terça-feira, 30 de dezembro de 2025

Elton John — Rare, Unreleased & Archival Audio

🎵 Elton John — Rare, Unreleased & Archival Audio

player:

Research, Documentation and Classification

This document brings together rare, unreleased, demo, and development-stage audio materials associated with Elton John, with the purpose of historical documentation and archival clarification. Many titles circulating online are incomplete, misattributed, or derived from early creative stages. This text organizes them according to their verified or probable origin, avoiding confusion between officially released works and internal or unused material.

🎹 Light of the World

(Unreleased studio recording — 2019)

“Light of the World” was written by Elton John and Tim Rice in 2019 for Disney’s remake of The Lion King. The song was fully recorded in studio and conceived as a dramatic ballad centered on hope, unity, and legacy.

Despite being completed, Disney ultimately decided to exclude the song from the final cut of the film and from the official soundtrack. As a result, it has never been commercially released and remains preserved only in studio archives.

Today, it is regarded as one of the most significant modern-era unreleased Elton John songs.

Classification

Type: unreleased studio recording
Authors: Elton John / Tim Rice
Project: The Lion King (2019)
Status: officially unreleased

🎹 Write Your Own Song (aka Mystical Plan)

(Unreleased demo — The Union sessions)

“Write Your Own Song,” also known under the working title “Mystical Plan”, is a rare solo piano demo originating from the recording sessions for The Union (2009–2010), Elton John’s collaboration with Leon Russell.

The piece reflects the exploratory songwriting phase of those sessions and showcases Elton’s melodic approach in a stripped-down, intimate format. Although completed as a demo, it was not selected for inclusion on the final album.

Classification

Type: demo recording
Era: The Union sessions
Collaborator: Leon Russell
Format: solo piano
Status: unreleased

🎹 Never Too Late (Fast Version)

(Unreleased demo / early arrangement)

“Never Too Late (Fast Version)” is an unreleased demo representing an early developmental stage of the song later released in a slower, ballad-style form.

This version presents a more upbeat, lively, and playful tempo, indicating that the composition originally explored a different musical direction before evolving into its final cinematic arrangement. The fast version has never been commercially issued and does not appear on any official album or soundtrack.

It survives only in private collections and should be classified strictly as a working demo.

Classification

Type: demo / early arrangement
Status: unreleased
Commercial availability: none
Relation to released version: early alternate version
Style: upbeat / lively

🎭 Songs Associated with The Devil Wears Prada: A New Musical

(Development and archival material)

Elton John served as a composer for The Devil Wears Prada: A New Musical. In addition to officially documented songs, several titles circulate among collectors that appear to originate from early development stages, workshops, or internal demos. These titles were not included in the final versions of the musical and were never commercially released.

They should therefore be treated as developmental or unused material, rather than confirmed repertoire.

🎭 I Only Love You for Your Body

(Confirmed theatrical song — not an Elton John vocal recording)

This song belongs to The Devil Wears Prada: A New Musical and is performed by cast members within the show. Elton John contributed as composer, but the song is not sung or released by him as a solo artist.

Classification

Format: musical theatre song
Project: The Devil Wears Prada: A New Musical
Role of Elton John: composer
Performer: cast members
Status: not an Elton John vocal recording

🎭 A Legend Is Born

(Unreleased / unused demo — possible development material)

“A Legend Is Born” does not appear in any official track list, cast album, or published documentation related to Elton John’s catalog. Available evidence suggests it may represent a working title or unused demo created during early development stages of The Devil Wears Prada.

No official recording, score publication, or performance credit has been released. The title likely survives only as a provisional or descriptive filename used internally or by collectors.

Classification

Status: unreleased / unused demo
Context: possible early workshop or development material
Project association: The Devil Wears Prada: A New Musical (probable, not confirmed)
Official release: none

🎭 Dress Your Way Up

(Unreleased / unused demo — possible development material)

“Dress Your Way Up” is likewise absent from all officially released song lists related to The Devil Wears Prada: A New Musical. Its thematic alignment with the fashion-centered narrative suggests it may originate from early conceptual drafts or songwriting workshops.

At present, it should be cataloged as unreleased and unused development material, with no confirmation of public performance or official release.

