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  • CD (3 octobre 2011)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mercury Records
  • ASIN : B000001DQG
  • Autres éditions : CD  |  Cassette  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
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6 internautes sur 6 ont trouvé ce commentaire utile  Par Captain Fantastic le 7 août 2008
Format: CD
Il est difficile d'apprécier Caribou sans le placer dans son contexte : les années 70, période la plus inspirée d'Elton John. Il fait donc sans conteste partie des meilleurs albums de celui-ci. Caribou n'a certes pas la puissance évocatrice d'un Goodbye Yellow Brick Road ou d'un Blue Moves, ni l'émotion d'un Captain Fantastic, mais il n'en reste pas moins un excellent album, caractérisé par une fraîcheur extraordinaire. Elton John nous fait entrer dans son univers avec le fantastique The Bitch is Back, et fait part de son excentricité avec Solar Prestige a Gammon, Grimsby ou encore You're so Static, sans oublier de nous faire vibrer avec Don't Let The Sun Go Down on Me.
Caribou est un album sous-estimé, et que les amateurs d'Elton John ne devraient manquer sous aucun prétexte.
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0 internautes sur 1 ont trouvé ce commentaire utile  Par DOV GUEZ le 13 mai 2015
Format: CD Achat vérifié
UN ALBUM ENREGISTREE EN 4 JOURS!!!!!! avec une chanson bijou nomée TICKING ET CONTENANT LES HITS MONDIAUX the bitch is back dont l the s go down on me qui sera un autre tube mondial en live 1992!!!
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32 internautes sur 35 ont trouvé ce commentaire utile 
Under-rated 22 août 1999
Par Un client - Publié sur Amazon.com
Format: CD
Cliche on "Caribou" is it was a rush job. But, we're talking about Elton John here. He wrote double album classic "Goodbye Yellow Brick Road" in a weekend, and smash hit "Sad Songs Say So Much" in a reported three minutes. On "Caribou" "The Bitch Is Back" is a rocking, shaker; "Pinky" a beautiful ballad; "Dixie Lilly" is a catchy country tune, "I've Seen The Saucers" examines UFO scares, "Ticking" about a teen who loses his mind and goes on a shooting rampage; and of course "Don't Let The Sun Go Down On Me" - an all time classic. The other tunes are fun rockers all mixed up unexpectedly in brilliant Elton John style. Unbelievable vocal range of the young Captain Fantastic, and entertaining lyrics from Bernie Taupin.
21 internautes sur 22 ont trouvé ce commentaire utile 
Yet Another Classic 12 juin 2006
Par Stewart - Publié sur Amazon.com
Format: CD
This album came at a time when Elton could seemingly do no wrong. He sold out shows across the world. His albums went to #1 as did his collaborations with John Lennon "Lucy in the Sky with Diamonds" and The Who: "Pinball Wizard" which appears on this remastered edition in all its piano-pounding glory. However, the strain of success was beginning to take a toll on Elton. His recording sessions in Caribou Studios, Colorado were rushed. Elton refused to sing on a number of occasions. He even considered "Don't Let the Sung Go Down on Me", the big hit on this album, to be awful and suggested they give it to British pop star Lulu to sing...Credit Gus Dudgeon's producing for salvaging this one.

Throughout many of the tracks you can hear Brian Wilson lending his vocals. Indeed, many of the vocal arrangmenets have a Beach Boys feel. There are superb harmonies on "I've Seen the Saucers", "Pinky" and "Don't Let the Sun..." There are also some classic stadium rockers: "The Bitch is Back", "Stinker" and "I'm So Static". Elton and Taupin still manage to add a rather silly song in the mix, "Solar Prestige a Gammon", a song about absolutely nothing with words that only sound like words. Still, Elton belts out the song in his cheeriest.

"Dixie Lily" is a great country tune, showboat whistles and all, while the tragic "Ticking" has to be one of the best songs Elton and Taupin have ever written. To my mind, as close to a tear-jerker as anything they've ever composed.

The remastered edition also has a great B-Side called "Cold Highway", a pop song which exploits changing time signatures. Superb horn work on this song. Then there is trhe campy, "Step Into Christmas", but hey...what holiday song isn't? It's as good a Christmas song as any original Xmas song any rockster has put out.

Despite the strain of writing and touring, Elton still found room for another classic album...and yes, the album cover is awful, but come on...It was 1974!
23 internautes sur 27 ont trouvé ce commentaire utile 
Not as bad as said, but it was clear things were slipping 7 avril 2004
Par 35-year old wallflower - Publié sur Amazon.com
Format: CD
After the mammoth classic that was 1973's GOODBYE YELLOW BRICK ROAD, Elton John & his lyricist Bernie Taupin had to have felt a bit drained creatively after having put their whole talents into that album. In today's music industry, an artist would be allowed to lay low afterwards to regain the energy. But with Elton's two-albums-a-year contract back in the mid-1970s, a follow-up was needed, even if the duo had little to offer this time around. Because of these conditions, 1974's CARIBOU is often given a cold shoulder in Elton's long career. True, it's not the all-out bomb it's often thought to be, but it certainly is no blockbuster either.

CARIBOU had been written & recorded in the small space of about a month in order to be released ahead of a large world tour, and the album has more than a few hallmarks of it being a rushed affair. Had Elton & Bernie been given more time to record this album, chances are the songs included would either have been worked on further or discarded altogether. But with what we've got, analysis is still necessary.

First off, the sour grapes. "Grimsby" has been long considered a joke recording that in retrospect is quite distasteful. I wouldn't go that far, but it certainly is several steps down from Elton & Bernie's best.

"Solar Prestige A Gammon" was said to be written in response to critics' overanalyzation of the duo's music, so its meaninglessness is perhaps intentional. But while Paul McCartney managed to make a classic out of roasting his naysayers ("Silly Love Songs"), Elton & Bernie don't make their riposte go down as well.

"I've Seen The Saucers" is about UFO sightings, which nevertheless just shows how Elton & Bernie were stretching for material to complete the album. "Dixie Lily" is somewhat of a good country workout that's good while it plays, but perhaps there's a reason why Elton never made another album like TUMBLEWEED CONNECTION. It's hard to catch lightning twice.

While those are the only glaring embarassments, CARIBOU has more than its share of raisons d'etres, and they just barely overcome the ever-present bumps in the road. The top 5 hit "The Bitch Is Back" is one of Elton's finest rockers from a time when he still did a fair amount of it (interesting choice of Dusty Springfield for a back-up singer). "You're So Static" & "Stinker" are fun, meaningless rockers that are much more memorable than the other intentionally-shallow material on CARIBOU.

The ballads are the songs that do a lot in making CARIBOU a much more enjoyable album than is often made out to be. "Pinky" is one slow number that is shockingly not given more attention in Elton's career. The closing "Ticking" is an ambitious epic about a serial killer that is literally an Elton solo recording with mostly just his piano. Despite being hailed as a low in his career, this song helps prove Elton & Bernie could still put their minds to it on a good day.

But it's definitely the classic "Don't Let The Sun Go Down On Me" that makes CARIBOU worth picking up. Definitely in the top 5 of Elton's ballads (although he had long abandoned any traditional love songs), this song deservedly peaked at #2 on the charts, and would finally see #1 when Elton re-recorded it as a live duet with fan & influence George Michael. The fact that George, Oleta Adams & Joe Cocker have all done well by this song is a hint of its timelessness.

The bonus tracks on CARIBOU are certainly some of the best in the whole reissuing campaign of Elton's backlog. "Sick City" & "Cold Highway" were relegated to B-sides, but Elton & Bernie prove that just because they're on the other side of a 45 doesn't mean they're inessential. It's great to have these more easily available for those who didn't save their old singles.

Elton's appearance in the movie version of The Who's TOMMY was one of its biggest highlights & his cover of their "Pinball Wizard" is just marvelous. His piano playing ranks up with his best, and his insertion of a snippet of "I Can't Explain" is genius. The Who were so knocked out by that, that when they covered "Saturday Night's Alright For Fighting" on the TWO ROOMS tribute album, they returned the favor by inserting a little of "Take Me To The Pilot".

"Step Into Christmas" has deservedly become a modern Yuletide standard since its appearance, and once again indicates that no matter what kind of commonplace genre they tackle, Elton & Bernie will still put their own stamp on it. Not to mention, it is so infectious, even the most Scrooge-like of listeners will feel compelled to join in.

Elton John & Bernie Taupin were indeed visibly exhausted on CARIBOU, with them perhaps recording the album simply to get it out & not pushing themselves to create something magical (probably because they had not much time to). The GREATEST HITS album that arrived late in 1974 would buy the duo some time for them to get back on the track again, but in the meantime, CARIBOU had to have worried some people who thought Elton & Bernie had lost their touch. But when disregarding the rhinestones in a collection like CARIBOU, it's much easier to discover the gems, even if some of them don't shine as much as they used to.
6 internautes sur 6 ont trouvé ce commentaire utile 
A Solid Collection That Stands on its Own... 23 avril 2005
Par W. S. Ferguson - Publié sur Amazon.com
Format: CD
From 1970 to 1973, Elton John produced a body of studio work on par with the finest material anybody has ever recorded over a comparable time span. By the time 1974's "Caribou" appeared, EJ was a fixture in the pop-music stratosphere. This album was released as a launch pad for EJ's much-anticipated world concert tour, and given this backdrop, may explain the relative simplicity of many of the tunes contained here. To be sure, this collection lacks the variety of tone and texture that made its immediate predecessor, "Goodbye Yellow Brick Road" such a satisfying listening experience, but one shouldn't sell "Caribou" short. In addition to its signature offering, the monstrously popular "Don't Let the Sun Go Down on Me"---this set is uniformly tuneful, and contains two of EJ's most memorable rockers, the chart-topping hit "The Bitch is Back" and the driving "She's So Static," both songs propelled by the stellar horn section of Tower of Power. By contrast, the love song "Pinky" features a lovely melody (the lyrics are to some a bit sappy). "Stinker" is an earthy blues with a funny lyric that features the pulsating bass of Dee Murray (the TOP horns again contribute here). "Ticking" stands as one of Elton's most memorable epic story-telling ballads---excellent piano accents punctuate the discordant theme. "I've Seen the Saucers" successfully mocks the early 70's media obsession with the UFO phenomenon, and is also appropriately "spacey" in musical terms. "Dixie Lily" is a tribute to a paddle-boat, the customary country-tinged offering on this album, while "Grimsby" extolls the virtues of seaside village life. Both songs are of the "hum-along" variety---melodic but without high distinction. This album has suffered much criticism for not meeting the lofty standards of EJ's preceding albums, but such comparative judgments are much too harsh in the present case. "Caribou" is straight-ahead stuff...nothing really complex here, but middle-of-the-road Elton is still of a quality that eclipses the best offerings of most of his contemporaries.
5 internautes sur 5 ont trouvé ce commentaire utile 
This should have been titled "Goodbye Yellow Brick Road part II" 24 septembre 2011
Par John J. Martinez - Publié sur Amazon.com
Format: CD
(A quick bit of background facts: "Goodbye Yellow Brick Road," was still on the charts, and MCA (his record company) wanted a followup and wanted it yesterday. Elton had just created his Rocket Records label and said okay, I'll record it but you do the distribution. He also just recorded "Lucy In The Sky With Diamonds" with John Lennon and in turn sang on Lennon's "Whatever Gets You Through the Night." The album was mapped out, songs were set up to be performed, and away they went.)

The music was recorded in 9 days.

As soon as he finished the initial recordings of the songs, he left on a tour of Japan, leaving the polishing work of background vocals etc. to long-time producer Gus Dudgeon. The result is one of top 3 albums he's ever recorded, which means it's an album worth listening to from the first song to the very end. It's his first 'American' album, as he went from singer/songwriter from England to international superstar and then moved to the United States to record there, as most artists do.

10 songs adding up to 50 minutes of music:

01 - The Bitch Is Back - Right from the jump, Elton wants you to know that "Goodbye Yellow Brick Road" was no fluke. His lyrics are blazing hot, as hot as the summer of 1975 was even then, as AM stations around the world played this instant classic.

02 - Pinky - one of the very few ballads off the album, it's sexy and slow and it's Elton's tenderness to the lyrics that make this a song he even now still performs, and he even prefers it to other hits of his.

03 - Grimsby - a homage by songsmith Bernie Taupin to a town in England by the same name, it became a tribute in homage by Taupin who, as a teen, visited there, drank there, and fell in love with it's roughness and yet dazzling oceanfront piers. It's still a rocker, regardless.

04 - Dixie Lily - a song about U.S. southern riverboats? Vicksburg, Mississippi is mentioned - a nice little lazy fun song, which once again is still performed live by Elton now. But wait, we then move to

05 - Solar Prestige a Gammon - a wonderful bit of nonsense that, when played repeatedly, will make you memorize the words so carefully you'll be signing it out loud one day and people will look at you with worried looks. It doesn't make sense, it will never make sense, and no one's ever asked Elton what they mindless lyrics really means - but does it really matter? It's a fun tune! And besides, who else had the guts to pull this kind of silliness out of their heads and put it on a a record?

06 - You're So Static - this song has the same kind of angry urgency of "All The Young Girls Love Alice," just check out a sample of the lyrics:
"But I can still remember how she laughed at me
As I spun around and hit the bed
She said thank you honey, forget about the money
This pretty watch'll do instead"
It boggles the mind that this is yet another song Elton performs on the odd occasion too.

07 - I've Seen the Saucers - It has a haunting beginning, sounding like "Don't Let The Sun..." I've tried to figure out the real meaning, but I do remember that at the time the UFO craze was pretty big at the time, and EVERYONE was seeing something in the sky, and this song is a musical story devoted to those people who just knew they saw something... I guess if you look long enough you'll see something.

08 - Stinker - a slimy rocker about an even slimier man - he has no morals, he likes it dirty, and he loves his drink. It's a grimy tune full of horns, and the 1970's Philadelphia sound is here, right down to the bluesy song choice.

09 - Don't Let the Sun Go Down on Me - here is the monster of the album, which to many is pretty much the one song everybody remembers on the the album itself. However, most of the song is pretty much metaphorical gibberish, but the chorus, oh the chorus... it's something you're already probably humming in your head. When Elton plays this song, the crowds worldwide explode into a frenzy, and why not? It only went to number two in the USA, and why was that? Because "Bennie and The Jets," another song by Elton from ANOTHER ALBUM, would not let go of the top spot. This just tells you the relevance and the power of Elton John's music at the time. He just could not stop making hits.

10 - Ticking - this song should have been made into a long form video, it would rival anything out there in message. Before the sad tragedy in Columbine, before The Boomtown Rats' song "I Don't Like Mondays," Elton predicted the future with the troubles of youth in our modern society, and when they cracked, they would crack, severely. The song (and the album) would end with the endless mammoth drone of a mellotron, glowing tubes shimmering into the night's air, and it's an unusual ending to a project that showed the real work and talent...

...pretty good for a man who created a million-selling album in only NINE DAYS.

(on the Deluxe Edition, there are 4 bonus tracks)

11 - Pinball Wizard - a single released a year later from the film "Tommy" soundtrack. A rocker to the highest order, further propelling Elton to the stratosphere, but oddly enough, written almost 7 years earlier by Pete Townshend.

12 - Sick City - the flipside to the 45 record "Don't Let The Sun Go Down On Me." An odd song about groupie life, a sixteen year old girl who's drug addicted and only needs a little something to get by.

13 - Cold Highway - another flipside, this time from "The Bitch Is Back" 45 record. Haunting lyrics, wonderful music, but it's understandable why it wasn't included on the album, instead being used as a filler song. It's not his best song, but it still shows promise.

14 - Step into Christmas - this time it's an A-side from late 1973, but it never made the charts due to certain regulations about Christmas songs. The song was designed to sound like an old fashioned Ronettes song, complete with Wall-Of-Sound-type effects. the b-side, "Ho! Ho! Ho! (Who'd Be a Turkey at Christmas)" is actually a really stranger song to hear, and you've go out and track it down. It's bizarre and funny, as it takes place at a drunken Christmas party when "the bearded one" arrives! The song ends with turkey noises and someone giving the microphone the "razzberry." It includes reed instruments, turkey noises, and so much more. What a disaster of a song, but it's one of the funniest songs Elton's ever made.

So, what can be said about what I can only call an album second only to "Goodbye Yellow Brick Road?" in the Elton John discography? Some would say it's a slapdash, hurried attempt for the record company to capitalize on a hot property. Some would say (as I would) that the writing, the music and the makeup of the album (in addition to his half-dozen other projects he had going at the time) only proves to me that Elton was at the top of his game, professionally and creatively.

To have made this album in only 9 days, for it to almost eclipse "Goodbye," for him to have all of this success in a year and a half can and will be a testament to one of the greatest singer/songwriter collaborations (lyrics by Bernie Taupin, music by Elton) ever in music history.

I give it a very healthy 5 stars.

If you don't own a copy, find one and then listen for yourself - play "Goodbye" and then play "Caribou" right behind it, and you'll find they go together very well, both in content and musically.

(Thanks for reading, and please don't forget to leave a comment or a vote if you liked it, or not...)
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