Tumbleweed Connection

Co-writer Bernie Taupin said of the album, "Everybody thinks that I was influenced by Americana and by seeing America first hand, but we wrote and recorded the album before we'd even been to the States. It was totally influenced by The Band's album Music From Big Pink and Robbie Robertson's songs. I've always loved Americana, and I loved American Westerns. I've always said that 'El Paso' was the song that made me want to write songs, it was the perfect meshing of melody and storyline, and I thought that here was something that married rhythms and the written word completely." John has remarked, "Lyrically and melodically, that's probably one of our most perfect albums. I don't think there's any song on there that doesn't melodically fit the lyric."^[6]

Basic tracks for three of the album's titles, "Come Down in Time", "Country Comfort" and "Burn Down the Mission", were recorded at Trident during the sessions for the previous LP, Elton John, with overdubs completed for Tumbleweed Connection. An early version of "Madman Across the Water", featuring Mick Ronson on electric guitar, was also recorded during the sessions for the album. It was released on several albums and reissues of Tumbleweed Connection, though the track was ultimately re-recorded for the Madman Across the Water album.^[7]

Dee Murray and Nigel Olsson appear for the first time together on this album as the rhythm section on "Amoreena". Olsson had played on one track on Empty Sky for John in 1969. It is Murray's first appearance on an Elton John album. In addition to several studio players who also performed on John's previous self-titled second album, several tracks feature backing musicians from the band Hookfoot, who were also his DJM Records label mates. Hookfoot guitarist Caleb Quaye and drummer Roger Pope had also appeared on John's Empty Sky album.

No singles were released from the album in the US by either DJM or John's US distributor, Universal Records, but "Country Comfort" (b/w "Love Song") was released as a single in Australia, New Zealand and Brazil.^[8] It peaked at No. 15 in New Zealand,^[9] and did not chart in the other two territories it was released in.

The wraparound cover photo for the album was taken at Sheffield Park railway station in Sussex, approximately 30 miles (50 km) south of London on the Bluebell Railway. Photographer Ian Digby Ovens^[10] captured John (seated to the right in the photo but appearing to the left on the front cover, shown above) and Taupin (standing to the left, on the back cover) in front of the late-nineteenth-century station, to represent the album's rural Americana concept despite the English location. Additional photos were taken from the interior of a train on the line for the album liner notes and libretto.

In August 2020, the Bluebell Railway announced that, to mark the 50th anniversary of the release of the album, it had restored the station to look as it did when the cover photo was taken, giving people an opportunity to re-create the scene in their own photos.^[11]

Professional ratings

Review scores
Source	Rating
AllMusic	[12]
Christgau's Record Guide	B−[13]
Q	[14]
Rolling Stone	(mixed)[15]
Rolling Stone (deluxe edition)	[16]
The Rolling Stone Album Guide	[17]
Uncut	[18]
The Village Voice	C+[19]
Yahoo! Music	(favourable)[20]
Encyclopedia of Popular Music	[21]

The album peaked at number two on the UK Albums Chart and number five on the US Billboard 200 chart.^[3][4] In the US, it was certified gold in March 1971 and platinum in August 1998 by the RIAA. The album sold very quickly in the US, debuting at number 28 on Billbord's Top LPs,^[22] an unusually high debut for a new artist at the time, and reached its peak position in just four weeks.^[23]

In 2012, Tumbleweed Connection was ranked number 458 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Reviewing later for AllMusic, Stephen Thomas Erlewine wrote: "Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best."

Robert Christgau wrote in his 1981 Record Guide: "good melodies and bad Westerns on it. Why do people believe that these latter qualify as songpoems?" (Note: There's an earlier Christgau review of the album, written in 1970 for The Village Voice). Reviewing for Rolling Stone, David Fricke wrote: "1971’s Tumbleweed Connection needs no improvement; it is one of the best country-rock albums ever written by London cowboys."

Robert Hillburn wrote for The Los Angeles Times: "Tumbleweed Connection is that near-perfect album that artists often spend a whole career trying to produce."^[24] Dave DiMartino wrote for Yahoo! Music: "A step up from the slightly more overtly commercial Elton John... Tumbleweed is beautifully recorded and filled with very fine songs... Bordering on classic status."

"Burn Down the Mission," the tenth and final track on Tumbleweed Connection, is the most enduring and frequently played number from the album, the only one played by John on his Farewell Tour in 2022–23.^[25] It was one of the very few non-singles in the Farewell Tour setlist, being played every night.^[26]

"Burn Down the Mission" is musically driven by the story told by Bernie Taupin's lyrics, as is common in John/Taupin collaborations.