Classification

Status: unreleased / unused demo
Context: possible workshop or early draft material
Project association: The Devil Wears Prada: A New Musical (probable, not confirmed)
Official release: none

📂 Recommended Archival Classification Structure

Elton John — Rare and Unreleased Audio Recordings

Subcategories:

Unreleased Studio Recordings
Demo & Working Versions
Early / Alternate Arrangements
Musical Theatre Development Material
Misattributed or Unverified Titles

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Rare Elton John recordings

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When Frank Sinatra Met Elton John: Behind the Curtain of “Sorry Seems to Be the Hardest Word”, “Remember”, and a Night in Monte Carlo

By Robson Vianna

The relationship between Elton John and Frank Sinatra is a fascinating, lesser-known chapter in 20th-century music history. Though the two legends never recorded or collaborated officially, their connection was built on mutual admiration, symbolic gestures, and rare public and private encounters. Based on original documents, press clippings, and archival sources, this article reconstructs the complete timeline of their interactions — now fully documented and preserved.

October 1975 – Backstage at the Uris Theatre, New York City

During a two-week sold-out run at the Uris Theatre in Manhattan, Frank Sinatra achieved one of Broadway’s highest-grossing engagements at the time, nearing $1 million in ticket sales. Audiences included celebrities such as Jackie Onassis and, on one particular night, Elton John, who was then 28 years old and attending a Sinatra concert live for the very first time.

According to a newspaper clipping from the period, Elton sent a note backstage requesting a private meeting. Sinatra granted the request. Their meeting was documented with vivid detail, including Elton’s flamboyant outfit:

> “Denim coveralls, a yellow straw hat and a silver mink coat.”

During the encounter, Elton expressed that he had grown up listening to Sinatra’s records thanks to his parents, and felt deeply honored to meet him. Sinatra received the young star with warmth and curiosity, marking the beginning of a symbolic bond between the two artists.

Fan chaos and a bathroom emergency

The same article also describes two unexpected incidents that occurred during Sinatra’s run:

On one occasion, Elton was mobbed by more than 100 fans at intermission and had to flee backstage to Sinatra’s dressing area for safety.

On another night, he was followed into the men’s restroom by several women, and ultimately had to use Sinatra’s private bathroom, as some fans even tried to photograph him inside the stall.

These surreal episodes underscored Elton’s rising fame and the unique refuge he found backstage with Sinatra’s team.

https://www.reddit.com/r/franksinatra/comments/12lxfh0/hmf_elton_john_and_frank_sinatra_videos/

October 1976 – The release of “Sorry Seems to Be the Hardest Word”

The following year, Elton John released the Blue Moves album, which included the melancholic ballad “Sorry Seems to Be the Hardest Word”, with lyrics by Bernie Taupin. The song became an instant classic and marked a moment of emotional maturity in Elton’s songwriting.

March–May 1977 – Sinatra sings Elton John

In a rare move, Frank Sinatra chose to include Elton’s song in his live repertoire — an unusual nod to a contemporary pop composition. He performed “Sorry Seems to Be the Hardest Word” on at least two confirmed occasions:

March 4, 1977 – Royal Albert Hall, London

May 6, 1977 – Latin Casino, Cherry Hill, New Jersey

This was one of the few times Sinatra incorporated a modern pop ballad into his concerts, demonstrating genuine respect for Elton and Bernie’s craft.

1977 – “Remember”: a song written for Sinatra

That same year, Elton John and Bernie Taupin wrote a new song titled “Remember”, specifically intended for Frank Sinatra. It was tailored to suit Sinatra’s mature vocal style and orchestrated sensibilities, with lyrics reflecting introspection and nostalgic tone.

July 1978 – Sinatra records “Remember” in studio

In July 1978, Sinatra recorded “Remember” in a studio session with orchestral arrangements by Don Costa. However, the track was never officially released.

Collectors and fan reports suggest that Sinatra performed “Remember” live between 1978 and 1979, though no commercial release or verified bootleg of these performances has surfaced.

1981 – Donatella Rettore officially releases “Remember”

The only known commercial version of “Remember” was recorded by Italian singer Donatella Rettore, on her 1981 album Estasi Clamorosa. The song is credited to Elton John and Bernie Taupin.

