THE REST IS UP TO HIM

THE REST IS UP TO HIM
by Mr. Curt

http://www.whizzo.ca/elton/articles/19760600_ratw.html

From Rock Around The World, Issue #2, June 1976

"We never collaborate on anything, it's purely a matter of giving him the lyrics, him working on them and the getting together afterwards. It wouldn't be easier to do it the other way round... I wouldn't have room to say anything..." - Bernie Taupin

"All these people spend all this time creating masterpieces. I could never believe they took themselves so seriously. I hate that ... why do I come on stage in a cape as opposed to dirty denims and a T-shirt? that's part of the fun ... never take yourself too seriously. We're always sending each other up, and that's the whole thing about it ... just be natural and have a laugh " - Elton John

With the release of Here & There, the newest Elton John LP, a thought arises: has Elton worked himself into a corner with continuous product? Or are his writing talents dulled by touring and other business pressures? Rock of the Westies was a limp showing after the autobiographic Captain Fantastic and the Brown Dirt Cowboy and Greatest Hits, which seemed a strange release at the time, considering the escalating state his career had taken. But the hits album only followed another mild disappointment, Caribou, which had been (and still continues to be) overshadowed by the fabulous Goodbye Yellow Brick Road..... oh well, it seems that E.J. (and to a very important extent, Bernie Taupin) needs his musical senses overhauled once a year, or perhaps a reduction of output to counter the growing doubts about his waning prolificacy. He seems capable of producing one or two great albums a year, only if they're well thought out, and not given over to commercial necessities.

Another facet of his recording/touring career over the past year and a half is the shake-up of his ensemble. Like another pop-rock crooner (Paul McCartney?), Elton is a crafted perfectionist when it comes to M.O.R. - styled presentation. Where three people used to augment his plans, only six will suit his present needs. And this growing concern is reflected in the large, lush sound his band can produce. He, too, is concerning himself about finding the perfect amalgamation beyond his own musical entity. If so, this live-album fodder will only serve to give Elton the time to compose for his new band, with each member's talent responsive to his styles and mods. A singular talent: yes! A soloist: not yet!

If ever a musician remains unspoiled by their success, it goes without saying that their scope far exceeds the desires. Elton John's visions have never been heavy-handed or pedantic, yet one always senses an underlying awareness and balance (between music and lyrics) that many other popular entertainers never achieve. It is not difficult to call Elton one of pop's most versatile artists, who is able to turn right around and perform a most enchanting ballad (ie-Rocket Man) in addition to stompin' hard rockers (Saturday Night's Alright for Fighting). And maintaining an astonishing career in addition to a compositional partnership can prove harrying. Of the three major British bands who used a specialized composer (Gary Brooker/Keith Reid: Procol Harum; Peter Sinfield/King Crimson; and Elton/Bernie), only Elton has moved towards a continuing successful future of immense stature.

A performer in the public eye for more than fifteen years, culminating with his meteoric rise in the past few years, Elton John has the international acclaim awarded to only a few. He has pioneered pop-rock with a dynamic presence and vitality that speaks from his heart as well as his mind. The work behind his phenomenal achievements has passed. . . . will an even more brilliant composer evolve? Such a struggle must present itself to many superstars-those who maintain a consistently high intake of success--or perhaps the struggle is in coordinating the right flow between Bernie and Elton . . . cause when they fit perfectly, you get hits and more HITS. But a level of consistency cannot be mechanical-especially for a sincere composer/performer like Elton; so when his recorded work is affected, one begins to ponder. . . . for whom is he making music? When his records go gold or platinum before/upon release, where does objectivity fit in. . . or, does quality continue to be an earmark or just a passing gesture?

There is a new album due later this year from Elton & Co. From my earlier configurations, this should be a killer-perhaps a bigger, harder sound. As Bernie/Elton continue to mature as songwriters, they are sure to produce even if their coordination has been ruffled. Energetic writers often gain strength and insight from adverse situations and too-long vacations. Meanwhile, fans wait anxiously . . .

