst us all. He went swimming every single day. Actually when he was young, he could have been an Olympic swimmer. And he was the quiet one, always renewing the musical samples for stage and for recording. He always, as soon as we got to a gig, he would be up there on stage with his headphones on, re-programming stuff. When he'd get back to his room, he'd work on the music. For our new guy, pun not intended, who is Kim Bullard, he left files and files and files of stuff that Kim could just go into and figure out exactly what he was going to be doing. But Guy was a dear, dear friend, and as I say, he was very, very quiet, but he was ... once he was in the studio or onstage, he was so inspirational to play with because, you know, I wear headphones onstage, I have my own mixer and everything, so I got him in full stereo and I used to have him a little bit louder than the other guys, because other than the low end of Elton's piano, the strings that Guy had programmed into his keyboard were kind of exactly the same as what you hear, especially on the earlier records that Gus Dudgeon did with us, you know, you could really hear the guts of the strings. So that was very inspirational to me and obviously he will be missed. There's not a day goes by that I don't think about him or Dee Murray, in fact, but it was very, very, and still is, just devastating when we heard the news. But he would want us to go on, which we are, and we'll get the job done as usual.

DH: How is Kim Bullard fitting in to the live lineup?

Olsson: Kim is fitting in very well. He obviously has a lot of homework to do. But before we went to Europe a couple of months back to do the Red Piano tour, we had three days of rehearsal here in L.A. And we only had to run the songs, like, a couple times and he had it down, totally. He's very, very professional. He's been around a long time. He's worked with many, many big acts.

DH: Did he work with Poco?

Olsson: Poco, Kelly Clarkson, Crosby, Stills, Nash and Young, and various other people. So he knows what he's doing basically. (laughs)

DH: Now, I caught one of the earlier Face 2 Face tours several years ago, and I just really love the format of it, you know, with Elton and Billy opening with some tunes and trading off vocal lines and everything, and then the two full bands come out for the different sets -- it just makes for a great night of music. But, for you guys, does it present any unique challenges when you do a show like this or is it just as fun as it looks?

Olsson: It's total fun from start to finish. The only drag for me, I can't speak for the other guys, but I'm sure they'd agree, is we go on and do our set and then go off while Billy does his set, and then we all go on at the end. So that hour and a half or whatever in between when we're waiting to go back on at the end for the big jam session, for me it's a nightmare because you've got the adrenaline pumping and then you have to go off and wait an hour and a half and try to keep that energy up. So that's quite annoying for me (laughs), cause I just want to get up there and keep on that huge high level of giving it some hell, you know?

DH: So what do you do during that hour and a half?

Olsson: Well we just sit around in the dressing room and eat popcorn or whatever they have, or M&Ms -- only red ones. No! (laughs)

DH: The brown ones are OK?

Olsson: That's right. (laughs) So we do have a lot of fun and we're looking forward to getting out there again and hopefully making people smile.

DH: With the amount of coordination that must be necessary between the two bands to pull off a show like this, I imagine, are you pretty locked into a similar setlist on most nights?

Olsson: This particular show, we do the same songs every night. Because a show of this immensity, for the lighting and rigging people, and the sound people, it has to be kind of on. If we change something it's really a domino effect once it goes down the line.

DH: You don't even change things in your own particular set?

Olsson: No.

DH: You know, as a longtime fan of the band, one of my favorite moments of any Elton show is when he pulls out a deep album cut. Of course, we all love the hits and everything, but I especially look forward to the surprises -- I know you can't really do it on this tour, but I'm thinking back to the "Jump Up" tour, you did "Ticking" and "All the Young Girls Love Alice," you know, songs like "Grey Seal" and "Roy Rogers." My question for you is, if you had the choice, is there any one or two songs from the back catalog that you personally would love to see dusted off?

Olsson: Wow, that's a good question. "High Flying Bird." "We All Fall in Love Sometimes," "Curtains."