It is believed that the track reached her through connections with Elton’s artistic circle in the late 1970s, though no official statement about this collaboration has been made public.

August 10, 1984 – Public Embrace in Monte Carlo

The final chapter in this story took place at the prestigious Red Cross Gala, held in Monte Carlo on August 10, 1984. Elton John delivered an intimate performance, with a shortened setlist that included:

Your Song
Candle in the Wind
Sad Songs (Say So Much)
Sorry Seems to Be the Hardest Word
I’m Still Standing
Blue Eyes

During the performance of “Blue Eyes,” observers and later fans have often noted that Elton John appears to glance toward Frank Sinatra, who was seated in the audience. Given that Sinatra was famously known as “Ol’ Blue Eyes,” this moment is frequently interpreted as a subtle, symbolic acknowledgment or gesture of respect. No official explanation was ever given by Elton John, and the meaning of the glance remains open to interpretation, adding a layer of quiet intrigue to the performance.

At the end of the show, Frank Sinatra — seated in the audience — walked onto the stage and embraced Elton John. No speech was made. Just a quiet, powerful gesture of mutual respect. Photographs from the night show both men dressed in formalwear, standing side by side and smiling under the gala lights.

About the videos

To preserve and present this timeline, I’ve edited and released a series of five videos, each focusing on a specific chapter of this connection between Elton John and Frank Sinatra — including music, historical data, and rare images.

The sixth and final video features the archival photograph of the two artists together in Monte Carlo, along with the original newspaper clipping describing their backstage meeting and the now-legendary restroom incidents from 1975.

This unique connection between Elton John and Frank Sinatra was built through:

A personal and emotional backstage meeting in 1975

A public musical tribute in 1977

An original song written expressly for Sinatra in 1977–78

A heartfelt embrace on stage in Monte Carlo in 1984

There were no duets or joint recordings. But these gestures — both private and public — revealed a silent, lasting conversation between two of the greatest performers of their time, bound by music, admiration, and legacy.

Discover my complete work, including research, publications, and rare archives, by visiting the link below:
https://allmylinks.com/robsonvianna

#EltonJohn #FrankSinatra #SorrySeemsToBeTheHardestWord #Remember #BernieTaupin #DonatellaRettore #SinatraOnStage #Elton1975 #MonteCarlo1984 #SinatraMeetsElton #RedCrossGala #UrisTheatre #EltonJohnArchives #SinatraArchives #MusicHistory #HiddenGems #ClassicLegends

Roy Everett Sings Empty Sky – Before Elton John

In May 1969, singer Roy Everett released a single featuring Empty Sky, a song written by the then-unknown duo Elton John and Bernie Taupin. What makes this release extraordinary is that it came before Elton John himself recorded and released the track on his debut album of the same name.

Issued as the B-side to Everett’s single Happy Birthday Blues (Parlophone R 5781) on May 23, 1969, this version of Empty Sky stands as the first commercial recording of the song. Elton John’s debut album Empty Sky would only appear on June 6, 1969, making Everett’s version a rare yet significant milestone in Elton’s early career.

The single was produced by Jonathan Peel, arranged by Joe Moretti, and released in association with Tony Hall Enterprises. The publishing credits — Essex Music and Dick James Music (DJM) — reveal how the song reached Everett: through the publisher’s catalog, rather than a direct personal connection with Elton. This was common practice at the time, with young songwriters often offering their work to other performers.

Roy Everett’s recording is therefore more than a forgotten B-side; it is a glimpse into the moment when Elton John was still primarily seen as a songwriter for others, before the world discovered him as a performer. Everett’s Empty Sky remains a fascinating prelude to Elton’s rise, underscoring the underground pathways through which great songs often travel before reaching their definitive form.

