{"id":69368,"date":"2026-07-28T13:05:27","date_gmt":"2026-07-28T13:05:27","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/28\/bernie-taupin-talks-new-solo-album-elton-johns-next-record\/"},"modified":"2026-07-28T13:05:27","modified_gmt":"2026-07-28T13:05:27","slug":"bernie-taupin-talks-new-solo-album-elton-johns-next-record","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/07\/28\/bernie-taupin-talks-new-solo-album-elton-johns-next-record\/","title":{"rendered":"Bernie Taupin Talks New Solo Album, Elton John&#8217;s Next Record"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWithout <a href=\"https:\/\/www.rollingstone.com\/t\/bernie-taupin\/\" id=\"auto-tag_bernie-taupin\" data-tag=\"bernie-taupin\">Bernie Taupin<\/a>\u2018s lyrics, <em>Goodbye Yellow Brick Road<\/em>, <em>The Tumbleweed Connection<\/em>, <em>Madman Across the Water<\/em>, <em>Captain Fantastic &amp; The Brown Dirt Cowboy<\/em>, and virtually the entire rest of the <a href=\"https:\/\/www.rollingstone.com\/t\/elton-john\/\" id=\"auto-tag_elton-john\" data-tag=\"elton-john\">Elton John<\/a> catalog would not exist. That\u2019s why Elton <a rel=\"noreferrer noopener nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=sL7oCyZhXUc\">literally handed him his Rock &amp; Roll Hall of Fame statue<\/a> when he was inducted in 1994, and <a rel=\"noreferrer noopener nofollow\" target=\"_blank\" href=\"https:\/\/www.youtube.com\/watch?v=gRHtUgV1QQI\">personally welcomed him into the institution in 2023.<\/a><\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut throughout much of this time, the lyricist has also maintained a solo career that\u2019s flown so far under the radar that many Elton John fans are unaware that Taupin\u2019s own work even exists. And it hasn\u2019t, in any meaningful way, since he disbanded his group Farm Dogs in 1998. His last solo album was 1987\u2019s <em>Tribe.<\/em> Over the last couple of decades, he\u2019s focused largely on his family, and his work with Elton John.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Bernie Taupin - The Sea Has No Mercy (Lyric Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/gDiRKFl2e80?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThat\u2019ll finally change Oct. 23 when he releases <a href=\"https:\/\/bernietaupin.lnk.to\/TSHNM\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">the stunning new album <em>The Sea Has No Mercy<\/em>,<\/a> which he recorded in Nashville with producer Frank Liddell, guitarist Adam Wright, bassist Glenn Worf, and keyboardist Michael Rojas. There are also guest appearances by Brandi Carlile, Lee Ann Womack, the Jeremy Jordan Ensemble, percussionist Jay Bellerose, violinist Scarlet Rivera, and Taupin\u2019s daughter, Georgey.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWith age comes wisdom, which is a natural progression,\u201d Taupin tells <em>Rolling Stone.<\/em> \u201cI don\u2019t regret any of the records I\u2019ve made in the past. They all had a point at the time they were made. But this is the most satisfying record I\u2019ve ever made. I\u2019m talking about in my own canon, not with the Elton thing, because that\u2019s a completely different ballpark\u2026I wanted to be able to express my own feelings on my own level in my own writing. That\u2019s what makes it more important than anything else I\u2019ve ever done.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tTo learn much more about the album, and details of the upcoming documentary about his life, the next Elton John album, and why they have no plans to sell their publishing, we hopped on a Zoom with Taupin. <\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Bernie Taupin - The Greatest Discovery (1971) With Lyrics!\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/BaNhUz-A2p4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I want to start by going through the history of your solo work, since it\u2019s really interesting, and rarely discussed. It began with <em>Taupin <\/em>in 1971. Can you tell me about that one?<\/strong><br \/>That wasn\u2019t really my idea. In fact, I was slightly pressured into doing that by Dick James, who was very instrumental in our early years. He felt that if there was some sort of interest and success in Elton\u2019s first records, that there might be some interest in me doing something in my own right.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd let\u2019s just say my reminiscence of it is pretty cloudy because it was a long time ago, and I was extremely naive as far as studios were concerned. I was very much riding in the saddle of the guys that were familiar with the studio, and the musicians that were available at the time. And it was an incredibly interesting assortment of musicians, everybody from people like [sitar and guitar player] Shawn Phillips, who I\u2019m sure nobody knows about these days, but was quite an influential guy back then. And then obviously [guitarists] Caleb Quaye, David Johnston.