DH: You have great drum parts in that [latter] song.

Olsson: Oh, I think every drum fill that I ever played is in that whole song. And the beauty, actually, of that song is when we recorded it, we did it in, I think, two takes, but we couldn't edit it, you know, between the two songs that flow into each other and we did not want to edit it, so we had to play it the whole way through and get it right.

DH: I bet that was quite a workout.

Olsson: It was a workout -- and it worked out. So that's one of my favorite songs. And, you know, all the songs with big huge backgrounds, that is my forte. I love backgrounds. "Ticking" has been mentioned a couple of times, actually.

DH: That's a great tune.

Olsson: Yeah. But that would be probably when we go out again just the Elton John tour, not the Red Piano or the Billy Joel thing. Then we have the beauty of being able to slip a couple of off-the-wall favorites that people ask us through my Web site and through Elton's. I always get asked, "Could you please play "Harmony"? Please play "Harmony"! And a few years back actually, "Harmony" was one of the most requested songs that people would call into radio stations to play.

DH: That's amazing because it was never actually released as a single was it?

Olsson: No, no it wasn't. And it's huge with the fans. And in the years of, well, way, way, way back, when there was real FM radio where they played off-the-wall stuff, they didn't have to go to a playlist or whatever, they could play those kind of tracks that, you know, were buried in albums that needed to come out. So, it's not like that these days.

DH: Boy, you read my mind because one of my questions I was going to ask later, I wanted to get your thoughts on the current state of radio. Because it seems to me bands that have been around a long time, even artists like you guys and Elton who have had such great success on the charts over the years, they can release a new album and maybe the single gets played for a week or two, but they don't stick with it.

Olsson: No, they bury it.

DH: Yeah. I guess I can semi-understand how that happens, but I can't get a grasp of why they would do that. Where do you see radio going? Do you see a time again when bands like you guys can release a new song and keep it on radio?

Olsson: Well, that's a great question that I don't think I can answer because since the Internet, God bless it, I finally broke down a couple years ago and bought a computer. Now, it's like what did we do without this? (laughs)

DH: Exactly.

Olsson: I'd love to turn the radio on and hear stuff like we just talked about, but anytime soon I cannot see that happening. And there's very few artists now that are putting out albums, you know, of the old school, because they're not getting played on the radio and people are downloading off the Internet. It's a sorry state of affairs for songwriters. So I don't know what's happening. We just have to go on and stay on tour and give them what they want.

DH: I guess that one positive that's come out of it, especially for fans, though, is YouTube. I've had great fun going back and finding clips of you guys from the early days. Those are shows I was too young to go to.

Olsson: Well, my son, actually, and my grandson in England, now and again will say, "Check this out on YouTube." This one my grandson sent me, he said, "This is so cool!" It was me when I was doing my solo stuff, on "American Bandstand" with Dick Clark. You know, I used to have this long, long, long hair and the camera went behind me and shot from the back, and my hair -- I looked like I should be doing a Clairol advert, you know?

DH: Well, you did have great hair!

Olsson: Yes, and I still brush it every day!

DH: Well, I read recently that you just played your 1,500th gig with Elton ...

Olsson: Yes.

DH: Who keeps track of those?

Olsson: Well, you know, [the editor] over at Eltonjohn.com, she runs that whole thing and she keeps track with everything. And they have people that research and go back and back and back. In fact, in London we have a huge warehouse run by a guy called Adrian Collee who has all the archives -- everything that we've ever recorded, everything, instruments and wardrobe pieces, he has it all stashed in that warehouse. And he gets on his forklift truck if we need to research something and has to go to the top of the rack to get a box down or whatever ...

DH: Like the "Indiana Jones" scene at the end?

Olsson: Yes, yes, exactly. So we have a lot of people doing research and all sorts of weird and wonderful things. We have a great crew that's been with us, almost forever. Clive Franks, our sound man, has been there probably the longest of anybody.