Video Montage – Elton John: Saturday Night's Alright for Fighting (Pub Rock Version)

ORIGINAL FROM: Morgan Brown Music - https://youtu.be/2AQ4p-HI3bE?si=_nusFxWhBRngmNnh

What if...Elton John was a pub rocker? Imagine, if you will, an alternative universe, not unlike our own. It's 1973, and Elton John is in the career doldrums. With lyricist, Bernie Taupin, he has been working as a staff songwriter at DJM Music for 5 years, but he is starting to find the work unfulfilling, he struggles to find gigs as a performer, and the label continually resists his pleas to be allowed to record his own music. Fed up, he and Bernie go for a pint in a North London pub, and are surprised to find it unusually busy, and populated by a much younger crowd than usual. It soon emerges that the crowd are there to see Ducks Deluxe, who are playing in the back room, so Elton and Bernie go to investigate. The pair are bowled over by both the band's raw energy, and the. crowd's reaction, and Elton starts to think that the emerging pub circuit might be just what he needs to kick-start his performing career. Elton and his band get to work stripping back their sound, jettisoning ballads from the set, and concentrating on heads-down rock and R&B. They secure a gig, supporting Brinsley Schwarz at the Bull & Gate in Kentish Town, and wow the assembled crowd with their driving set, topped off with the newly-penned anthem, 'Saturday Night's Alright For Fighting'. Elton signs a record deal with Chiswick, and his records, though not huge commercial successes, are hailed as a formative influence by several punk legends, including Brian James of The Damned and The Clash's Joe Strummer! Written by Elton John/Bernie Taupin I do not own the rights to the song, Elton's vocals, or any of the clips/images used. Backing track arranged, performed and produced by me, using GarageBand, and whatever instruments I had to hand. NO generative AI used, ever. For a companion video with related discussion and recording/arranging insights, click here: • "As oiled as a diesel train!" - Imagining ... If you enjoyed this, please like, subscribe, and check out my other videos: • What if? Thanks! #eltonjohn #70smusic #70srock #pubrock #classicrock #rocknroll #protopunk #reinterpretation #remix #elton

segunda-feira, 29 de dezembro de 2025

Elton John’s Vocal Rescue: The 1987 Throat Operation That Changed His Voice

Elton John’s world tour came to an abrupt halt in early 1987 as the celebrated singer underwent an exploratory throat operation in Sydney. Following persistent problems—ranging from hoarseness to a canceled concert in Perth and even collapsing on stage in Sydney—John was admitted to St. Vincent’s Private Hospital for surgery performed by esteemed Australian throat specialist Dr. John Tonkin .

The 30-minute procedure, conducted on a Tuesday (January 6, 1987), was described as exploratory in nature. Upon completion, a biopsy was carried out and promptly revealed a non-malignant lesion, assuring that there was no cancer . Dr. Tonkin characterized the surgery as successful and complete, and John was released from the hospital shortly thereafter—within two days—undergoing a strict regimen of voice rest .

John’s publicist, Patti Mostyn, confirmed that he was forbidden from speaking for several days and would likely be unable to sing for several months. Recovery was expected to continue for six weeks at least, during which period he remained under Dr. Tonkin’s oversight .

This pivotal operation forced the cancellation of all 1987 performances, including a planned 32-concert U.S. tour .

Fans and commentators have noted the transformation in Elton’s voice following the surgery. His vocal tone emerged deeper, more resonant, and mature — a change he later embraced as an improvement in technical richness and power . As one fan recollected from the “Live in Australia” recordings during the final phase of the 1986 tour:

> “He had nodules in his throat … The surgery caused his voice to be deeper, hence the altered vocal range.”

> “Elton John was about to have a throat surgery a couple of months later, that’s why he might have had some trouble dealing with high notes throughout the show.”

He had been touring relentlessly since September 1985, performing approximately 200 concerts worldwide, culminating in the Tour De Force in Australia with the Melbourne Symphony Orchestra, which concluded in mid-December 1986 . In one of his most emotionally charged performances toward the end, he told himself the possible end of his singing career imbued each note with unexpected urgency and poignancy .

In the aftermath, Elton resumed creative output—releasing the album Reg Strikes Back in 1988—and notably, the change in his vocal character became a defining element of his enduring artistry.

