The Art of Elton John’s Album Covers Part 3 and 4

The Art of Elton John’s Album Covers: Stories, Behind-the-Scenes, and the Creators Behind the Image – Part 3

Behind the Cover of Honky Château: The Intimate Portrait of a Rising Star

By Robson Vianna

Released in May 1972, Honky Château marked a turning point in Elton John’s career. It was his first album to reach the top of the U.S. charts, starting a streak of seven consecutive number-one albums. But beyond the music, the album cover also became a symbol — simple, introspective, and deeply personal. Few know the story behind that sepia-toned image of Elton, with scruffy facial hair, dark sunglasses, and a thoughtful expression.

The photograph that graces the cover was taken by Ed Caraeff, a renowned American photographer who, at the time, had already shot covers for artists such as Jimi Hendrix, Bee Gees, and Steely Dan. Unlike images produced in studios or lavish locations, this photo was captured in a completely mundane setting: the hotel room where Elton was staying in Los Angeles, at the iconic Continental Hyatt House on Sunset Boulevard.

The photoshoot took place in August 1970, precisely when Elton arrived in the United States for his historic debut at the Troubadour Club in Los Angeles. Caraeff, who already knew Elton and his lyricist Bernie Taupin from previous visits to London, was invited for a quick photo session. The result captured a rare moment: Elton, just 23 years old, still transitioning from the shy Reginald Dwight to the flamboyant persona the world was about to discover.

> “He was sitting on the edge of the bed, with a distant, thoughtful look,” recalls Caraeff. “When I showed him the cloth-based sepia print, Elton immediately chose it for his next album cover.”

Curiously, the album was titled Honky Château not because of Los Angeles, but in reference to the place where it was recorded: the historic Château d’Hérouville, a studio set in an 18th-century castle in France. There, in January 1972, Elton, Bernie, and his band spent just over a week recording songs that would become classics, including “Rocket Man” and “Honky Cat.”

The contrast between the album’s title and the cover image is striking. While the name evokes a French castle, the photo reveals a raw Elton — no costumes, no showmanship — captured in a moment of introspection. A decision that today is seen as brilliant — a faithful representation of the duality that has always defined his career: the man behind the star.

A Similar Look, But Different Moments

It is interesting to note that just over a month after that photo session in Los Angeles, Elton appeared with a similar look — sunglasses and scruffy beard — in an interview published by the British underground magazine Friends, on October 2, 1970, titled “The Radio One Hype”, conducted by John Coleman.

In that interview, Elton was back in London, at the BBC Radio One studios, promoting his second album, Elton John (1970), as he began gaining traction on British radio.

Despite the similarity in appearance — a sign that this look was starting to become part of his identity — the context was completely different. Ed Caraeff’s photos were taken in Los Angeles, while John Coleman’s interview was held in London. There is no record that the photos taken at the Hyatt House in Los Angeles were used in the Friends magazine article.

🔗 You can read the full interview at the link below:
Friends Nº 15 – October 2, 1970
“The Radio One Hype” – by John Coleman
Link:
https://www.ibiblio.org/mal/MO/philm/elton/elton.html

The simplicity of the Honky Château cover is as powerful as its music. It reflects not only an artist on the brink of worldwide fame but also the vulnerability of someone who, at that moment, was still figuring out how to become a star. Perhaps it is precisely this honesty that makes Honky Château — both in music and imagery — one of the most iconic albums in the history of pop and rock.

Photo References from the Era:

https://www.reddit.com/r/EltonJohn/comments/sz1lfb/elton_john_backstage_at_the_troubadour_in_august/

https://iconiclicensing.net/photo/ec-ej378

https://iconiclicensing.net/photo/ec-ej373

The Art of Elton John’s Album Covers: Behind-the-Scenes, Stories, and the Creators Behind the Image – Part 4

Throughout his career, Elton John has built not only a musical catalog full of classics but also an impressive visual legacy. His album covers often transcend the role of simple commercial packaging to become pieces of art in their own right, full of symbolism, cultural references, and fascinating stories. In this fourth part of the series, we explore the behind-the-scenes of iconic album covers.

Don’t Shoot Me I’m Only the Piano Player (1973)

In early 1972, Elton John and Bernie Taupin moved into a mansion in Malibu, California. It was a period marked by intense creativity, constant parties, and encounters with celebrities. Among the notable guests, the legendary comedian Groucho Marx played a curious role in the story behind Don’t Shoot Me I’m Only the Piano Player. Groucho, famous for his peculiar humor, often jokingly called Elton “John Elton,” deliberately reversing his name. During a dinner, pointing his fingers like pistols at Elton, Groucho triggered a playful response from the singer, who raised his hands and said, “Don’t shoot me, I’m only the piano player!” The phrase stuck in Elton’s mind and months later was chosen as the album’s official title.