DH: Yes, I remember seeing his name way back on the early albums.

Olsson: Yeah and he's still with us. Still with us. When we do the Red Piano tour, we just got back, as I said, from Europe, we had maybe 150 people, just the crew and rigging people, 27 trucks and 10 buses, and I think, I'm sure one of the guys snapped a picture of all the trucks and buses together in the parking lot -- it's insane. And I would dread to think how much it costs just to put our show on. And then the Billy Joel, Elton thing, my ... so we've got a lot of people who have been with us a long time, so that's how it comes off so smooth. We're having a lot of fun. Because everybody trusts each other, and they know the show, they know each other's jobs, so if somebody gets sick or whatever, there's always someone to cover, you know, the hanging stuff from the roof or if we have an effect that happens, there's always somebody to cover and that's the beauty of having people there for such a long time. It's like a big family gathering to go out on tour. It's like going camping.

DH: How many buses did you say you had?

Olsson: We had 10 buses, 27 trucks.

DH: That's probably nine buses and 26 more trucks than what you had when you showed up at the Troubadour [in Los Angeles for Elton's first U.S. concert on Aug. 25, 1970].

Olsson: This is true. I think we had an Econoline van. (laughs)

DH: I was going to ask because those [Troubadour] shows were where the press really got wind that something new was coming ...

Olsson: Yes.

DH: What do you remember most about those shows -- performing them?

Olsson: The early, early ones?

DH: The Troubadour ones.

Olsson: The Troubadour ones ... there was Elton, Dee Murray and myself. And at that time, what we call the black album, which is the one with "Your Song" ...

DH: Yeah, the first one -- for the U.S. anyway.

Olsson: Yeah, the first one. It was full of orchestration and big background vocal parts. When we came over here, we thought, "How on earth are we going to pull this off?" -- because of all the strings and this, that and the other. And we pulled it off -- just the three of us. It was just so amazing. And we didn't really have time, because things were happening so fast for us, we didn't have time to look back and think, "Well, wow, this is really cool." And then it became the stage where we'd record, then we'd tour. Then we'd go back in the studio, and tour. So we were always kind of touring the album before and putting a couple of things from the new record out -- which was really exciting for the fans, but for three or four years there, when we first came over here, it was just insane. We didn't realize how big we were, you know? So, there's been a lot of times where I've thought back and said, "How on earth did we pull that off?"

DH: Well, as a fan, that's the same thought I have because unless you lived through that time period between 1970 and 1975, I'm not sure it's possible for someone today to realize what a phenomenon that was then. It has to be the most productive five-year stretch of any artist I can ever imagine.

Olsson: I totally agree with you. And you know we weren't one of them bands that went to the hotels and hurled televisions off the 16th floor and stuff. Back when we started, there wasn't 16 floors in a hotel. And after the show, you'd go back to the Holiday Inn or wherever we were staying and there was no fast food stuff open 24 hours, nothing. If you didn't eat at the show, you were out of luck. And now, there's these chains of McDonald's and Burger King, whatever, so you never go without something after the show. Although I do not enjoy having pizza on the bus every night because it's always cold. (laughs) So pizza isn't on our menu when I come home.

DH: I guess the tightest you get with your tour riders is the red M&Ms?

Olsson: That's the truth! No, we don't have any of that. No cold cuts. They treat us very well, we have great assistants backstage who take care of wardrobe, dressing rooms and what we eat ... we're spoiled to death - which is a good thing.

DH: Well, you deserve it.

Olsson: Life as it should be! (laughs)

DH: Well, during that five-year stretch, you kind of touched on it already, but did you ever have a time to realize what was going on then? Did you have any time to really enjoy it?

Olsson: We enjoyed everything we did, but everything was happening so quickly. You know, we went to Japan and Australia, and it was all so new to us. The surprising thing, looking back now, is that we were huge here in the states. I mean huge. But in England ... nothing. Nothing. In fact, I think his first hit record in England was "Don't Go Breaking My Heart" with Kiki Dee.