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI just basically took a lot of things that I was writing at the time. Obviously, I hadn\u2019t found a singing voice at that point, and I certainly would have been way too intimidated. As I say, I was still very, very naive and green and novice in every aspect of recording. So I just went along with it. I don\u2019t think it was necessarily a good idea. I mean, who at that particular point in time wanted to hear a narrated album of esoteric poetry? But it was an interesting time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Elton got more and more successful after that, but you didn\u2019t make another solo record in the 1970s. Were you not interested?<\/strong><br \/>It wasn\u2019t something that struck me as being important. I did it when the moment struck, that I felt like I had something to say or I wanted to do something. Unfortunately, I think in some cases it took place at a time when I was probably bored and there was nothing else going on.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Bernie Taupin - Love (The Barren Desert)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/uzVcCL6-Q_U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Your next album was 1980\u2019s <em>He Who Rides the Tiger.<\/em><\/strong><br \/>I felt that album was interesting, and lyrically, it was a decent achievement. Unfortunately, I didn\u2019t feel melodically the connection between myself and the people that worked on it was\u2026 It\u2019s hard to think about that because I don\u2019t go back and listen to those records. I remember when it came out, it got quite well received, but again, it didn\u2019t really do anything.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Bernie Taupin - Friend of the Flag\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/ALTn4tcyxjs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong><em>Tribe <\/em>came out next. That was 1987.<\/strong><br \/>There was a guy at RCA called Paul Atkinson who was the A&amp;R guy there, who was the original bass player for the Zombies who sadly passed away a little time after he signed me. But he encouraged me to make a record that was very indicative of the time period. And I worked with a guy called Martin Page, who was a very good commercial songwriter, and a good producer, a good musician.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIn retrospect, I think I was just\u2026 Once again, it\u2019s like the poetry album in 1971. I was being motivated by forces around me to do things that were apparent for that particular point in time. Things that went hand in hand with the kind of music. I mean, basically, the <em>Tribe <\/em>album was a rock pop attempt at making a commercial record, and I was happy with it at the time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI mean, you exist in the time period you\u2019re living in at the moment, and you just go with the flow. And it\u2019s interesting because all of these records that I made didn\u2019t really do much as far as radio was concerned. I never got picked up by radio. I mean, maybe if XM or Sirius or that kind of thing had existed at that point in time, they might have made a little bit more of a mark. But I have no regrets as far as those are concerned.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Farm Dogs - Last Stand in Open Country\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/sj-geNa4w4k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You didn\u2019t do anything after that until you formed Farm Dogs in 1996, and put out two albums with them<\/strong>.<br \/>That was the first time I started making the kind of music that I really wanted to make. But that had a lot to do with me sinking into a democratic situation that was more comforting and more embracing. The unfortunate thing is that I realized in the end that democracy is great if everybody does what they\u2019re told. [Laughs] So I think that\u2019s what put the final nail in the coffin of Farm Dogs.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Farm Dogs (featuring Bernie Taupin) - Live in Nashville, at 3rd and Lindsley. January 25, 1998\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/4SQEE-na6_w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You actually toured with Farm Dogs. That was the first time you\u2019d done any concerts of any sort, right?<\/strong><br \/>Yeah. It was a pretty interesting situation because I never ever imagined putting myself in that position to perform live with my own band or with a group of musicians who, as I say, were a democratic organization. But it was fun. I\u2019ll tell you what, the best thing about Farm Dogs was that it really taught me a lot of things that were fairly frightening to me, certainly performing live. But I definitely found my voice in Farm Dogs.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhen I did the <em>Tribe<\/em> album, I actually took voice lessons. I really, really worked on my vocals, but I don\u2019t think in the end they were my true identity. I don\u2019t think there was the real me. I think it was me becoming an AM\/FM product of what other people wanted me to be as opposed to what I wanted to be.