Released in January 1973, the album became a huge commercial success, driven by hits like Crocodile Rock and Daniel. But the homage to Groucho Marx went beyond the title. The cover, photographed by Ed Caraeff, shows the entrance of an old movie theater, with the album title displayed as if it were a film on the marquee. Inside the scene, Elton and Bernie appear as spectators. A subtle but clever detail is the visible movie poster for Go West (1940), by the Marx Brothers, sealing the visual tribute to Groucho. The nostalgic atmosphere of the cover connects directly with the album’s sound, which pays homage to the pop music of the 1950s and 60s, reinterpreted by Elton with humor and emotion.

Madman Across The Water (1971)

Released on November 5, 1971, Madman Across The Water marked an aesthetic and sonic shift in Elton John’s career. Musically darker and more introspective, the album features dense, emotional songs like Tiny Dancer, Levon, and the title track. Its rustic, mysterious, and almost handmade-looking cover perfectly reflects this artistic transition.

Who Created the Cover?
The cover art was designed by David Larkham, art director at Camouflage Productions, and the fabric piece featured on the cover was handcrafted by Michael Ross.

David Larkham – The Art Director
Larkham was responsible for many of Elton John’s iconic covers throughout the 1970s. He worked on the artwork for:
Tumbleweed Connection (1971)
Honky Château (1972)
Goodbye Yellow Brick Road (1973)
Captain Fantastic and the Brown Dirt Cowboy (1975)

He also worked with other artists under DJM Records and Rocket Records. His signature style combined illustration, typography, and photography with a handcrafted, conceptual approach. Larkham’s work was crucial in shaping the visual identity of Elton’s classic era.

Michael Ross – The Textile Artist
Michael Ross, lesser-known to the public, was a graphic designer with hands-on artistic skills. For the Madman Across The Water cover, he stitched the album title onto denim-like fabric with rough, visible stitching, creating a raw, folk-inspired aesthetic. His collaboration with Larkham was a one-off and is considered unique within the history of album cover design.

How Was the Cover Made?
The idea emerged after meetings between Elton, Bernie Taupin, and David Larkham. They wanted something different from traditional photos — something that visually matched the album’s somber tone. The blue fabric, which appears denim-like, was actually linen dyed to avoid reflections during photography. The stitched title looks like a torn or patched label, metaphorically representing an outsider figure, aligning with the album’s lyrical themes.

Interesting Facts
The original fabric piece created by Michael Ross still exists and has been displayed at select private exhibitions about Elton’s career. Larkham once revealed that the fabric was photographed in high definition and then stored as a personal keepsake. The handmade texture and lighting were carefully managed to create the three-dimensional look seen on the cover.

The back cover continues the handcrafted theme, with handwritten-style text and simple illustrations. The inner sleeve follows the same concept, evoking something intimate and homemade, in contrast to the grand orchestration of the music.

The Madman Across The Water cover is not just packaging — it’s part of the storytelling. Its apparent simplicity hides a complex manual design process that fits perfectly with the album’s introspective mood.

A Single Man (1978)

Released on October 16, 1978, A Single Man marked a significant transformation in Elton John’s career and public image. It was his first album since 1969 without Bernie Taupin as his lyricist and followed a sabbatical break from touring. The cover reflected this new chapter: a mature, sober, and almost unrecognizable Elton.

On the cover photo, Elton stands in the middle of an empty road at Great Windsor Park, near Windsor Castle, dressed in a long overcoat, top hat, tie, boots, and holding a cane. This image carried multiple messages. The absence of his signature glasses — a trademark since the early 70s — signaled change. The Victorian, aristocratic style represented British tradition, contrasting with the flamboyant image Elton had embraced for most of the decade. More directly, the title A Single Man carries an evident double meaning.

Literally, A Single Man means a single, unmarried man. But in English, it also suggests “a man alone,” not only in the romantic sense but as someone facing new challenges, navigating a transitional moment in life. This wordplay reflected Elton’s state at the time. After years of intense partnership with Bernie Taupin, he now stood artistically on his own. Some critics also note a possible reference to Christopher Isherwood’s 1964 novel A Single Man, which deals with themes of loneliness and personal reinvention — though Elton never confirmed this connection.