DH: Really?

Olsson: Yeah. I think "Daniel" made it on the charts somewhere, but we were just nothing in England. We owe all our fame or whatever to being here in the U.S.A.

DH: Well, it was certainly a great time period.

Olsson: Yes it was.

DH: Now one thing that has always intrigued me, and I'm not sure it's ever gotten its proper due, are the amazing background vocals that you, Davey and Dee did on those albums. I've heard stories about how Elton would record his tracks and leave the studio at the end of the day and you three would literally stay there during the night and lay all the backgrounds down before he returned the next day. Is that really how it happened?

Olsson: That's exactly how it happened.

DH: How did you guys typically come up with those? Did anyone take the lead or did you get ideas from all over?

Olsson: We all put our own ideas in. If Elton came up with an idea, sometimes you'll hear a harmony with just him and myself because my vocal range was basically in the same range as his. So what he would do, he'd say, "How about you put this little harmony in where I sing such and such?" And we'd do that, and then we'd just come up with ideas as we went along. It was such fun to do that -- and there were some things we just sort of broke down laughing and had to stop the session because we couldn't stop laughing. And we sped up things and we slowed 'em down and had a good laugh. Gus Dudgeon before he died, he did a specialty thing, like Classic Albums or something, and he had mentioned on that that Dee and Davey and myself were the best background vocalists that he'd ever worked with. And we all had separate microphones, which is kind of unheard of in the recording industry, you know, you get one mike and that's your lot. And we were allowed to do whatever -- if anybody had an idea, we'd try it. It wouldn't be, "Oh, no, that's crap, we're not going to do that." And just sitting there the next day when Elton came back in and had a playback at 15 million decibels -- cause Elton really liked to hear it loud -- just seeing his face when he heard what we'd done the night before, it was great. It was great. And mostly we didn't have to change anything.

DH: It sounds like a great creative environment.

Olsson: It was unbelievable. And it still is. I don't know when we're going into the studio again, but I look forward to going back to make a record the way we used to make it. With no click tracks or multi-electronic stuff. Just the band with our instruments all set up in the same room and go for it. When the electronics and computers came into it and ProTools and all that stuff, that for me was the end of the heart of songs. Because if you have to play through a click track, there's no light and shade, it's just that dump, dump, dump and that's not me. That's not the way I play. I play from the heart and if it needs to speed up a little bit, fine. And if it needs to slow down, fine. Actually, my signature is that I kind of play a little bit behind the beat just to hold everything back, which to me makes it more dynamic, especially on the slow ballads. That's my thing - the big ballads. And leaving out, you know, sometimes on the big, big ballads, you expect me to put a fill in. "Oh, here comes one of Nigel's fills. ... Oh, no, he left one out." I never like to overplay because I want the lyrics to come out and let people hear what the song is all about instead of putting these huge fills in. I do them at random, basically.

DH: You keep stealing my future questions!

Olsson: (Laughs) I've done this before.

DH: Because I was going to ask you, there's a lot of rock drummers that are extremely flashy, but you're definitely more understated in your approach. Is that naturally your style or is that something you adapted because you're playing with Elton and he's the main focus?

Olsson: I never wanted to be a flashy drummer. In fact, I never took any lessons, I'm self taught. I used to put the headphones on and listen to records and just play along with records, but I can't do a drum roll. I couldn't tell you what a paradiddle is. In fact, my father-in-law, Larry Butler, who produced the big Kenny Rogers records -- I was living in Nashville for a while, where I met my wife. I used to do sessions for Larry, and he would hand the chord sheets out to the guys and the music stuff and he'd come up to me and almost hand me the sheet, then crumple it up. He says, "Well, you won't be needing this." (laughs) He knew I couldn't read. He could put it upside down, I wouldn't know. Less is more for me.

DH: So you don't mind flying under the radar?

