Elton John band percussionist John Mahon talked to our partner magazine "East End Lights" and answered some questions about the final tour and the recording of Wonderful Crazy Night.

1. So this “final curtain” tour is supposed to be the last big tour for Elton. What’s the feeling amongst the band, the crew etc?
JM: We are all excited about the last tour because it is going to be a big show in great cities all over the world. I don’t think about it being a farewell tour and never do another show with Elton - I just think it will be the end of touring year round.

2. What are you going to miss the most about being on tour?
JM: I will miss my road family of course and really miss playing those amazing songs night after night. We get to see some spectacular parts of the world and I will surely miss the exotic travel.

3. Turning to the new CD ‘Wonderful Crazy Night’: What’s the feel (sound, tempo, fast/slow songs etc) of the new CD?
JM: When we started the project Elton said to me, “let’s keep these songs up and lively". And that they are - I did my best to create grooves in bright tempos when the opportunity arose. The album is very organic sounding and the lyrics as always quite amazing. Bernie never fails to surprise with a story or idea that always comes out of left field. I’ve written many lyrics and he is truly incredible.

4. Its been a long time since Elton has recorded an album with the band, what was it like finally getting back into the studio again?
JM: It is always a memorable experience to watch Elton write a song. To be part of the process is an honor and to sit right in the room with him while he creates is magical - and sometimes you get to see him struggle which makes him human. He does not linger long on a song that’s not working out. He’ll move on quickly - for Elton, I think the flow is either there or it isn’t.

5. I heard that there is a lot of guitar on the album? Maybe you’ll have to bring back John Jorgenson for the tour to help Davey carry the load.
JM: Davey always plays a lot of guitar parts. He’s so creative in the studio Elton just lets him record for hours. But not all of the parts turn out to be so noticeable in the mix. They are layers or sound FX or doubles. In this day and age between samplers and electronic guitar synths we can replicate anything Davey did and play it via keys or drum pads. I don’t think we’ll add another guitar player. Davey will play the standout parts himself and the other parts we’ll cover if need.

6. Elton has said that the recording of the album reminded him of recording in the 70’s, the songs being done in one or two takes.It that correct?
JM: Yes, one or two takes when the tape started to roll. Of course we would run through the song and sort of learn it while Elton was writing it. And of course there were plenty of times we would stop the take before it went all the way if the feel was not right or the tempo was off or God forbid - someone made a mistake! But most of the songs were really done in a a couple takes - a couple songs were done the 1st time for Elton’s part.

7. Elton said this was a live album. Does that mean you all recorded your instruments at the same time or did you layer them one or two at a time.
JM: There were a good number of songs that were recorded with all of us playing. Usually it was Elton’s piano, bass, drums and maybe guitar. Other songs would start with just Elton’s piano, my percussion and bass all the way through to set a consistent groove. Then Nigel's drums would be overdubbed later. Kim would sometimes play organ during the take and go back afterward for overdubs or fixes. Davey did lots of overdubs like acoustic guitars and solos that work better when recorded separately. Every song was different but always started with some type of ensemble feel.

8. Was Elton more hands on with this record since he “co-produced” with T Bone Burnett?
JM: Elton was very hands on. He is full of ideas and usually open to trying different things when it comes to guitar or keyboard parts. He knows what he likes and all his ideas bounce off of T-Bone and the band members too. T-Bone of course drives the direction of the recordings but when we get on a roll he let it go and did not try to interrupt the flow.

9. Did Elton only play the piano while Kim Bullard handled all of the other keyed instruments?
JM: Mostly yes, there were a keyboard parts that were not piano sounds that Elton played to create an idea. On this record, Elton liked to just play the piano and the other keyboard parts were overdubbed as we went along.

10. Elton said you recorded a song a day. Did he write one song a day as well? Were they written on the spot or did he come in with demos?
JM: It sort of goes like this. Elton shows up in the morning and goes directly to the piano. With the tape running he picks a Bernie lyric to start creating a song with. He will pretty much stay at the piano until he has written a song in it’s basic form. Sometimes we will join him in the room by the piano and let him bounce suggestions off of us - melody, harmony, tempo, groove, song form etc… From there we decide which instrumentation will be the best way to record the song. This all happens in the 1st hour or two. Once the basic song is recorded he will record the lead vocal. After that is done it’s time to add the other instruments that were not recorded in the first go around. Then it’s overdubbing more parts where needed, and usually last is vocal harmonies. By the end of the day we have a song in the bag. Pretty much a 12-8pm day.