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI think Farm Dogs, because it was done in a much more back to the roots, back to country, recorded in a home studio surrounded by people that were very encouraging, I think that really gave me my insight on how I wanted ultimately to be as a performer, as a singer, and gave me also more of an intuitive belief in the fact that ultimately I could just actually write my own songs.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So how did you feel to walk onstage at the Troubadour with the spotlight on you as a singer for once? I\u2019m sure that was surreal.<\/strong><br \/>Actually, it wasn\u2019t as intimidating as I imagined it might be. I didn\u2019t get that nervous because there was a great camaraderie in that band. I mean, a lot of people might look on it as a midlife crisis band, which possibly it was, but we had a lot of fun and there was a great, great sense of camaraderie. And that I think made me shed any kind of fears that I had because I knew that if I made mistakes onstage, those guys would pick up the slack.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So Farm Dogs ends in 1998. Why did 28 years pass before your next solo project? Do you think that you were done with making your own music for a long time there?<\/strong><br \/>Yeah, I did for a period of time. There was so much else going on in my life. Changes were being made personally, socially, musically, productively. And I think what happened ultimately is that it became a trifecta of things.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut when I wrote my memoir [<em>Scattershot: Life, Music, Elton and Me<\/em>], it really put me on the couch. It made me reflective. It was cathartic. I had to look back. I had to try and remember things that I thought I had no concept of recalling. And it really was like being on the couch, being probed, being pushed into remembering things. And along with that, at the same time, we were beginning to make the documentary. And along with the documentary, you get prodded into recall again. You were asked questions about the past, you visit the places from the past, you physically visit them.<\/p>\n<figure class=\"wp-block-embed is-type-rich is-provider-instagram wp-block-embed-instagram\"\/>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>How did the documentary lead into the album?<\/strong><br \/>We thought that it might be a good idea to do something for the closing credits, maybe write a song or do something really out of the ordinary, not using a standard Elton-Bernie song, but to actually physically do something in my own writer game. And I actually wrote a song called \u201cThat Was Me,\u201d which funnily enough is actually not on the record because I felt it didn\u2019t fit with the record.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tBut it was part and parcel of things that I began working on and writing. And I found myself just coming up with all of these ideas. In the long run, the album became a manifesto of somebody who\u2019s 76 years old looking back, reflecting, and just a little bit pissed off at the world.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI suddenly realized I had all of these songs in my head and I was writing them myself, \u201cthree chords and the truth,\u201d if you will. And I went to New York and had a meeting there with my good friend, [producer] Frank Liddell. We actually joked prior to that: \u201cIf I ever wanted to make an album, would you be interested in making an album with me?\u201d And he was like, \u201cAnytime you want, let\u2019s do it. I\u2019m ready whenever you are. I would love to do it.\u201d We had no idea what we meant by making this pact. But when we actually sat down in New York, we talked about the songs. I gave him a bunch of things that I\u2019d written. I said, \u201cLook at these on the plane going home. See what you think.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Where did it go from there?<\/strong><br \/>He was fired up. He just said, \u201cCome to Nashville. We\u2019ll do it in the house.\u201d And he put together these guys, Glenn Worf and Michael Rojas and Adam Wright. I called them the Tennessee Stonecutters because they basically were the architects. I would sing them the songs, but they would do the arrangements. We did everything in Frank\u2019s house.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tIt was the most wonderful time I\u2019ve ever had making a record because I was saying everything I wanted to say. And as I say, for the most part, it\u2019s a record that I could only make now. I mean, it\u2019s a reflective record. I\u2019ve been asked by people, \u201cWell, why didn\u2019t you make this record years ago?\u201d And I said, \u201cBecause I wasn\u2019t 76 years old 20 years ago.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Do you write differently if you know the lyrics are for you and not another writer?