Olsson: No, no, no, no, no. No.

DH: I remember reading a trivia question once and it said there was one song you wish you could go back and re-record the drum part to, and that was "Saturday Night's Alright (For Fighting)."

Olsson: Oh dear ...

DH: You didn't like that?

Olsson: I don't really like "Saturday Night" or "Crocodile Rock." Oh ... it's just like bashing away. I mean, it was fun recording it. In fact, when we recorded "Saturday Night," we couldn't get the right groove for the song. So Gus said -- this is when Davey had joined the band, I think it was "Honky Chateau" -- "How about let's do it with just Davey, Dee and Nigel, and Elton, you just sing live and we'll put the piano on later?" And that's how we did it. And [Elton] was just roaring around the studio with his microphone, saying, "Come on, you bastards, you can get it!" So, you know, there's strange things like that ... Elton wasn't, like, pissed off when Gus said, "OK, let's try it without the piano." He wasn't like, "What do you mean?" We'd always experiment with different things. But I don't know where you got that trivia from, but I would love to go back and do the drum track.

DH: So when you play it live now, have you changed it more to how you wished you would have recorded it?

Olsson: Yes, I think so. Basically. And I don't think, when I'm playing it live, "Oh, I hate this song," cause it's not the thing to do, cause I know the crowd loves the song and it'll be a fixture for life, you know?

DH: No doubt.

Olsson: If you don't play it, they'll throw M&Ms at us. (laughs)

DH: I understand that you were in Uriah Heep ...

Olsson: I was -- for nine days!

DH: What was it that you saw in Elton or his music that led to -- what we can call now -- a great career move?

Olsson: Um, well actually he got me the job with Uriah Heep. He called me up ... Dee and I had worked the last two tours with the Spencer Davis Group, and I was out of work. And Elton had called me and said, "This band is looking for a drummer, would you be interested?" So I went along for the audition and got the gig. We did nine dates and then Elton called me and said, "I've got this record that's coming out and I need to do, like, a promotional concert or show, and would you and Dee be up for it?" It was just a one-off deal because he basically just wanted to be a songwriter, him and Bernie. And I said, "Yeah, that would be great." So we went to the Dick James Studio, this tiny little studio of our publishing company in London and within the first, I would say, eight bars of the first thing we played, which was probably "Your Song" at that time, that's when I knew, "Oh ... this is the stuff I want to be doing." Because with Uriah Heep, they were a great, great headbanger band, or whatever you could call it, but that just wasn't my forte. I wanted to do something that I could play with the lyrics and play to the low end of the piano. It was so inspiring in those first few bars that I said, "This is great. This is great." And we did the show -- and that was the deciding moment. We said, "We can't just do this one show, we've got to carry on. And here we are, still carrying on. (laughs)

DH: That's a great story. Now, my friends and I have debated over the years our top five favorite Elton John albums. I'm curious, can you rank a top five for yourself?

Olsson: "Goodbye Yellow Brick Road," "Captain Fantastic," "Madman Across the Water" was a great, great album. And obviously the first album, Dee and I didn't play on the first one, it was all written out. That was great because that kind of launched us, put us on the map. And, an off-the-wall one, which my wife played it to me late one night, when I'd just come back off tour and jet-lagged out of my brain, and she said, "You've got to listen to this." And it was the "11-17-70" live album from WABC in New York. And it was Dee and Elton and myself, and it was just amazing, amazing, and they'd remastered it or whatever. And that is an outstanding record for me.

DH: I'm going to have to break that one out again. I haven't listened to that for a while.

Olsson: You know, I don't listen a lot to our stuff, but when I do, I really appreciate the heartfelt energy of the songs and the way it was recorded. I've had a great life, I'm a very lucky man. I was in the right place at the right time.

DH: Yes, and took advantage and carried on.