#EltonJohnVoiceSurgery

Lev Ageyeva: The Ukrainian Boy Elton John Wanted to Adopt

In September 2009, Sir Elton John visited Ukraine at the invitation of the Elena Pinchuk Foundation, a partner of the Elton John AIDS Foundation, to promote HIV awareness initiatives. During his visit to an orphanage in Makeyevka, in the Donetsk region, the singer met Lev Ageyeva, a baby about 14 months old, born in July 2008 in Mariupol, a port city in eastern Ukraine. HIV-positive, Lev immediately captured the artist’s heart, prompting Elton to publicly declare that he had “fallen in love” with the child and wished to adopt him together with his partner, David Furnish.

However, the plan ran into legal roadblocks. At the time, Ukrainian law prohibited adoption by same-sex couples and by individuals with an age difference greater than 45 years between adopter and adoptee. Elton, then 62, did not meet the requirements, and the request was formally rejected by the authorities.

Despite the setback, the singer promised to provide support for Lev and his brother, Artyom. In 2011, following the death of his mother and the imprisonment of his father, Lev was officially adopted by his maternal grandmother, Yulia Ageyeva. At the time, Yulia stated that Elton had not fully kept the promises of help made during the meeting at the orphanage — a claim that the musician has never publicly addressed.

Lev’s name resurfaced in the news in 2014, when the intensification of the conflict in eastern Ukraine put his family at risk. Living in Mariupol with his grandmother and brother, he was evacuated to Kyiv with the assistance of Olena Franchuk, a close friend of Elton John and founder of the Elena Pinchuk Foundation, which works in cooperation with the Elton John AIDS Foundation. The evacuation was carried out to protect them from the advance of separatist forces in the region.

Since then, information about Lev has been scarce. No recent photographs are publicly available, and the last widely known image remains the one from 2009, when he was photographed in Elton John’s arms at the orphanage. Today, at around 17 years old, Lev Ageyeva lives away from the spotlight, shielded by the privacy his family has chosen to maintain.

To give the public a visual approximation of what Lev might look like today, artificial intelligence technology was used to apply facial aging techniques to his original 2009 photograph.

This simulation does not represent a real or confirmed image but is instead a visual projection based on estimated growth patterns and facial features, created for illustrative and informational purposes only.

Lev’s story is more than a moment involving an international celebrity: it is a portrait of the legal and social barriers that influence adoption decisions, and a reminder that behind the headlines are real lives shaped by complex circumstances. From Mariupol to Kyiv, from war to quiet protection, Lev carries a story that continues to spark curiosity and compassion — yet unfolds far from the public eye.

#LevAgeyeva #EltonJohn #Ukraine #Adoption #TrueStory #ArtificialIntelligence

Elton John and Liberace in SCTV: A Television Parody from the Early 1980s

Introduction

During the late 1970s and early 1980s, television comedy in North America experienced a creative peak with the rise of SCTV (Second City Television). Among its most memorable sketches were musical and celebrity parodies, including a notable segment featuring fictionalized versions of Elton John and Liberace, portrayed by actors Rick Moranis and Dave Thomas. This parody has circulated for decades among collectors and fans and is often mistakenly associated with the characters Bob & Doug McKenzie.

What Was SCTV?

SCTV is the abbreviation for Second City Television, a Canadian sketch comedy series created by members of The Second City improvisational troupe.

Broadcast history:

Canada: Global Television Network (starting in 1976)
United States:
- Syndicated versions in the late 1970s
- NBC (1981–1983) in prime time
- Later aired on Cinemax

The program ran in different formats between 1976 and 1984 and became one of the most influential comedy shows in television history.

The Cast Behind the Parody

SCTV launched or consolidated the careers of several major comedians, including:

Rick Moranis
Dave Thomas
John Candy
Eugene Levy
Catherine O’Hara
Andrea Martin
Harold Ramis

These performers frequently played multiple characters, celebrities, and exaggerated media figures.

The Elton John and Liberace Parody

Actors and roles:

Rick Moranis → Elton John
Dave Thomas → Liberace

The sketch presents a humorous imitation of both musicians, exaggerating their public personas, stage mannerisms, costumes, and performance styles. The parody reflects how both artists were perceived in popular culture at the time — flamboyant, theatrical, and strongly associated with piano-driven pop entertainment.