<\/strong><br \/>Well, absolutely. That\u2019s an incredibly insightful question because it\u2019s very, very important to me. The one thing I realized about making this record, which is entirely different than anything I\u2019ve done before, is the fact that I wrote the songs myself. If I had farmed these lyrics out to other people to put melodies to, it would never have been as cohesive. It would never have had the rhythm it had, and it wouldn\u2019t have had the personal input that I feel so strongly about these songs. They wouldn\u2019t have belonged to me if they\u2019d been co-written.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tYour singing voice has a lot more depth and gravitas to it now than it did when you were younger. I kept thinking about Leonard Cohen when I heard the record since the same thing happened to his voice. It actually improved as he aged, even though it was degraded.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAbsolutely. And invoking Leonard Cohen there, you have one of the people that I really invoked when I made this album. There were people like Tom Waits, Dylan, Leonard Cohen, John Prine in \u201cElephant Boy.\u201d These are the guys that are not known as singers. I shouldn\u2019t say John Prine, but Cohen and Waits. They have a very distinctive style. Dylan. There\u2019s Dylan in \u201cOld Church Road.\u201d There\u2019s Leonard Cohen in several songs on there. And there\u2019s nothing wrong with being the bastard son of all these people.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Leonard Cohen - Bird On The Wire (Official Live in London 2008)\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/BGvwvxA83Cs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I want to go through the songs here. It begins with \u201cThe Fisherman.\u201d You sing, \u201cI was just a fisherman, one broken life on hold\/I was just a derelict many centuries ago.\u201d Is this autobiographical?<\/strong><br \/>Absolutely. Well, there\u2019s parts of me in there. That song is, if you\u2019re going biblical, it\u2019s basically John 21. And that comes from my own faith. I\u2019m not afraid of that. Again, going back to Leonard Cohen, I wanted the start of the album to be a commitment, a bit like Cohen did with \u201cBird on a Wire.\u201d I wanted that to be my \u201cBird on a Wire.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd it was an important song to me. The funny thing is that I really programmed the record. I knew exactly the way I wanted the songs to follow each other on the record.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cOld Church Road\u201d is next. \u201cI\u2019ve played with princes, I\u2019ve seen the world\/Beat the Devil once or twice.\u201d<\/strong><br \/>Pretty much every song, every line, every lyric on this record has something to do with my past, present, and possible future, with the exception of probably \u201cOld Dog,\u201d which is me falling back into my cinematic storytelling mode. But for the most part, everything else on that record means something. I mean, Church Road was the road I grew up on, in a small village in Lincolnshire. I spent most of my life there before I went to London.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Lee Ann Womack is on the track.<\/strong><br \/>Lee Ann Womack is Frank Liddell\u2019s wife. So it made perfect sense. It was very much a family-oriented record because Anna Lise, who is Frank and Lee Ann\u2019s daughter, engineered and mixed the record and did an absolutely extraordinary job, I think.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cThe Sea Has No Mercy\u201d is the title track. It has a real melancholy mood to it.<\/strong><br \/>It\u2019s reflective. It\u2019s about the mistakes you make in the past. And the reason the album is called <em>The Sea Has No Mercy<\/em>, and that title track is \u201cThe Sea Has No Mercy,\u201d is because what I say in that song is 100 percent true. I mean, I am absolutely terrified of the sea. I think the sea is the most powerful force on earth. And you can have your earthquakes and fires and whatever other natural disasters we deal with on a day-to-day basis geographically, but there is nothing as intimidating as the open sea. It just frightens the shit out of me.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"THE ELEPHANT MAN | Official Trailer | MUBI\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/AF9gNKJi79g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Is \u201cElephant Boy\u201d a reference to the 1937 movie?<\/strong><br \/>No. It\u2019s more about a reference to <em>The Elephant Man<\/em>, the David Lynch movie. But I used Elephant Boy as opposed to Elephant Man. It just sang better. And the whole idea of that is it\u2019s quite simple. And if I wasn\u2019t me, I\u2019d be somebody else. But then luckily I wasn\u2019t the Elephant Boy. I could have been all of these other things and I wouldn\u2019t have minded so much, but I got away from that one. I mean, the first three songs on the album are fairly intense, so I wanted to lighten it up. And that\u2019s the one track that has a little bit of tongue-in-cheek to it.