Track Listing

1. Border Song - Eric Clapton
2. Rocket Man (I Think It's Going to Be a Long, Long Time) - Kate Bush
3. Come Down in Time - Sting
4. Saturday Night's Alright for Fighting - The Who
5. Crocodile Rock - The Beach Boys
6. Daniel - Wilson Phillips
7. Sorry Seems to Be the Hardest Word - Joe Cocker
8. Levon - Jon Bon Jovi
9. Bitch Is Back - Tina Turner
10. Philadelphia Freedom - Hall & Oates
11. Your Song - Rod Stewart
12. Don't Let the Sun Go Down on Me - Oleta Adams
13. Madman Across the Water - Bruce Hornsby
14. Sacrifice - Sinéad O'Connor
15. Burn Down the Mission - Phil Collins,
16. Tonight - George Michael

Product Details

• Amazon Sales Rank: #6058 in Music
• Released on: 1991-10-22
• Number of discs: 1
• Dimensions: .21 pounds

Customer Reviews

Two rooms, sixteen songs, one great album
When it comes to tribute albums, some questions come to mind. One, do they actually do tribute to an artist, two, are they just retreads of the originals, a.k.a. karaoke versions, and three, do they differ significantly and be still innovative at the same time? Two Rooms, which is a tribute to both Elton John and his songwriting collaborator Bernie Taupin, sports a plethora of high-calibre artists.

The piano blues of the anti-racist "Border Song" from Elton's self-titled album is Eric Clapton's selection, and the horn section and Reverend Timothy Wright Washington Temple Concert Choir brings new life to this early EJ tune.

Kate Bush goes to the Honky Chateau for "Rocket Man", incorporating a more reggae-type tempo than the original. It's a nice one, but that's nothing compared to the B-side single of this song, a tear-inducing rendition of "Candle In The Wind", unfortunately not included here.

The melancholy and melodic piano ballad "Come Down In Time" from Tumbleweed Collection is covered by Sting. The emotion of the original is enhanced by the piano, but Sting's lower register vocals don't top Elton's rendition. However, Phil Collins does a superb and tight version of "Burn Down The Mission", also from that album, with Steve Winwood helping out on organ and a great brass ensemble in that energetic midsection.

The Who, minus Keith Moon of course, go to the Yellow Brick Road, or should I stay stomp down the YBR for "Saturday Night's Alright (For Fighting)" with Roger Daltrey's vocals and Pete Townshend's guitar solo "giving us none of yer aggravation." One alteration is when they also sing a few lines from "Take Me To The Pilot."

Don't Shoot Me, I'm The Surfboarder? The Beach Boys' take on "Crocodile Rock" incorporates their usual doo-wop harmonies, and lead vocalist Alan Jardine doing a passing interpretation of EJ's voice.

Wilson Phillips does "Daniel" and straight off, I feel very uncomfortable on first-name songs that have my name on it. Their sweet harmonies really enhance the original, but as in the original, I'm not too crazy about it. Also from Don't Shoot Me I'm The Girl Trio... I mean Piano Player.

Joe Cocker has often been maligned by Beatles purists for shredding "With A Little Help From My Friends." Here though, his rough soulful voice does good enough justice to Blue Moves' "Sorry Seems To Be The Hardest Word," that song about a sad sad situation, when people can't talk it over. "Tonight", also from Blue Moves, is done live at Wembley by George Michael, who did vocals on Ice On Fire's "Nikita" and "Wrap Her Up" brings out the emotional melancholy of that song.

Jon Bon Jovi's take on "Levon" from Madman Across The Water, shows that the vocal power he uses on such Bon Jovi songs like "I'll Be There For You" and "Wanted Dead Or Alive" fits here. His voice and the accompanying instruments fit here. Tico Torres from Bon Jovi helps out on drums. In contrast, Bruce Hornsby does a passable version of the title track.

Tina Turner originally did "The B-tch Is Back" on Rough, her no-longer available solo album from 1978, and her attitude really fits this energetic remake. However, the famous guitar solo inbetween chorus and verse remains the same, meaning that's it's probably one of those immortal things that shouldn't be messed with.
Hall and Oates incorporate their white Philly soul on "Philadelphia Freedom" because they felt it reflected the way they felt about their city.

OK, whether or not one likes Rod Stewart will determine whether or not you'll like him doing one of the hallowed EJ songs. However, the violin and mandolin is a unique addition to "Your Song" which still retains its lyrical sweetness.

Oleta Adams made a name by covering Brenda Russell's "Get Here." Here, she and her backing vocalists make a rich gospel rendition of one of my favourite Elton John tunes, "Don't Let The Sun Go Down On Me." Producer guitarist and a backing vocalist: Roland Orzabal of Tears For Fears (!!)

Sinead O'Connor's selection comes from one of EJ's later albums, "Sacrifice" from Sleeping In The Past. It's a more muted version, with O'Connor singing quietly, but rising in intensity after singing the first chorus.