Not Bob & Doug McKenzie

Although Rick Moranis and Dave Thomas are famously known for portraying Bob & Doug McKenzie, the beer-drinking Canadian brothers from Great White North, the Elton John / Liberace sketch is unrelated to those characters.

Key distinction:

Bob & Doug McKenzie → fictional Canadian stereotypes
Elton John & Liberace sketch → direct celebrity impersonations

The confusion exists only because the same two actors appear in both contexts.

Period and Historical Context

The parody dates from the early 1980s, when:

Elton John was one of the most recognizable pop stars in the world
Liberace was a long-established television icon
SCTV was producing elaborate “fake TV specials,” holiday shows, and entertainment-industry satires

This places the sketch firmly in the final creative phase of SCTV, when production values and celebrity parodies became more sophisticated.

Format and Style

The sketch follows SCTV’s typical format:

Presented as a fictional television special
Uses exaggerated celebrity traits
Combines musical parody with mock interview or performance elements
Mimics real TV variety programming of the era

Such sketches were designed to feel like something viewers might realistically encounter while channel surfing.

Cultural and Archival Significance

From a historical and archival perspective, this parody is important because:

It reflects how Elton John’s public image was perceived in North American media during the early 1980s
It documents the enduring cultural presence of Liberace late in his career
It demonstrates SCTV’s role in shaping modern satire
It connects two major strands of entertainment history: pop music and television comedy
It features two major comedians before their Hollywood peak

Summary

Program: SCTV (Second City Television)
Years active: 1976–1984
Broadcast networks: Global (Canada), NBC and Cinemax (USA)
Parody subject: Elton John and Liberace
Actors: Rick Moranis (Elton John), Dave Thomas (Liberace)
Era of sketch: Early 1980s
Not related to: Bob & Doug McKenzie characters
Genre: Television satire / musical parody

Elton John and Prince: The Unlikely Meeting on “The Long and Winding Road”

The relationship between Elton John and Prince was always marked by mutual respect and admiration, but also by moments of awkwardness. One of the most curious and historic episodes occurred around the Beatles’ song “The Long and Winding Road”, when Elton attempted to share the stage with the “Purple One” on more than one occasion.

The First Meeting: An Awkward Silence

According to Elton John, his first attempt to approach Prince took place at a post-Grammy party in Los Angeles. Elton approached him, introduced himself, and tried to start a conversation. Prince’s reaction, however, was baffling: he simply stepped away without saying a word. Elton described the episode as “deflating,” but his admiration for the Minneapolis genius remained intact.

The Second Time: Las Vegas and Walking Off Stage

Years later, Elton was invited to perform with Prince in Las Vegas. The chosen song was “The Long and Winding Road”, a Beatles classic. At first, everything seemed perfect: piano, vocals, and an emotional performance. However, midway through the song, Elton noticed something unusual: Prince had simply left the stage. Without warning, he left Elton alone in front of the audience.

Regarding this moment, Elton wrote in the foreword of Prince and the Parade and Sign O’ the Times Era Studio Sessions: 1985 and 1986:

“I went on stage with him, and we started playing ‘The Long and Winding Road.’ It’s sounding great. Midway through the song, I looked around. No Prince: he’d just walked off again.”

This behavior was not surprising to those who knew Prince well. He was perfectionistic, controlling, and often uncomfortable sharing the spotlight in his shows.

The Grand Meeting in London: O2 Arena, 2007

It was only on September 13, 2007, during Prince’s historic residency at the O2 Arena in London (The Earth Tour: 21 Nights in London), that the long-awaited collaboration finally happened. Elton John joined the stage as a special guest, and together they performed “The Long and Winding Road” from start to finish.

