Elton John Album: “Sleeping With the Past [Remaster]”

This is a terrific album. Quite simply, it is the first Elton album since Captain Fantastic in 1975 to have any sort of unifying theme, and the idea (let's do a set of new songs inspired by pop, rock and soul classics of yesteryear) was really good, even if , as Elton explained in a 1989 radio interview I have in my collection, it had been borrowed from Billy Joel and his An Innocent Man album (1983).

Elton had just started emerging from a horrendous sequence of personal traumas (unjustified press vilification, divorce, drug abuse, slumping record sales, and vocal cord surgery) during the 3 years 1986-88 when he went into the studios in Denmark to record this 10-song set in 1989. With each lyric, he and Bernie thought of a style of music that might be appropriate, then Elton would whip up the new tunes.

In August 1989, the first single Healing Hands was released . An uplifting, soulful song about the redemptive power of love, this missed overseas, but was a #14 hit here in Australia. A great song, it re-ignited my interest in Elton John's music, which had wavered during the late 80's - I remember spinning my new copy of the 7' vinyl single heaps of times in October 1989!! From then on I was keenly interested in the chart fortunes of Elton's new album and its subsequent singles.

The album cover showed a monochrome photo of a hatless Elton(!!!) sleeping in shadows, with wispy, now platinum-white dyed hair!!

Opening track Durban Deep is jaunty , but not actually that memorable, although it seems to be about miners in South Africa. Despite the potential for thus causing political trouble (this was still the 80's and the odious National Party government still ran that country), this innocuous track made few waves. Healing Hands came next and really sparked the album into life. It was followed by the sublime Whispers. I really like this song - it showed Elton was really back in form after treading water for several years creatively. This had lovely music, especially the tinkling piano flourishes in the coda, and subtle vocals from Elton, whose voice was also approaching its best again after his health scare.

Track 4 was the very enjoyable Club At The End Of The Street, which I recall Elton saying in an interview was "after the style of the Drifters" - i.e. soulful harmony pop complete with vocal "doo-wops" etc. This was accompanied by a really fun animated video, which is one Elton John collectible I hace never been able to track down, but which I remeber from pop TV back in 1990. Club... became a pop hit in July 1990 as the 3rd single from the album. "Me and you rendezvous / In the club at the end of the street..." The album's title track Sleeping With The Past has a conventional guitar hook and is not bad overall, just not the best song here.

Side 2 of the original LP began with Elton producing an unusual soft falsetto vocal on the catchy tune Stone's Throw From Hurtin'; this worked well in concert, I recall. Then comes Sacrifice, which is remembered as the key song of this album for several reasons. Firstly, it is a well-crafted, mature song about relationship difficulties and disappointments that avoids the obvious and over-used cliches inherent in this genre of songwriting (Bernie is too clever to fall into this trap). Secondly, it seemed to be one of those occasions where Elton was singing about something personal to his own life, and put lots of soul into his performance. Thirdly, it was a smash hit at a time when Elton was pushing 43 and could perhaps have been expecting to start a slow fade from popularity after 19 years already as an established pop star. Sacrifice missed in the UK on initial release in 1989, but hit #7 here in Australia in March 1990. Then in June, it was re-released as a double-A 7" single with Healing Hands and topped the UK chart for 5 weeks !!

An amazing comeback for Elton, who celebrated again soon after when Sleeping... hit Australia #2 and UK #1 (his first album chart-topper there in 15 years). This resurgence happily co-incided with Elton's success in reforming his obsessive lifestyle, and promised an optimistic decade ahead. The Sacrifice had been worth it.

The last three songs are slow to medium paced and really good too. I Never Knew Her Name revisits the bride and groom territory of Kiss the Bride (from Too Low For Zero), while Amazes Me is a slow track that's drenched in soul. Last track Blue Avenue occupies a similar place to Too Low For Zero's One More Arrow - it is a great piano-based song with a wonderful melody that deserves to be better known than it is. It stands up well against classic tuneful Elton ballads of any past era.

Like Too Low For Zero six years before, this album enjoyed a year-and-a-half run on the charts, and spawned several hit singles, while bringing Elton's music right to the forefront of popular acclaim once again after aeveral fallow years. It is a very enjoyable set that still sounds good today.

The bonus tracks are the 1989 B-sides Dancing In The End Zone and Love Is A Cannibal, neither of which is a stand-out track, but which are OK rockers.

This album is 5-stars for sheer entertainment value and for its pivotal role in restoring Elton to his rightful place at the top of the pop music world.

I can't think of any other artist who has had so many "comebacks" in the general perception of the public. The fact is that Elton John has never really been away. There have been ups and downs (who hasn't had them?) along the way but he always comes through. If his late eighties finish was compared to a horse race, then this release, would be a near photo finish for first place - but he doesn't quite get there.