Now this is the real way to do tribute albums, but maybe it was easier here because Elton John and Bernie Taupin wrote so many memorable songs and that the artists involved who were deeply touched by these songs were able to give it the love they deserved. Two rooms, sixteen songs, one great album.

Good concept, marred by dated productions
This CD was a good concept, but the early '90's production values, with the soprano sax solo (god help us) at the beginning of Joe Cocker's other wise notable version of "Sorry.." and the vocals shrouded in harsh, excessive reverb are the worst of the crimes. For the most part the new versions shed no new light on the songs, and in most cases screw them up with overly-synthed arrangements.

The few exceptions, though, are entirely worth the price of this CD, first and foremost being "Sacrifice" by Sinead O'Connor. The synth accompaniment is sensitive and well-guaged, and, despite the excessive reverb on the vocals, her performance is emotional without being oversung, and simply sublime. Also, Kate Bush's "Rocket Man" is charming and approprately ethereal in places, and Oleta Adams' piano-based performance on "Don't Let the Sun go Down on Me" is a welcome respite from the overly-electronic sounds on the rest of the album. If they could only remake this CD with modern production values, like using real acoustic instruments instead of synths and applying vocal reverb judiciously, that would be great.

This CD deserves a sequel, possibly a boxset
Congratulations,by stumbling on these CD reviews,you've manifested at least some level of inquisitivenss and or appreciation for other artists interpreting Elton and Bernies music. There's a reason,these two artists have built a serious classic body of work. Their music has reached the rare elevation of music defined as standards. This criteria used to be reserved for writers as Irving Berlin,Cole Porter, etc.
Music that tends to remain vibrant through the ages. Elton and Bernie's creations,given a 30+ year legacy, more then qualifies.
One ponders the music Lennon and McCartney would have created , if they had collaborated post Beatles. No one has to wonder about that with Elton and Bernie,its all out there. Their music creations continue to charm and reward the public as both these artists grow broader in life experiences. That said, what makes this CD a classic? It's the marvelous body of continually rewarding work interpreted by a wide range of legendary artists. Whoever selected this rooster has my eternal appreciation.
Sinead O'Conner gives " Sacrifice" a truly haunting and spiritual quality. It's simply one of the best recorded performances I've yet to hear from her. When listening to this track,please don't ignore the keyboard contributions of Paul Golding. This track alone is worth the price of admission. Same goes for Kate Bush's interpretation of " Rocket man". I'd love to hear her record an entire CD of Elton and Bernies tunes. Sting's version of " Come Down in Time " is breathtaking. Pay close attention to the piano contributions of Nancy Treadlight. This track wouldn't have achieved the same level without her artistry. Kudos to Hugh Padgham for the mix.
The Who and Beach boys turn in a yeoman's job with their choices. Neither group dissappoints. Wilson Phillips deserve special note. It's truly a discovery to hear their interpretion of "Daniel". Although considered a " light weight' pop group. They turn in a steller performance of Daniel. Their haromonies are magnificant and a female interpretion of the tune was long overdo. It makes the lyrics even more delicious. Honors for this track must be bestowed to another musical legend, Mr. Glen Ballard. Joe Cocker is the next artist to nail these body of work with his delivery of "Sorry..." One could almost believe the song was created exclusively for him. Of special note, is the sax work contributed by Deric Dyer. His licks are truly amazing and add to the tracks success.
Tina Turner delivers her version of "The Bitch is Back". She worked this tune to perfection through countless concert performances. Absolutely a classic and so interesting to hear a female interpretation. Rod Stewart delivers his version of "Your Song". Rod is a consumate artist. He makes everything seem easy and understated but its his huge talent that makes this perception deceiving. This tune is a perfect example. One listening with untrained ears might assume he phoned this in. However, it's just the opposite his artistry nails this tune in the manner it was intended. Thanks Rod! Bruce Hornsby's vocal interpretation, dare I say, exceeds Eltons. I know this statement is offensive to some but I stand by it. Just his keyboard work, delivered as an instrumental track, would have placed this track close to the top.
Oleta Adams simply kills "Don't let the sun go down'. Her lyrical/ musical interpretation makes this song a gem.
Finally, there's Phil Collins, Hall&Oats, George Michael and Bon Jovi tracks which I consider bonus tracks. They're really not needed but they don't detract either. Somewhat intertaining at best. My only wish is the a second CD ( box set ? ) with this concept is released sometime in the future. There's certainly enough E&B tunes out there ripe for the picking. I'd also suggest an instrumental project interpreting E&B tunes with leading jazz artists has a lot of potential. That's really the key to the greatness of this body of work. The lyrics could stand alone as published poetry and the music could also succeed strictly as instrumental versions. Putting the two together and including artists of this magnitude on this CD i absolutely inspiring.