Full show link: https://www.youtube.com/watch?v=343R41PNdWA

Elton John appears at: 01:19:50

Complete Setlist of the Performance

00:00 – UK Music Hall Of Fame induction intro
02:40 – Let’s Go Crazy
06:56 – 1999
11:25 – I Feel For You
13:29 – Controversy
18:38 – Shhh
25:08 – Musicology
30:30 – Footprints (horn intro)
32:58 – What A Wonderful World
37:10 – Little Red Corvette
39:12 – I Would Die 4 U
40:07 – Under The Cherry Moon (instrumental)
41:10 – Love Is A Losing Game
44:25 – Satisfied
45:35 – Diamonds And Pearls
46:21 – The Beautiful Ones
48:10 – Sometimes It Snows In April
51:30 – Cream
55:11 – U Got The Look
58:29 – Take Me With U
01:01:14 – Guitar
01:06:54 – Kiss
01:09:22 – Purple Rain

01:19:50 – The Long And Winding Road (with Elton John)
01:24:50 – Crazy
01:30:11 – Nothing Compares 2 U
01:33:57 – If I Was Your Girlfriend
01:37:47 – Bennie And The Jets
01:38:30 – Sign O’ The Times
01:58:50 – Soft And Wet
01:59:27 – When Doves Cry
01:41:02 – Alphabet St.
01:41:49 – D.M.S.R.
01:42:10 – Darling Nikki
01:42:32 – Raspberry Beret

Note: Some songs from the residency, such as A Love Bizarre and Chelsea Rodgers, do not appear in this video but were performed on other dates of the 21-night series.

Conclusion

The meeting between Elton John and Prince around “The Long and Winding Road” is one of the most fascinating stories in pop history. A mixture of awkwardness, talent, and respect, it shows how intense and unpredictable collaborations between two musical giants can be.

Even with uncomfortable moments — such as the silence at the party and Prince leaving the stage in Las Vegas — the London performance remains a historic milestone. For fans, it was a rare glimpse of the union of two artists who shaped 20th-century music in very different but equally revolutionary ways.

Sources

The Guardian: https://www.theguardian.com/music/2007/sep/14/3

Setlist.fm: https://www.setlist.fm/setlist/prince/2007/the-o2-arena-london-england-23dc9c07.html

Wikipedia: https://en.wikipedia.org/wiki/The_Earth_Tour%3A_21_Nights_in_London

Prince Vault: https://princevault.com/index.php?title=13_September_2007

Hashtags

#EltonJohn #Prince #TheBeatles #TheLongAndWindingRoad #MusicHistory #LivePerformance #O2Arena #RockLegends #PopMusic #MusicIcons #Duet #HistoricPerformance #EarthTour #21NightsInLondon

Argosy: The Forgotten Link Between Elton John and Roger Hodgson

In the late 1960s, Roger Hodgson was just 19 years old when he left boarding school determined to pursue a career in music. His first step came with the band People Like Us, with whom he recorded a single that was never released. Shortly afterward, through studio connections, Hodgson was given the opportunity to record some of his own songs with top session musicians tied to DJM Records.

This one-off project became known as Argosy, formed in 1969. It brought together Hodgson and three other aspiring musicians: Reg Dwight, a young pianist soon to be known as Elton John, guitarist Caleb Quaye, and drummer Nigel Olsson. The group recorded two Hodgson compositions: “Mr. Boyd” and “Imagine.”

The tracks, firmly in the vein of orchestrated British pop of the late ’60s, carried light psychedelic touches and a Beatles-inspired feel. Commercially, however, the single went largely unnoticed, selling poorly at the time. Today it is regarded as a rare collector’s item. For Hodgson, the session proved to be a stepping stone, as shortly afterward he would meet Rick Davies and lay the foundations of Supertramp.

The meeting with Elton John remains one of the most fascinating “what if” moments in rock history. Had Argosy developed into a full-fledged band, Elton might well have followed a different path — perhaps even aligning with Hodgson in a group setting rather than embarking on his now-legendary solo career. It’s worth noting that at the time, Elton himself was reluctant to be a solo artist. He didn’t want to go on tour alone and felt more comfortable as part of a band or working behind the scenes. It was Bernie Taupin and his close circle who encouraged him to embrace the spotlight.

Argosy, therefore, stands as a brief but meaningful chapter — a crossroads where two future giants of music briefly intersected, leaving behind a rare single and the tantalizing possibility of an alternate history where Elton John and Roger Hodgson might have shared the same stage as bandmates.

#Argosy #RogerHodgson #EltonJohn #Supertramp #1960sMusic #MrBoyd #Imagine #MusicHistory

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Bringing Elton John’s Album Covers to Life - No Sound

terça-feira, 30 de dezembro de 2025