Elton John (1969)
Did Not Make the Charts
Recommended source: To Be Continued (Box Set)
“Part Time Love”
Elton John (1978)
Recommended source: A Single Man
I started listening to the radio seriously in late 1975. I was aware of Elton John before that. It was hard not to be at least aware (though if anyone could have managed it, it would have been me).
I didn’t have much of an opinion about him, even after I started listening to the radio. 1976 was sort of the break point. I loved “Don’t Go Breaking My Heart” (still do), liked the others he had out at the time (still do, especially “I Feel Like a Bullet in the Gun of Robert Ford”). But, as “Don’t Go Breaking My Heart” was a duet, the first record of his alone that I took entirely to heart was an obscure side I discovered when I plucked The History of British Rock Vol. 2 from some bargain bin or other, along about 1977. I was still in my discovery days. There were a dozen or more classics I encountered for the first time on this particular set (and, yes, I still have it), everything from “Brown Eyed Girl” to “The Mighty Quinn” to “Something in the Air.”
“Lady Samantha” didn’t take a back seat to any of them.
Knowing, by the chart book I was then busy memorizing (it came natural as I’d been a baseball stat freak), that, unlike those other records, it had never been a hit in either the U.S. or the U.K., I had one of my first inklings that my own taste might not line up with everyone’s, even when it came to the 60s, so it was a more than usually valuable marker.
As the seventies progressed, my stubborn streak would become more and more necessary.
“Part Time Love” was the next Elton record that I really loved and it came and went like a cool breeze. It followed a string of flops (by his standards) and didn’t do much to get him started again. By the time he did get started again (some time after the Thom Bell collaboration “Mama Can’t Buy You Love” had provided a nice respite for audience and artist alike in 1979) he was a changed man and a changed artist. He would remain a consistent hit-maker for another two decades. He would never matter again.
“Part Time Love” came and went so fast I didn’t have chance to score it on a 45 and years of hunting the used oldies bins proved fruitless. Once it left the radio, I never heard it any place except my head until a full decade later, when I picked up the album A Simple Man for .99 cents (less than I would have paid for the single in ’78) at my then favorite, now deceased, local record store.
All those years, my head was enough. A decade further on, when I was putting my first mix-tape of beat records together (there were dozens eventually and, still another decade on, I transferred most of them to CD), and I was looking for something to segue out of “London’s Burning,” I knew there was only one record that would do the trick. I still listen to the mix-disc regularly and every time I hear Paul Buckmaster’s soaring arrangement bleed out of London punk–and subsume and subvert it, all of it–I can’t keep from smiling.
I’ve learned to love a lot of Elton John’s music in the years since 1978, even some that he made after he stopped mattering as anything more than a celebrity hit-maker. But I never forget that I came to the biggest solo artist of my youth through the great records he made just before and just after he was King of the World.
That, too, makes me smile.