The lyrics themselves, while telling a simple story, are vague enough to be open to interpretation. Ostensibly the story is that of a poor community oppressed by a rich and powerful force, and the narrator, driven by some sort of revelation, has decided to take direct action to remedy the situation. However, his attempt fails and he is "taken away", presumably to meet his fate, and justifies his actions as an attempt to defend his family.

The music reflects this narrative structure by starting with a slow piano introduction and the telling of the hero's situation and his progress towards direct action; the middle section, which is faster, jazzier and brings in full instrumentation, can be read as an interpretation of the actual struggle in which the hero engages. Finally, the struggle has ended and the music returns to its initial understated form, reflecting the eventual defeat of the hero. The song ends with a restatement of the middle section while it fades out.

In the premiere episode of Elvis Costello's show Spectacle on Sundance channel, John cited Laura Nyro as an influence on, among other, unusual structure and rhythm changes of this song in particular.^[27]

This is one of the most musically complicated works of John's career. The key changes four times before returning to the original opening chord sequence at the half-way mark. It has always been quite a fan favorite, and John has frequently performed it live over the last 40 years: ^[28]

• John's first live album, the WABC radio broadcast 11-17-70, concludes with a version (running 18:10), interpolating Elvis Presley's "My Baby Left Me" and the Beatles' "Get Back"
• The song was a regular feature of the 1974 US and UK tours, with a version from the Royal Performance in London, included in the album Here and There
• Elton's longest and most complex standalone jam of "Burn Down the Mission" (lasting 10:17) was in the Christmas Eve 1974 performance broadcast live on the BBC from Hammersmith Odeon in London, much bootlegged as Ol' Pink Eyes Is Back and Just Like Strange Rain (listen here at timecode 9:43).
• A more conventional rendition was recorded in December 1986 and released on Live in Australia with the Melbourne Symphony Orchestra.

• In 1991, the song was covered by Phil Collins for the tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin.
• In 2002, the song was recorded by Toto for their album Through the Looking Glass.

Track numbers refer to CD and digital releases of the album.

• Elton John – lead vocals, acoustic piano (1, 3–6, 8–10), Hammond organ (8), backing vocals (10)
• Brian Dee – Hammond organ (10, 13)
• Caleb Quaye – lead guitar (1, 4, 6, 8), acoustic guitar (1, 3, 5, 6), electric guitar (5)
• Les Thatcher – acoustic guitar (2, 10), 12-string acoustic guitar (3)
• Gordon Huntley – steel guitar (3)
• Lesley Duncan – backing vocals (1, 4, 5, 7), acoustic guitar (7)
• Mike Egan – acoustic guitar (10)
• Dave Glover – bass guitar (1, 4–6)
• Herbie Flowers – bass guitar (2, 3, 10)
• Chris Laurence – acoustic bass (2, 10)
• Dee Murray – backing vocals (3, 6), bass guitar (8)
• Roger Pope – drums (1, 4–6), percussion (1)
• Barry Morgan – drums (2, 3, 10)
• Nigel Olsson – backing vocals (3, 6), drums (8)
• Robin Jones – congas (10), tambourine (10)
• Karl Jenkins – oboe (2)
• Skaila Kanga – harp (2)
• Ian Duck – harmonica (3, 4)
• Johnny Van Derek – violin (3)
• Paul Buckmaster – orchestral arrangements and conductor
• Madeline Bell – backing vocals (1, 4, 5)
• Tony Burrows – backing vocals (1, 5)
• Kay Garner – backing vocals (1, 4, 5)
• Tony Hazzard – backing vocals (1, 5)
• Dusty Springfield – backing vocals (1, 5)
• Tammi Hunt – backing vocals (4)
• Heather Wheatman – backing vocals (4)
• Yvonne Wheatman – backing vocals (4)

• Gus Dudgeon – producer
• Robin Geoffrey Cable – engineer
• Gus Skinas – editing
• Ricky Graham – digital transfers
• Greg Penny – surround mix
• Bernie Taupin – lyricist
• David Larkham – art direction, design, cover design, cover artwork, photography
• Barry Wentzell – photography
• Ian Digby-Ovens – photography
• John Tobler – liner notes

• Tumbleweed Connection at Discogs (list of releases)