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>On \u201cGhosts of Greater Men\u201d you sing, \u201cFeel like a timepiece that froze around noon\/The year that Neil Armstrong set foot on the moon.\u201d You feel frozen in 1969?<\/strong><br \/>Well, I think we\u2019re frozen at certain points in our life where we freeze and reflect. And I think 1969 was an extraordinary time for not only us and myself and Elton where we were about to take that big step and the correlation between that and Neil Armstrong making that step onto the moon. We were stepping into the arena. We were about to come to the United States, and that was going to be a big change in our lives. So that\u2019s the metaphor in those two lines.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>On that song you also sing, \u201cI don\u2019t want to live through Antietam again.\u201d I know you\u2019re a Civil War buff. What did you mean by that line?<\/strong><br \/>I couldn\u2019t not do that. That is a metaphor for not wanting to go through the pain of the past and just using the battlefield as your own battlefield, if you will.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>The bloodiest of all battlefields.<\/strong><br \/>Well, it\u2019s the bloodiest day in American history. So it may be a little over the top to compare your own problems and your own deceits and what have you with Antietam. But again, I\u2019m a writer, so I\u2019m allowed to do that.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cJoker\u201d begins with a shot at Joe Kennedy Sr. for his association with the Nazis. \u201cWell, I never drank the Kool-Aid of the Kennedys\/No sir, no sir, no sir\/When Daddy Joe kissed up to the enemy\/The sins of the father stained the world.\u201d<\/strong><br \/>That whole song is just me grouching and not falling into listening to the wrong voices. I\u2019m not a fan of the Kennedys. I think they\u2019re the most overrated dynasty in American history.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I think a lot of people agree with you on that right now.<\/strong><br \/>It\u2019s just me being a cranky old man and saying \u2014 again, I\u2019m 76, I\u2019m allowed to say this shit now.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Tom Waits - &quot;Heartattack And Vine&quot;\" width=\"1200\" height=\"900\" src=\"https:\/\/www.youtube.com\/embed\/lbIi8ZiW5qI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cJoker\u201d also has a real Tom Waits vibe to it.<\/strong><br \/>Oh, absolutely. <em>Heart Attack and Vine.<\/em> Frank Liddell, after we cut it, said, \u201cThis is a song that might get you committed.\u201d But I just told them to get as weird as they possibly could on that track.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cCome on California\u201d features vocals by Brandi Carlile. What made this song feel right for her?<\/strong><br \/>The California reference is a tip of the hat to Joni [Mitchell]. And Brandi is a consort of Joni\u2019s, and also an absolute dear friend of mine \u2014 I refer to her as my little sister. She said, \u201cI\u2019d love to be on the record.\u201d And that to me was the one song that I thought she could do the best work on. And when she took it, she literally sang every single line and said, \u201cJust use what you want to use.\u201d I actually wanted to try and ask Joni to sing on the end and sing a reference from \u201cCalifornia,\u201d but I didn\u2019t have the guts to do it in the end. But that\u2019s the one straight-ahead kind of love song to my wife on the album.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>\u201cThe Favor\u201d seems like a very personal song about something that happened in New York City.<\/strong><br \/>That, again, is a very, very Leonard Cohen song. In fact, I tried to do Leonard Cohen vocals right on the beginning where it\u2019s semi-spoken. I had to get as deep in a register as I possibly could for that one.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThere\u2019s a definite story to that. Not personally, but on a metaphysical level. It\u2019s literally about making your choices between good and evil. They both come in. It\u2019s like Bob Dylan said, \u201cSometimes Satan comes as a man in peace.\u201d It\u2019s the same thing. You can get tricked in many ways, but in the end, you have to make up your own mind. It\u2019s easy to be tempted by two different factions. And again, you got to make up your own mind.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Bob Dylan &quot;One More Cup Of Coffee&quot; LIVE performance [Full Song] 1975 | Netflix\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/ujgqOgMIwfA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Violinist Scarlet Rivera plays on \u201cOld Dog.\u201d I haven\u2019t heard her on many albums besides Bob Dylan\u2019s <em>Desire<\/em>, of course. How did she wind up on this?<\/strong><br \/>I was absolutely adamant that we use her. When I do another record, I\u2019m going to have her on way more of it. She is such a cool, cool individual. She was amazing. She played viola on it too. The thing I love about her style is she don\u2019t play fiddle, man. She plays electric violin. And there\u2019s a big difference between playing fiddle and violin, but playing it in her style, and nobody plays like her.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<p>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" title=\"Georgey Taupin, the 2024 Spirit of Fiesta, Performs at TV Santa Barbara&amp;apos;s 49th Birthday &amp; Fundraiser\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/mnIJnlHJPGo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/span>\n<\/p>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Your daughter Georgey sings on \u201c100 Ways.\u201d<\/strong><br \/>It would\u2019ve been ridiculous to have anybody else singing that because I\u2019m singing to my daughters. And to have another female voice that isn\u2019t my offspring doing it would\u2019ve been pointless.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>She\u2019s a great singer.<\/strong> <strong>Is she trained?<\/strong><br \/>She actually takes voice lessons with the same coach who teaches Lee Ann Womack. In fact, Lee Ann was the one that turned her onto her. So she\u2019s very artistic. She dances, sings, so I got lucky there.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>It\u2019s the last song, and it ends very suddenly. I thought at first the file froze.<\/strong><br \/>Well, originally it had a tail end to it and I said, \u201cNo, it\u2019s got to stop completely dead because that\u2019s what the point of the song is.\u201d It may be morbid, but it\u2019s realistic and I think idealistic at the same time. Fatalistic, moralistic, whatever you want to call it, but it\u2019s all of those things.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>What\u2019s great about this record is you clearly didn\u2019t make it with any commercial considerations. You don\u2019t need to make a record to pay the rent.<\/strong><br \/>No. Good Lord, no. Absolutely not. Did I make this record for myself? Of course I made this record for myself, but I think I made it for the people around me, the people that have lived in these stories, the people that have affected me, the people that have inspired me, the artists that have inspired me. Like we\u2019ve talked about, you see references to people that I admire in these songs, and it\u2019s a tip of the hat to them.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAt the same time, just bottom line is I had so much fun doing it. I would fly in and out of Nashville from L.A. I\u2019d spend a week there and we would record, and it was just such an inspiring, wonderful, fun time.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Are you thinking about booking some small venues and playing any of this music live?<\/strong><br \/>I\u2019ve already been asked to do several things, but we\u2019re not ready to do that right now. I wouldn\u2019t want to do it yet. Let\u2019s see how the record goes, how it\u2019s picked up, how people appreciate it. It\u2019s certainly not off the cards by any means. I mean, if I could work with the foundation of guys that helped me make this record, I would definitely consider it, but not right now. There\u2019s too much coming up. We\u2019ve got the documentary coming out, which is going to probably premiere in January theatrically. So that\u2019s a big, \u201cWe\u2019ll see.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So the documentary is coming out a few months after the album?<\/strong><br \/>Initially, there was talk about trying to get them to come out at the same time, which may have been advantageous. But in doing our research, it\u2019s really not a necessity. So I did the book, which I was extremely proud of and did really, really well. I mean, it was a <em>New York Times<\/em> bestseller and a <em>Times<\/em> bestseller in the U.K. also. So it was a natural progression.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tI was so proud of the book. And the documentary was tough to get me to do because I\u2019m not really somebody who aspires to that kind of being put under the microscope in that way. But it\u2019s pretty good. And I love the fact that Gary Oldman was the executive producer.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Does the documentary go through your entire life, cradle to now?<\/strong><br \/>I think you\u2019ll have to wait and see on that one. The final cut is just being done as we speak.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>You and Elton are on an increasingly tiny list of major artists who haven\u2019t sold their publishing at this point. Are you tempted?<\/strong><br \/>Nothing right now. Not really interested. No point. Why would I?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>To make a lot of money.<\/strong><br \/>We don\u2019t need the money. We both have offspring, and why don\u2019t we leave it up to them?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I\u2019ve seen a lot of people say the exact opposite. They said they sold it now so their kids don\u2019t have to manage it, and possibly wind up fighting over it.<\/strong><br \/>Well, that\u2019s their prerogative. And again, when I say that, it doesn\u2019t mean that they literally have to deal with that themselves. There are lots of people who can aid them and help them in those kinds of situations. And who knows if it\u2019s going to change tomorrow, but I don\u2019t know why those people are selling the catalogs. I mean, it\u2019s clich\u00e9d, but it is a bit like selling your children, isn\u2019t it?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Paul Simon has expressed some regret over it.<\/strong><br \/>Oh, I\u2019m sure he is not the only one too.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>It means you never have to turn on the TV and be surprised that \u201cTiny Dancer\u201d is being used to sell dish soap or something.<\/strong><br \/>[Laughs] Well, I\u2019m not particularly precious like that. I\u2019ve seen songs of ours used in commercials, but then they\u2019re usually songs that are offshoots anyway, so it doesn\u2019t bother me. I\u2019m not precious in that respect.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>But that\u2019s your choice, not someone else\u2019s choice.<\/strong><br \/>Exactly, exactly. Yeah. No, I still get reams of emails every day saying, \u201cWill you okay this to be used in this? Okay this song to be used in that?\u201d And it\u2019s usually, \u201cYeah, fine, no problem.\u201d But yeah, it\u2019s a moot point. I mean, if we were incredibly greedy and we just wanted to make billions of dollars, which we probably could if we sold it, what\u2019s the point? We don\u2019t need to. I\u2019m comfortable, man.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I think that\u2019s great. You guys wrote those songs, the two of you, nobody else. Why should anyone else own them?<\/strong><br \/>Yeah, it\u2019s really not come up in any conversation. David [Furnish], who\u2019s Elton\u2019s manager, and [my wife] Heather, who\u2019s my manager, they\u2019ve had multiple conversations and it\u2019s just, \u201cNah, not necessary. Why?\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>I\u2019ve heard Elton is working on his next solo record. What\u2019s the status of that?<\/strong><br \/>Well, he\u2019s got a record coming out, I think, at the beginning of next year that I contributed to. But I literally don\u2019t know when that is. He did it with Andrew Watt again. And he wrote it in a completely different way simply because of his eyesight problem. He can\u2019t read lyrics if they\u2019re on the piano. So he basically came up with instrumental tracks and threw basically three or four of them at me and said, \u201cCan you do something with these?\u201d Which I contributed to. But he\u2019s also worked with a couple of other people on there, which is great. So it\u2019s a whole different ballgame for him.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Are you still hoping he\u2019ll do that deep cuts residency he\u2019s been talking about for years?<\/strong><br \/>Yeah, that would be nice. We haven\u2019t discussed it. I know he\u2019s doing these couple of shows in Mexico to make up for the fact that he couldn\u2019t do them during the pandemic, but I don\u2019t know if there\u2019s any talk of a residency thing. It hasn\u2019t reached my airwaves yet.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>Are you thinking about your next solo record?<\/strong><br \/>Oh, I\u2019m always thinking ahead. I definitely don\u2019t look back. I\u2019m always, always looking ahead. And I have so much fun doing this, man. You think I don\u2019t want to do it again?<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t<strong>So no regrets that you didn\u2019t do this 20 years ago?<\/strong><br \/>No, I\u2019m glad I did it now. I think if and when I make another record, it won\u2019t be so reflective. I think I might go back to storytelling. In fact, I\u2019ve already written five or six songs that I\u2019ve been playing around with and going back and forth with. So I\u2019m really enjoying the process of working in my own head with myself and nobody else.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/bernie-taupin-solo-album-elton-john-lp-1235598563\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Without Bernie Taupin\u2018s lyrics, Goodbye Yellow Brick Road, The Tumbleweed Connection, Madman Across the Water, Captain Fantastic &amp; The Brown Dirt Cowboy, and virtually&#8230;<\/p>\n","protected":false},"author":5,"featured_media":69369,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-69368","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/69368","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=69368"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/69368\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/69369"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=69368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=69368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=69368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}