of old age. "First Episode at Hienton" spoke directly to the feelings of every teenager, telling the story of a young mans first sexual experi- ence with a girl named Valerie. On "Take Me to the Pilot," the mean- ing of the words was more cryptic ("I havent a clue", says Taupin) apparently explained only by Taupins interest in science fiction at the time. And while the meaning might have been foggy, the emotional charge of the music was clear, grabbing the psyche of listeners, taking them to a crescendo of synthesizer-enhanced, full-orchestral climax. "The Greatest Discovery," in contrast, was a piano lullaby describing one of lifes most emotional experiences, the birth of a baby. Other songs spoke of the cultural gaps associated with poverty ("No Shoestrings on Louise") in a country melody, similar to what the Rolling Stones were recording at the time. Race relations and the consequences of bigotry were encompassed in "Border Song," with soul themes so profound that Aretha Franklin recorded a cover of the song the next year-the first major star to do so. The final song, "The   King Must Die," was interpreted in the culture of the time to be about the death of Martin Luther King, although Taupin actually wrote it about assassination plots through the ages.   A Transgenerational Appeal   This album, and subsequent others, connected at the deepest level with people of all ages, genders, and cultural groups. It laid the foundation for Elton Johns transgenerational marketing strategy- creating a product that may be designed for a specific segment but whose appeal transcends a variety of age groups rather than just teens or just boomers. Other artists have had success with a similar approach, although few are really able to create a music product that appeals to multigenerational audiences. The fact that the classic rock bands highlighted in this book have been around for so long helps to explain why they are more likely to attract varied audiences today, but it isnt often that new artists can attract the same mix. One breakout example of late is Norah Jones, whose fairytale suc- cess story began with the release of her album Come Away With Me in February 2002, culminating in eight Grammy awards, ranging from Best New Artist to Album of the Year. But this Cinderellas night at the ball was not the result of an invitation by the prince, rather because the townspeople drove her to the palace and pushed her inside. Her voice is sultry, her look exotic, her sound lush, her talent enormous and genuine. With low expectations for the commercial success of the album, critics and fans alike were surprised by the runaway accept- ance of her style of music, and no one was more stunned than Jones herself.