The cover photo was taken by Terry O’Neill, a renowned British photographer famous for portraits of The Beatles, David Bowie, Audrey Hepburn, and Queen Elizabeth II. Art direction was handled by David Costa, who had previously worked on other Elton John projects and with artists like Genesis, Eric Clapton, and Roxy Music.

Known for capturing natural, candid moments of celebrities, O’Neill took a different approach here. The A Single Man cover is a highly staged, iconic portrait. The location choice — a long, tree-lined avenue with Windsor Castle in the background — symbolized both British tradition and the solitude of someone walking their own path, with past and future both visible on the same horizon.

The outfit, inspired by 19th-century British fashion, was a joint decision between Elton and O’Neill, aimed at conveying sophistication and introspection while distancing Elton from the extravagant image of his earlier years. This was the first time in nearly a decade that Elton appeared on an album cover without his iconic glasses, surprising fans and media alike. Elton explained that he was trying to reconnect with his true identity, temporarily stepping away from the flamboyant character he had built.

Though the photo appears simple, the production was anything but. O’Neill had to obtain special permission to shoot at Windsor Great Park, a restricted area owned by the British royal family. The back cover shows Elton in a slightly more relaxed pose, still dressed in the same attire. The inner sleeve features more photos from the session and credits for the musicians, including Clive Franks and Gary Osborne, key partners on the album.

Musically, A Single Man is more sober and introspective, diverging from the sonic and visual extravagance of albums like Goodbye Yellow Brick Road or Captain Fantastic. The songs are more mature, sometimes melancholic, sometimes nostalgic — as heard in Song for Guy, one of Elton’s biggest instrumental hits.

The cover isn’t just an elegant photo — it’s a statement. It marks the end of one era and the beginning of another in Elton’s life and career. By temporarily abandoning his signature glasses and flamboyant outfits, Elton revealed to the world that behind the superstar, there was indeed a single man — or perhaps a man alone. Either way, the message was clear: this was a new Elton John, ready to move forward on his own.

21 at 33 (1980)

Released on May 13, 1980, 21 at 33 marked a new chapter in Elton John’s career. It was his return to a fully structured band setup after years of working with various musicians and more experimental projects. The title refers to it being his 21st album (including studio albums, live recordings, and compilations) released at the age of 33. Just like the title, the cover is full of symbolism.

The artwork is minimalist, abstract, and striking, composed of geometric shapes and primary colors — blue, red, yellow, and dark green. Two hands appear from outside the frame, each holding an Ace of Hearts — a clear nod to luck, gambling, and symbolically, a “new game” for Elton. Nearby, three poker chips — red, white, and blue — further reinforce the gambling theme.

The cover was designed by the Rocket Records art team, led by David Costa, who had created several Elton John covers since the mid-70s, including A Single Man and Jump Up!. Costa was known for his clean, elegant, conceptual designs that often prioritized graphics over traditional photography.

The hands holding the cards were photographed by David Nutter, a photographer who also worked on covers for artists like Cat Stevens and Bryan Ferry. The goal was to create an image that felt modern, symbolic, and didn’t rely on Elton’s physical presence — a conscious choice aligned with the era’s aesthetic trends and Elton’s desire for reinvention.

The use of geometric forms and bold colors reflected late 70s and early 80s design trends, heavily influenced by European modernism and Bauhaus principles. The artwork conveys simplicity, clarity, and a sense of calculation — as if someone is studying the game board before making the next move.

The card game concept also has a personal and professional resonance. Elton was, in a way, betting on himself again, rebuilding his band with members like Nigel Olsson, Dee Murray, Richie Zito, and featuring guest appearances by Steve Lukather and David Paich of Toto, plus Ringo Starr and Pete Townshend.

Curiously, 21 at 33 is one of the few Elton John albums whose cover doesn’t feature his image — something only indirectly seen before on Madman Across The Water and Blue Moves This was no accident but an intentional, conceptual choice. The music would speak for itself without needing to reinforce his visual presence.

Another interesting detail is the placement of “Elton John” in the upper-right corner and the album title 21 at 33 written vertically. This breaks traditional layout expectations, reinforcing the modern, daring graphic design.

If the cover symbolizes betting on something new, the music inside reflects this transition. 21 at 33 blends styles, from radio-friendly pop like Little Jeannie — his biggest U.S. hit since the 70s — to introspective ballads.

The 21 at 33 cover isn’t just graphic design; it’s a visual metaphor for Elton’s life and career at the time — a poker table, cards in hand, and a chance to restart the game with new allies and a new future. As history showed, it was indeed a winning bet.

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