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For more than 50 years, Bernie Taupin has given Elton John’s indelible melodies far more than their words. He has given them their plots, characters, settings, attitudes, even their worldviews. He recounts as much in his new memoir, Scattershot.
In the late 1960s it was de rigueur for rock stars of a progressive persuasion to have their own in-house poets. This new breed of long-haired hippy wordsmiths
Whether grinding or eerie, bellicose or plaintive, the exquisite jazz- and classical-infused prog rock dirges disgorged by King Crimson over the last 54 years stand apart from the more accessible sounds made by their illustrious peers, including Pink Floyd, Jethro Tull, Yes, Genesis, Curved Air, and ELP. Given the discomfiting aesthetic of Crimson’s music – a fulminating anti-panacea, relentlessly modernistic – is it any wonder there was much misery in its making?
Starting out as an Army bandsman, he played an array of instruments including guitar, keyboards, flute, clarinet, saxophone and vibraphone
Multi-instrumentalist and galvanising force of Foreigner and King Crimson, who also played saxophone on T Rex’s Get It On