Elton John: Victim of DISCO

Elton John: Victim of DISCO

At the end of the 1970s, as disco music was nearing its commercial decline, Elton John made a radical decision: to record an album fully immersed in the world of the dance floor. The project, titled Victim of Love, was released in October 1979 and produced by Pete Bellotte—known for his work with Giorgio Moroder and Donna Summer. The record was a bold experiment and, for many, a misunderstood one. But amid critical and commercial rejection, one element remains undeniable: Elton John’s voice, strong, expressive, and incredibly present on every track.

The invitation came from John Reid, Elton’s manager at the time, who arranged the meeting with Bellotte. Elton accepted the proposal with an unusual condition: he would not compose, not play piano, and would participate only in the vocal recordings. And so it was—a single eight-hour session was enough to capture his vocal performance. The studio band and all production duties were handled by Bellotte and his team.

Before and during the recordings of Victim of Love (recorded mid-1979 and released in October the same year), Elton John became a regular at Studio 54, the legendary New York nightclub that was the epicenter of disco culture between 1977 and 1980. Photos from 1978 and 1979 show Elton alongside Bianca Jagger and Divine at iconic Studio 54 parties attended by celebrities and artistic figures of the time. In interviews from the early 2000s, Elton described living a period of excess—nights filled with parties, alcohol, and drugs lasting until dawn. Shortly before, in June 1979, he had released the EP The Thom Bell Sessions, produced by the renowned Thom Bell, a Philadelphia soul icon, which brought him closer to sophisticated soul and influenced his style. The Studio 54 excitement combined with the artistic success of the EP was key to Elton’s plunge into the disco universe with Victim of Love, even if the album diverged from his traditional musical identity.

The result, however, divided opinions from the start.
The creative absence of Elton and Bernie Taupin, coupled with a homogeneous repertoire, produced an album many considered “soulless.” Rolling Stone’s Album Guide labeled Victim of Love as the lowest point in Elton’s career. On Sputnikmusic, the record was described as “monotonous, dull, bland, sterile”—a marathon of lifeless repetitive beats.

Highlight: The Vocal Performance

Still, critics agree on one point: Elton’s voice shines. Even in a repertoire that lacks his signature touch, he delivers interpretations with surprising energy and nuance. It’s this vocal commitment that sustains the album and prevents it from completely collapsing.

“Johnny B. Goode”
The disco version of Chuck Berry’s classic kicks off with dancefloor energy, and Elton holds the performance for almost eight minutes. Warewolf Reviews stated that he “doesn’t dishonor the original,” recognizing the strength of the performance despite the risky material.

“Thunder in the Night”
Considered by fans and critics as the most visceral track on the album. The Geocities archive highlighted: “He kills it on ‘Thunder in the Night’… it’s a full vocal performance.”

Key tracks: “Born Bad,” “Victim of Love”
Some see cohesion in the album’s final songs. On forums like Reddit, fans comment that “all the songs are catchy… they seem to form one continuous 35-minute sound flow.” Geocities also pointed out that “the vocals on the last four tracks are seriously underrated.”

Critical Reception: A Disaster in Other Aspects

Despite the praised vocal performance, most specialist critics were harsh.

Village Voice — Lester Bangs spared no words: “There’s no getting around it… Elton is in trouble.”

Ultimate Classic Rock — called it “the worst album of Elton’s career.”

Rolling Stone Album Guide — declared it “the lowest point in his discography.”

Sputnikmusic — perhaps the most scathing, described it as:

> “monotonous, dull, rancid, uninteresting, sterile… the worst thing associated with Elton John.”

Other outlets acknowledged one common point: Elton sings well despite the circumstances.

Dave’s Gen X Blog wrote: “He sings well, even with weak material.”

Warewolf Reviews, while calling the album lukewarm, admitted: “You still hear glimpses of the real Elton in certain songs.”

The Cover, the Detachment, and the Lack of Promotion

The black-and-white cover, sober and cold, perfectly reflects Elton’s emotional distance from the project. He did not promote the release, did not include any tracks in his shows, and didn’t tour. The album was, in every sense, an exception in his career—almost like a dancing outburst, with no commitment to his usual musical identity.

The Verdict of Those Involved

Elton never hid his opinion about the project:

> “It was self-indulgent. I just wanted a record to dance to… I’m not ashamed of it.”

Bellotte, meanwhile, was blunt:

> “It wasn’t a good move for him. Probably his least successful album.”

Final Reflection

Victim of Love is a curious chapter in Elton John’s history—a sonic adventure that departs from what made him an icon, but paradoxically reveals the strength of his voice to carry even his most controversial projects.

Elton John’s distinguishing feature is the wide variety of musical styles in his work and the changes he dares to make over decades. These shifts—black music, reggae, rock, country, new wave, pop, orchestras—kept him artistically alive for over fifty years. Many prefer he had stuck to repeating himself on albums like Madman Across the Water—which wouldn’t be a bad idea. For example, I have recent albums by Paul Simon (Seven Psalms) and Art Garfunkel (Father and Son) that are excellent—they maintain their creators’ classic style. But… would that be good for Elton?

Had he chosen to repeat Razor Face for 30 years, he might have missed the risks that produced songs like “I’m Still Standing,” “Sacrifice,” or “This Train Don’t Stop There Anymore.” It’s hard to say what would be gained or lost. But that is Elton John’s soul: a true chameleon—musically, visually, and personally. And even on the most rejected album of his career, it is his voice—powerful, determined, unmistakable—that saves the experience.

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