11. How did you figure your parts in coordination with Ray Cooper and his work?
JM: Most of the record was done before Ray came over to America so he added parts where they were needed on some of the early recordings. I believe he was there for the writing of the last four songs, and I want Ray to do what he does before I decide to “muck it up”! I will just add color when there’s a need for it. It’s difficult to not want to play your part but sometimes there’s just not the right space. Ray is genius in the studio so it’s always just a learning experience for me.

12. Was the album recorded quickly during the tour i.e. did you record a song and then jump on a plane to that night’s gig?
JM: We had a few weeks in the studio in blocks. Three weeks here, two weeks here. Maybe a few days we jumped back in but it was mostly done in about a two months window between touring.

13. If you only did the recording and not during the touring was it just show up to the studio and hang out for a day and work like a 9-5 job?
JM: Well yes. I am usually the last person to overdub my percussion parts so there were a few late nights but we tried to keep it civilized. I think the recording engineer works harder than anyone else. Some of us like to just hang around after Elton leaves and experiment with parts or maybe have late dinners. It was nice recording in LA because you could go home and not to a hotel afterward.

14. Is there more camaraderie during making an album? Or does everyone just go home and back to work the next day?
JM: It can be intense in the studio but we are always puling for each other to come up with something that elevates the song musically. It’s good because we can be very honest with each other and that’s where the camaraderie comes in. You need to be able to take criticism from all levels. If you cannot do that, then just pack up and go home!

15. Was there a lot of spontaneity on the record?
JM: When you record a song a day there is always spontaneity. Elton loves when something odd happens and it is a good thing. For example we have a handclap on "Guilty Pleasure". I don’t remember who suggested it but next thing I know T-Bone takes us upstairs to this massive old room and four of us, I think Davey, Matt, Nigel and myself did a "Crocodile Rock" hand-clap that sounded like it was in a church! Elton is spontaneous with harmony parts - he will hear something in his head and run right to the mic to record it.

16. Any extra guest performers on the record? Any duets? Who did the backgrounds?
JM: There are no guest performers on the record or duets. U2 was rehearsing upstairs - maybe we should have tried to get Bono on something? Elton did quite a bit of the background vocals himself. The rest were done by Davey, Nig, Matt and I.

17. What was working with T-Bone like? Are you free to play what you want or does he define each part etc.
JM: T-Bone Burnett was the consummate producer. He lives and breathes music. He knows when a take is not working or when he thinks we can do better. He is mostly about getting the best performance from his musicians and artist. He is supportive and suggestive. He will not say that sucked when maybe it did. He will inspire a better performance out of you and make gentle but intuitive corrections, always keeping the mood light and fun. And he burns wood in the studio - odd but cool. I look forward to working with him again.

18. What’s your favorite song on the record? Elton said it’s a 1970’s feel yet very 2015 , what’s your take?
JM: I don’t like to put music into categories of dates and genres. It either floats your boat and moves you or it doesn’t. You will be tapping your foot on this album - I guarantee that. Elton said he wanted a push to keep it uptempo and he got that from me when I could. These are his songs and the band is there to add what he feels makes the song what he hears it to be. We want him to be the best so we give him our best. Favorites that come to mind are "The Open Chord", "Tambourine", and "Wonderful Crazy Night".

19. Since it was recorded quickly, did you feel enormous pressure on your work?
JM: I always feel pressure to do my best. Of course I want to come up with the perfect part but it’s not always possible. Elton writes from the melody down where some artists start with the beat. It’s a challenge to add a percussion part after all the instruments have been added. Sometimes the best part is no part! But the reality is after this many years as a musician your instincts kick in and you will you know quickly what is going to work or not.

20. How do you think these songs will translate live? Do you look forward to playing them verses Diving Board material?
JM: These songs are going to be fun to play live. They are lively and the subject matter is surely a shift from the last album. It’s also very different playing songs that you actually recorded as opposed to recreating another musicians parts. There’s a fine line between respecting what another musician played and trying to make it sound better so it works live. You don’t want to insult the other player but of course want to put your own touch on the part. We’re going to have a good time playing this record.

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