Sleeping With The Past is a mature and relatively low key entry in the big Elton catalog. With Bernie Taupin firmly back at the helm writing lyrics, the duo take a surprising turn into R&B old school style songwriting that is a big departure from the rock and roll sound of Reg Strikes Back, the album the proceeded this release. Who'd have thought this would have been next on the horizon for Elton?

As most fans agree, this album ranks up there with one of his best albums, if not his best of the 1980's decade. I would give Too Low For Zero the edge over this one for his best album of the 80s simply because it had more fun and energy. This is a low key affair and while most of it works, it never rises above a low boil.

Paying homage to the classics 60's and 70's R&B sound, Taupin writes lyrics that are in close relation to other hits from that era. Durban Deep, resembles Working In A Cold Mine and Amazes Me reflects any great Ray Charles classic. These aren't copy cat songs however.

The album was recorded in Denmark, where George Michael had made Faith. Apparently, the studio is state of the art and Elton was looking for a change. But I have to ask the question: How is Denmark the hot bed for R&B inspiration? Of course, Elton and Taupin recorded past soul records in various locations but I would have thought either Philly or Detriot may have been a better choice. Because, the production of this album is far to slick for my tastes. Chris Thomas, again, allows too my synthesizers to create horn sections (such as the title track) and yet, on Club At The End Of The Street, a real saxophone is played. Why not use real musicians on the whole album? What we get instead is a watered down effect. Yea, it has shadows of that great R&B sound but is way to polished.

The songs however are well written and some of Elton's best vocals are evident. Whatever was going on personally with him, it doesn't show. Healing Hands, a dynamite single which should have been a bigger hit, is full of wonderful piano playing and incredible backing vocals. The above mentioned Club At The Of The Street swings along nicely and echos the Drifters classics. Sacrifice is a open love letter which is one of the best John/Taupin songs to date. Blue Avenue ends the album on a slight jazzy note that is delivered effectively and sincerely. A gem.

On the heels of his 1987 Live In Austrailia album and 1988's Reg Strikes Back, this release was bascially the triple crown for Elton John. With three solid releases to end the decade, he was ready for the 1990's.

Elton's last album of the eighties contains strong R+B influences. Although the album sold quite well upon its original release, making the top ten in the British album charts, this was despite the lack of singles chart action. The first single from the album, Healing hands, barely dented the British top fifty while the follow-up, Sacrifice, didn't even get that high. All that changed a few months later when Elton announced a plan to pair Healing hands and Sacrifice as a double-A side with proceeds going to AIDS charities. This produced the desired results, not only for the charities but also for the music. The British public bought the single in their droves, making Sacrifice their preferred track and taking it to number one in the singles chart. So by giving his royalties to charity, Elton made the very top of the British singles chart for the first time as a solo singer, having previously made it via a duet with Kiki Dee. He had also made number one with several singles back in the seventies.

With its somewhat belated success, Sacrifice became the focal point of this album, which has much to commend it. The opening track (Durban deep) is performed from the perspective of a South African coalminer reflecting on his unhappy lot. Well, I guess somebody has to dig the coal out of the ground but I'm glad it's not me, though in my present circumstances, I'd consider it if the option were available. Actually, coalmining is largely consigned to history anyway (the last remaining Leicestershire mines closed in the early nineties) so it's not an option.

Another double-sided single (Whispers, Club at the end of the street) was released as a single but made little impact. Both are excellent album tracks but I'm not surprised that they failed as a single. Of the remainder, two tracks (Amazes me, I never knew her name) are particularly noteworthy. Two excellent bonus tracks (Dancing in the end zone, Love is a cannibal) don't get a mention in the liner notes to this re-issue, but they are up to the standard of the main album, something that can't always be said of such bonus tracks.

This is a wonderful album although I'm not sure where it stands compared to Elton's many (mostly excellent) albums. If you're a committed Elton fan, you'll certainly regard this one as essential. I wouldn't be surprised to learn that some people think that is is Elton's best album ever. There are certainly a few that I rate more highly, but this would probably make my top ten among Elton's albums.

Sleeping With The Past is the most understanding album I've ever heard from Elton John. It reveals struggles with demons, and trying to move on with life. Sacrifice, Healing Hands and Blue Avenue deal with problems and painful roads in life that we all have. Elton revealed his demons in the way his music always stands, with passion and the story. This album is wonderful and enduring to the reflection of the 80's happenings.

When I bought this album I asked the remastered edition with bonus tracks and what I got was the album I already had.

As I noticed the people from amazon the money was sent back to my account and I kept the CD.

I was really amazed by the honesty of this team.