Olsson: And, you know, people often ask me, "Well, how do I get in the music business?" And I just say, "How I got into the music business was I was in the right place at the right time and was very, very lucky." Nowadays, your chances are slim and none of getting on because there's so many people out there. So, again, I'm the luckiest man on earth.

DH: I was wondering if you could describe for me the feeling that you get at the beginning of a concert. For me and others out in the audience, it seems to me, that in that moment when the lights go out, but the band hasn't started to play yet, that that's kind of a magical moment. I know what that feeling is like for those of us in the audience, but what's it like for you up on stage, and for you personally?

Olsson: Well, for me personally, as far back as I can remember doing live performances, is still, I get so nervous, the whole day leading up to the show. And I don't know why. I haven't got a clue why. It's not that I'm worried about dropping my drumsticks or forgetting what song I'm playing -- I don't know what it is. You know, the lads take the piss out of me, "Oh, you're not nervous, you've been doing this for 40 years, what are you like, you idiot?"

DH: Maybe you're worried about getting your gloves on the wrong hand? (laughs)

Olsson: Well, I have Jin Joo [Maddy], she's our assistant wardrobe lady, and she actually carries my sticks and my gloves to the stage. And I always put the left one on first -- I don't know why. So she makes sure I put them on the right hand. So, I have people. (laughs) But once I get up there, to see the reaction of the audience is just unbelievable. Especially that we're now these old geezers rocking out, our audience, it's insane to look out in the audience, after all these years and see the older people, the real older people, the younger people and little kids. Obviously, the little kids are there maybe because of their parents being fans or they wanted us to play stuff from "The Lion King" or whatever. We have such a huge catalog of stuff that I guess we appeal to all of these different age groups, which is amazing. And we're still going strong. We're selling out big arenas still. We did a show a couple years back in Rome, in front of the Colosseum, and there was like over 100,000 people there in that square. Our sound guys had to have what they call delay towers, so I think it's like every 50 yards they have to put up another tower of speakers, so that the delay wouldn't be too much for the guys that are standing right at the back -- because then it will be out of sync with the big screen, the TV. With that many people, I mean, you're just looking at a sea of people. It's just absolutely amazing, and it still amazes me every single night that we pull all these people in and they're all jumping up and down and screaming. It's great!

DH: I think you guys might be blessed to have what I feel might very well be the greatest opening song that anyone could have -- "Funeral For a Friend/Love Lies Bleeding."

Olsson: Yeah.

DH: I always love seeing that one right at the beginning.

Olsson: Well, we love playing it.

DH: Well, is there anything else you'd like to add that we haven't talked about?

Olsson: Well, just that it will be great to come out to your part of the world. I've played there a couple times. And I've also raced there.

DH: I was going to ask if you were still doing racing.

Olsson: Yes. Well, now I can't because the insurance won't cover me. But I have raced out there.

DH: The Miller Motorsports Park? The new one?

Olsson: Yeah, it's an amazing, amazing track. Actually I was with the Ferrari Challenge a few years ago, when I took some time off to go racing. And that was one of my favorite tracks, that and Road Atlanta. It was amazing. I still miss racing, but, you know, being the drummer, if you make one mistake on the racetrack, it could lead to ... not being the drummer. (laughs) But I do have my instructor's license and I can teach people how to do the right things on the track. I miss it, but ...

DH: Well, we'd rather have you drumming!

Olsson: OK, you got it. And hopefully we will see you there and have a great time and I hope we play the right stuff.

DH: I'm sure you will. I'm definitely looking forward to the show, it's always a pleasure and I love watching you play.

Olsson: I appreciate it, Doug.

DH: Thank you so much for your time.

Olsson: All right, my friend. Bye-bye, mate.

 

9. Februar 2010

Das neue Album kommt voran

LONDON - Elton John will in diesem Jahr noch ein neues Album auf den Markt bringen. Und ein Großteil der Songs soll auch schon fertig sein. Ein Insider schrieb in seinem Internetblog dazu: "Es wird eine organische Aufnahme, anders als alles, was man vorher gehört hat. Rocksachen wie von den "Stones", countryangehauchte Balladen und Gospel." Wann die Platte auf den Markt kommen soll, steht allerdings noch nicht fest.

