← Behind The Song: Classic Rock Chronicles
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Janda
97.1Fm the drive presents the behind the Song podcast, taking you deeper into classic rock's most timeless tunes. Here's your host, Janda.
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Unknown
One of the great things about rock and roll is that there's room to be weird and sometimes it's the odd stuff about a song that makes it a hit. That's true for Elton John's second number one single, Benny and the jets, released in 1973 on the Yellow Brick Road album, with lyrics by Bernie Taufin about a fictional animatronic all girl band inspired by comic books, Fritz Lang's sci fi classic Metropolis and a pinch of David Bowie, it became a hit that Elton John didn't see coming at all, especially for a song that was recorded to sound fake live and starts with an accidental piano chord. Let's get into it in this episode of the behind the Song podcast and if you like it, give it a thumbs up and hit. Subscribe. Let us know in the comments. Goodbye Yellow Brick Road was the second of two albums released by Elton John in 1973. It came out in October, while the first, Don't Shoot Me, I'm Only the Piano Player, was released in January. That one yielded his first number one single in the US Crocodile Rock. This practice of releasing multiple albums in a year was not that uncommon back then. Bowie did it, Credence Clearwater Revival did it, and Elton himself had done it in 1970 with his self titled album and Tumbleweed Connection. When they set out to record Goodbye Yellow Brick Road, they thought it would be a single album, not the double that it became. Producer Gus Dudgeon was brought back to guide the project, a key Elton John collaborator throughout the early to mid-70s. By this point a trusted partner, which may explain why the bright idea to create Benny and the jets to sound live as a studio recording got a pass. To begin with, Elton, Bernie Dudgeon and the band first headed to Kingston, Jamaica to record the songs on the advice of the Rolling Stones who had just recorded Goat's Head Soup there. But they found the studio workers on strike, the equipment gone and generally weren't feeling the vibe. So they packed up and headed to France and set up once again at the Chateau d'herville where they had recorded Honky Chateau and the Don't Shoot Me albums. Goodbye Yellow Brick Road was recorded there in about two weeks weeks, and became a double album in the process, in part because Elton and Bernie said they were continually inspired by the location, built in the 1700s near Paris, with over 30 rooms, a swimming pool, a tennis court And a recording studio on extensive grounds. The former home of the composer Frederic Chopin and with Vincent van Gogh buried nearby, what's not to like? The chateau not only inspired Elton John and Bernie Taupin, but also the Grateful Dead, T. Rex, Pink Floyd, Fleetwood Mac, David Bowie, and many others who spent time there and recorded there over the 70s and the 80s. So in this familiar setting, Elton John and the crew got to work. The recording of Benny and the jets has a couple of notable distinctions. One, that live sound, which came about totally by accident after they started recording a take, Elton John mistakenly hit the opening piano chord of the song one bar before the band was ready start. In listening to it in Playback, Dudgeon realized that it sounded the way a band might open a concert to feed the crowd's anticipation of the live performance. Kind of a here we go moment that happens from the stage. That single accidental chord made Dudgeon think that the whole song should sound like a live concert. So he convinced Elton John to let him add all the live sounds, the claps, the crowd noise, all of it. After the fact, coming off the number one album that Dudgeon had just produced, Everybody said ok. To get the live effect, Dudgeon mixed in sounds from a Jimi Hendrix concert on the Isle of Wight that he had recorded in 1970 and a performance from Elton John at the Royal Festival hall in 1972. He threw in the loud whistles from a concert in Vancouver and the hand claps and the shouts were added in the studio. And this all worked perfectly for a song with lyrics top and conjured up to be kind of an homage to the glam rock craze at the time, written from the perspective of a fan at a concert. The second thing about this recording that's interesting is that Elton John decided to stutter the lyrics, and it became the first rock song to use a stutter to go to number one on the Billboard singles chart. It beat out BTO's Stutter Famous tune you Ain't Seen Nothing yet, which also went to number one several months later. The who's 1965 hit My Generation, which of course famously employs a stutter, only made it to number two. Elton John's choice to use a stutter worked with the idea of the robotic all girl band that he was singing about. He and Bernie Taubman have since said that if you picture the video for Robert Palmer's Addicted to Love with the girls in the band all dressed the same in those tight black dresses, you'd have the closest idea of what the fictional Band in Benny and the jets looked like. The lyrics go like this. Hey kid, shake it loose together. The spotlight's hitting something that's been known to change the weather we'll kill the fatted calf tonight so stick around, you're gonna hear electric music, solid walls of sound. Candy and Ronnie, have you seen them yet? Oh, but they're so spaced out. Benny and the jets, but they're weird and wonderful. Benny, she's really keen. She's got electric boots, a mohair suit. You know, I read it in a magazine. Kandi and Ronnie are the fan narrator's friends at the concert, taking in the spectacle of Benny and the jets on stage, the fatted calf in the spotlight in a mohair suit, as Taupin so vividly described them. And these next lines give us an essential part of the song, the lines about upsetting one's parents, a rite of passage that will probably never go out of style. Hey kid, plug into the faithless maybe they're blinded Benny makes them ageless we shall survive Let us take ourselves along where we fight our parents out in the streets to find out who's right and who's wrong if the song was an answer to the glamrock craze sweeping the world at the time, the idea that a fictional band like Benny and the jets could provide a sort of spir for rebellion against the status quo is rooted in the response to the artists who were leading the pack in the genre at that time. David Bowie and Gary Glitter, the stars that sparkled so brightly for fans just looking for something cool to really devour and make their own, at least for a while. Benny and the jets was so odd that Elton John didn't think it would have a life as a single until radio stations in Detroit started playing it. Cklw, with a signal tower that actually is in on Canada, but serves the Detroit Metro, played it in heavy rotation. Another station in Detroit, wjlb, a predominantly urban station, also played it, and it caught on with fans of soul music. The airplay coming out of Detroit caused a chain reaction with other radio stations in the US and Canada, and eventually it went to number one on the Billboard Hot 100 and it went to number 15 on the Billboard Hot Soul Singles chart. Because of its success on the soul charts, Elton John performed Benny and the jets on soul train in 1975, the first white artist to perform on the show. The song went gold in April of 1974, and since then it has gone double platinum. In 2024, it was ranked number 371 on Rolling Stone's list of the 500 Greatest Songs of all time. Elton John performed it at live aid in 85 and and it appeared in nearly every concert set list throughout his touring career from that point on. It all goes to show you, sometimes doing things a little differently, like singing a song with a stutter or faking live sounds into a song recorded in a studio in a French chateau can be exactly the right things to do when it comes to rock and roll. So what other songs can you think of that seemed weird at first but turned out to be monster hits? Something to think about. Until next time. I'm Janda and this has been behind the song. If you liked this episode, give it a like and subscribe to the channel. Special thanks as always to Christian Lane for the music you hear on these podcast episodes. You can find me on the air at 9071 FM the Drive in Chicago and at wdrv.com and on the way, much more classic rock and roll.