As many have already observed, however, the overall feel of the album was substantially altered in the remastering process. The album has obviously been remixed, with the strict stereo separation of the original abandoned in favor of a more conventional, everything-in-the-center placement of the recording's key elements.

By itself, the tinkering with the stereo mix is not necessarily bad. What ultimately mars this remaster is the application of unnecessary effects, often creating a very watery, flange-y feel that only serves to distract one's attention from the music.

Another sin is that part of the original recording is actually missing. No longer is Elton's "stop it, man, I said stop it!" mugging present after "Take me to the pilot" (or was it "Honky tonk women"?). A minor omission, perhaps, but the point of remastering is usually to obtain a higher-quality transfer of the original analog master, not to alter an album's content.

Still, this album is definitely worth having. But you may also want to look for a used copy of the 1992 (1993?) Polydor re-issue, which was (supposedly) taken from the original British master...


Elton's First Live Album   July 10, 2003
Lonnie E. Holder (Columbus, Indiana, United States)
16 out of 16 found this review helpful

In the early 70s it appeared that Elton John had quite a few firsts, all in the span of a few years. Elton almost exploded onto the American music scene in 1970, and was so popular that the albums could hardly be released fast enough. From a business perspective, it made sense to release as many albums as possible from a young artist that hit the top 10 with his first two U.S. releases. Further, live albums were relatively popular in the early 70s, and it appeared important for Elton to have one. Thus, this album was one of four 1971 releases for Elton. This particular release went to #11 in the charts.

The energy on this album is fantastic. A young, very energetic Elton John pounds out blues flavored rock. Included is an eighteen and a half minute single that includes "Burn Down the Mission," "My Baby Left Me," and "Get Back." This particular combination is a free-wheeling rocker that just seems to go on forever. Elton was clearly having fun with this set, with the piano and drums often at the forefront. Later the style changes to the blues again, consistent with Elton's early style.

This album also includes "Can I Put You On," a track from the now hard to find "Friends" soundtrack. The movie was relatively forgettable (though I actually saw it in a theater), but the soundtrack was decent and a foreshadowing of the many soundtracks that Elton would later write and perform.

"Honky Tonk Women" is a well-performed cover of the Rolling Stones' classic. The song starts without instrumental accompaniment, to the amusement and delight of the audience. Unsurprisingly, the song is played with blues overtones, and Elton's piano is also flavored with a bit of honky tonk.

"Amoreena" is another "Tumbleweed Connection" song that appears, in addition to "Burn Down the Mission." While many of the songs on this CD are embellished or even changed, "Amoreena" survives in the style in which it was performed on "Tumbleweed." This song has always been one of my favorites, and the live version is a bit pared down from the album, as the special effects used in the studio version are missing.

"Take Me to the Pilot" and "Sixty Years On" from the "Elton John" album are both given excellent treatment in extended versions. "Sixty Years On" particularly is well performed in this live setting.

In several cases, I prefer these recordings over the studio versions. Elton and his band had time to improve their style over the course of a year or more of playing the songs and being together. "Burn Down the Mission" and "Sixty Years On" are two examples of songs that I think came off quite well in this CD. It may also be that Elton's young voice and incredible energy show so clearly in this CD, that they infuse every song with an essence that sometimes gets diluted or disappears in a studio setting. Elton John has always been a great performer in front of audiences, and this CD proves he had this talent back to the beginning of his career.


Brilliant performance by EJ; poor remaster by Dudgeon   March 24, 2002
Elizabeth Rosenthal
14 out of 14 found this review helpful

When 11-17-70 was originally released in April 1971, it was significant for showing those who were buying Elton's records but hadn't yet seen him live that he was just as incredible a performer as he was a songwriter! This album may not have succeeded in its mission, but only because its sales paled in comparison to the slew of other Elton albums released in 1971-- Tumbleweed Connection, the Friends soundtrack and Madman Across the Water. 11-17-70 also had vinyl bootlegs to contend with, many of which included the entire radio concert from which the album was culled, as opposed to the mere six songs on the official release.
Until this album was remastered by Elton's (mainly) 70s producer, Gus Dudgeon, it was Elton's greatest live album and one of his best albums overall. In April 1971, people could clearly hear the mania in his singing and playing; indeed, every piano note came to the surface with aggressive abandon. Elton's non-verbal exclamations were also in abundance, as were multitudinous audience screams and clapping. Until Gus remastered it, 11-17-70 had a quality that increased one's heart rate and level of exhilaration before the first song was over! But Gus has erased the excitement by lowering the brightness of Elton's piano, muffling many of his non-verbal exclamations as well as those of the audience and erasing much of the clapping. What a horrible disappointment!
I would advise anyone interested in hearing this album who owns a functioning turntable to seek out the vinyl. If all you've got is a CD player, try the Polydor CD. Forget about this remaster!


Oh DARN! The Remaster is almost painful!   April 17, 2002
Greg Sands (Collingswood, NJ United States)
5 out of 5 found this review helpful

As a longtime Elton John fan, my all-time favorite album was 11-17-70, an in-studio performance that shook the house and showed that Elton John was one of the greatest live performers ever. In particular, his cover of "Honky Tonk Woman" honored the Stones original with a blast of energy. His "Burn Down the Mission" finale (touched with bits of Elvis' "My Baby Left Me" and the Beatles' "Get Back") was in many ways better than the original studio track on "Tumbleweed Connection." In any event, I played that album over and over until my father would bang on the walls. Those younger folk who only know Elton's recent work would do well to listen to this recording to see just how brilliant Elton John was in his early days.

Imagine my disappointment when I picked up this CD, remastered by Gus Dudgeon. His reverbs and crummy effects, added to Elton's voice being muddied, don't do the night justice. Shame on you, Gus! I love the music, and give it 4 stars for Elton, Nigel Olsson's drums and the late, great Dee Murray's bass, but Dudgeon's botched remaster prevents me from rating a perfect recording a perfect CD.


Great Record, Mediocre Mix   August 30, 1999
5 out of 5 found this review helpful

If this is all you can get, then buy it. But it leaves out the elements that lifted the original from good to great. I often talked about "11-17-70" as an example of the "before" in an artist's "before" and "after" comparison.

What I mean is that before an artist is a star, he will usually issue really tight, focused work with every note/word polished. The insecurity is part of what makes a great rising artist great. Then, once they get well known, many if not most artists tend to slack off and they lose much of what made them great.

"11-17-70" is Elton John at his best before he became rock and roll's Liberace. It is one of the most intense live recordings I've ever heard. I have the vinyl, and it's almost as if you can hear the beads of sweat falling off Elton's forehead as he sings. The creative tension is overpowering to the point of being almost mystical. My favorites are "Can I Put You On," "60 Years On" and "Burn Down the Mission." Man, what heat.

A lot of that is missing from the re-mix, which is very strange. Why would the re-mixers actually take out what made it great? Why would Elton tolerate it? If you can get the vinyl, go for it. Even on CD, though, "11-17-70" chronicles a rising star at his very best. It reminds you of what Elton John was, and could have been.