Elton John arbeitet für das Album übrigens mit Leon Russell (Foto: Elton John und Leon Russel) zusammen, der bereits mit allen namhaften Künstlern von den "Stones" bis zu den "Beach Boys" zusammengearbeitet hat.

 

8. Februar 2010

Heute im Kölner Express

 

Elton und Billy Joel Live in Seatlle 6. Februar 2010 - Die Setlist

Hier ist die Setlist von der Face to Face Show in Seattle am 6. Februar 2010:

 

Elton John und Billy Joel solo
Your Song
Just The Way You Are

 

Elton John und Billy Joel mit Bands
Don't Let The Sun Go Down On Me
My Life

 

Elton John mit Band
 

Funeral For A Friend/Love Lies Bleeding
Saturday Night's Alright (For Fighting)
Levon
Madman Across The Water
Tiny Dancer
Goodbye Yellow Brick Road
Daniel
Rocket Man
Philadelphia Freedom
I'm Still Standing
Crocodile Rock

 

Billy Joel mit Band
Prelude
Angry Young Man
Movin' Out (Anthony's Song)
Allentown
Zanzibar
Don't Ask Me Why
She's Always A Woman
Scenes From An Italian Restaurant
River Of Dreams
Foxy Lady (Jimi Hendrix)
We Didn't Start The Fire
It's Still Rock'n'Roll To Me
Only The Good Die Young

 

Elton John und Billy Joel mit Bands
I Guess That's Why The Call It The Blues
Uptown Girl
The Bitch Is Back
You May Be Right
Bennie And The Jets
 

Elton John und Billy Joel Solo
Candle In The Wind
Piano Man

 

6. Februar 2010

Lady Gaga bekam Piano geschenkt

Los Angeles (dpa) - Die New Yorker Sängerin Lady Gaga («Poker Face») hat Grund zur Freude. Laut Internetdienst «Entertainmentwise» hat Terence Koh (32), ein kanadischer Punk-Künstler chinesischer Abstammung, der 23-Jährigen das «Doppel-Piano» von der Grammy-Verleihung geschenkt.

Sie hatte zusammen mit Sir Elton John (62) darauf gespielt. Zu Wochenbeginn machten dann Gerüchte die Runde, Lady Gaga habe das Instrument für einen größeren Geldbetrag gekauft. Doch das sei nicht wahr, so Kohs Sprecher. Das schwergewichtige Geschenk sei ein «Zeichen der Zuneigung» seines Klienten. Es wird gemunkelt, dass kommende Woche bei einer Charity-Gala in New York ein weiterer gemeinsamer Klavierauftritt von Lady Gaga and Sir Elton John geplant sei.

2. Februar 2010

Elton John und Lady Gaga planen weiteren Auftritt

NEW YORK - Elton John scheint ein großer Fan von Lady GaGa zu sein. Denn nach dem gemeinsamen Auftritt bei den Grammys (31.01.) will er erneut mit ihr performen, wie aktuelle Medien berichten. Und das schon nächste Woche bei einer AIDS-Gala in New York. Bei der Veranstaltung wird Elton John aber nicht nur auf der Bühne stehen, sondern auch einen Preis für seinen Kampf gegen die Immunschwächekrankheit entgegennehmen.

Lady GaGa und Elton John performten bei den Grammys übrigens erst ihren Song "Spechless", und danach seinen Track "Your Song".

1. Februar 2010

Elton John und Lady Gaga - How wunderful life is with Gaga in the world

Elton John und Lady Gaga traten bei der Grammy-Verleihung 2010 im Duet auf und performten einen Medley aus "Speechless" und "Your Song".

Hier ist exclusiv das Video: