5. Sorry Seems To Be The Hardest Word (Elton John - Live In New York: 10/21/1988) скачать в хорошем качестве

5. Sorry Seems To Be The Hardest Word (Elton John - Live In New York: 10/21/1988)

The fourth night at New York City is a very eventful show with a lot going on! This recording is almost 100% complete and comes straight from the master tape (amazing quality)! A big thanks to "EltonStuff" for sending this upgrade over to me! I also want to dedicate this show to "tsskiller08" since he appreciates high quality recordings of Elton John playing in New York City. Building off of the momentum from last night's show, the band take it up a notch this evening with Sugarfoot sounding extremely spirited throughout the set. The tempos on some songs (mainly the rockers) are increased and the whole concert has a more assertive and punchy feel to it. Despite the fantastic band performances and high energy, Elton's voice is suffering at this show as his tone has gotten even more harsh compared to the previous night's concert and the constant vocal abuse gradually takes a further toll on Elton's voice as the show progresses. Now... time to get through the show... "Sixty Years On" showcases a slightly ragged and coarse tone to Elton's voice as he uses the opening song to warm up his voice. "I Need You To Turn To" is a pretty solid rendition with good vocal tone and control on display. "The King Must Die" showcases Sugarfoot's prowess behind the drum kit and while Elton's vocals aren't the greatest, he still keeps a decent amount of control behind them to avoid excessively thrashing. "Burn Down The Mission" features some very harsh singing in spots and some of the affected vocal lines have a "grinding" edge to them which doesn't help Elton's compromised tone. "Sorry Seems To Be The Hardest Word" highlights tiredness in Elton's voice, but he still does a pretty good job singing the Blue Moves hit single. "Have Mercy On The Criminal" has really harsh and thrashed vocals that unfortunately take away from the performance (the band are incredible on this version). "Love Lies Bleeding" contains a lot of ragged singing and questionable intonation from Elton's side of things, but the musical performances are excellent and showcase just how far the band have come since the start of the tour leg. "Tiny Dancer" is full of overdriven/growled out vocal lines which doesn't suit the song very well and some of the vocal phrasing is strange. "The Ballad Of Danny Bailey (1909-34)" highlights the compromised nature of Elton's voice as a number of notes are harshly growled without any sort of care. "I Guess That's Why They Call It The Blues" doesn't have the smoothest vocals, but the performance showcases Elton and the band's enthusiasm throughout. "Philadelphia Freedom" has the tempo cranked up and while there is a great deal of energy on the performance, the vocals suffer from thrashed moments and occasional intonation flubs. "The Bitch Is Back" has Elton flubbing the intro by coming in too early, but the band stay focused and keep things from becoming a train wreck. Concluding this section, "Sad Songs (Say So Much)" has the introduction extended with additional Lung Olympics being produced and Elton takes advantage of the extra time by throwing his voice around like a toy. The main song is like a car racing down the freeway without hitting the brakes as the energy is non-stop and Elton won't stop beating his voice up like two boxers going at it. "Goodbye Marlon Brando" has very harsh and bad growling on full display - especially in the second chorus. "A Word In Spanish" is a very mixed bag on the vocal side of things, but the musicianship (Davey Johnstone and the keyboardists in particular) is absolutely fantastic. The first part of "Mona Lisas And Mad Hatters" has weariness on Elton's tone, but he gets through the short performance without sounding too bad. The second part features one of the best musical jam sessions on the entire tour leg and Elton completely running his voice into the ground without any sort of concern. "Daniel" highlights the wear and tear on Elton's voice, but he still musters up enough strength to sing the classic hit single decently well with whatever softer voice he could still use. "Rocket Man" is a very fun and inspired performance that is helped by the crowd atmosphere. "I Don't Wanna Go On With You Like That" has Elton giving a shout-out to Shep Pettibone and then shows off how to "sing" the song by growling harshly throughout the performance. "Candle In The Wind" showcases Elton's vocal fatigue, but he still does a reasonably good job with the vocals. "Saturday Night's Alright For Fighting" has Jon Bon Jovi not knowing the words in the second verse which forces Elton to save things. Later on, Sugarfoot completely mistimes going into the last chorus - nearly train-wrecking the whole performance. "Your Song" is sung passionately despite not being in top voice. "Lucy In The Sky With Diamonds" contains a large amount of energy with the New York crowd adding to the atmosphere. Lastly, "I'm Still Standing" features angry birds scattered throughout the vocals. ENJOY!!!