From Rock Around The World, June 1976

Elton John the rest is up to him story, Elton John personal journey narrative, Elton John decision turning point article, Elton John career insights final choice, Elton John life choices context, Elton John reflective story blog, Elton John artistic independence narrative, Elton John self direction theme, Elton John motivational journey piece, Elton John legacy personal perspective

Hashtags:
#EltonJohn #EltonJohnStory #EltonJohnJourney #EltonJohnLife #EltonJohnBlog #EltonJohnChoices #EltonJohnReflection #EltonJohnLegacy

Elton John Songs That Defied the 3-Minute Limit and Dominated the Airwaves

 

For decades, a silent standard defined what was "acceptable" for radio play: songs around 3 to 3 minutes and 30 seconds long. This tradition began back in the era of 78 RPM records, whose technical capacity didn’t allow for longer songs. Even with the evolution of formats, the rule remained — not due to limitation, but for convenience.

Why were songs limited to a maximum of 3 minutes?

The short format was maintained for three main reasons:

1. Technical limitation: old records could hold a maximum of 3 to 5 minutes of audio per side. 10-inch records held about 3 minutes; 12-inch ones, up to 4 or 5.

2. Radio programming: short songs made it easier to fit in ads and increased rotation.

3. Audience attention: it was believed that listeners would lose interest in very long tracks.

So, even when technology allowed longer tracks, radio stations and labels still prioritized shorter ones.

Who broke the taboo first?

Although there are scattered records of longer songs before the 1960s, it was with The Beatles that the pattern began to be challenged globally.

In 1968, The Beatles released "Hey Jude" (7:11) — a real shock to the industry. Against all odds, the song was played in full on the radio and became a global success. It was a game changer.

Before that, "El Paso" by Marty Robbins (1959) had already stood out with its 4:38 runtime. But it was with The Beatles that the market truly started accepting longer tracks in the mainstream.

The first tracks over 5 minutes that played on the radio:

"American Pie" – Don McLean (1971) – 8:33
Split in two... but played whole
At over 8 minutes long, the song was initially released on both sides of a single. Many stations played only the first part. But its popularity grew so much that stations started playing the full version. "American Pie" became a cultural milestone, reaching No. 1 on the Billboard chart.

"Bohemian Rhapsody" – Queen (1975) – 5:55
Rejected, then acclaimed
When Queen introduced "Bohemian Rhapsody" to labels and radio stations, many executives thought it was too long, weird, and "had no chorus." The almost 6-minute runtime was seen as impractical for radio. Freddie Mercury refused to cut it and bet on DJ Kenny Everett from Capital Radio, who played it repeatedly. The public responded strongly, and the radios gave in. The song topped the UK charts and became a timeless anthem.

"Hotel California" – Eagles (1976) – 6:30
Edited for radio, but the full version prevailed
The radio version was shortened to about 4:30, cutting parts of the famous final solo. However, both the public and the Eagles themselves preferred the full version. Over time, most stations started playing the complete track, especially on classic rock radio.

"November Rain" – Guns N’ Roses (1991) – 8:57
An epic that challenged '90s radio logic
At a time when grunge ruled and radio still leaned toward short tracks, "November Rain" was a risk. Geffen Records was reluctant to promote it as a single, but the music video exploded on MTV, and the song’s appeal led radios to play it in full. It reached No. 3 on the Billboard Hot 100.

Elton John: frequently defying time

Elton John was one of the artists who most successfully ignored the 3-minute standard. Many of his most played songs exceed 5 minutes:

"Philadelphia Freedom" (1975) – 5:38

Initially, the radio version didn’t include the full runtime, but due to its success, it began being aired in full.

"Someone Saved My Life Tonight" (1975) – 6:45
At 6 minutes and 45 seconds, “Someone Saved My Life Tonight” was twice as long as a typical single, but due to the highly personal nature of the lyrics, Elton John refused to allow it to be edited to fit radio format. Despite the length, the song reached No. 4 on the US Billboard Hot 100 and No. 2 on Canada’s RPM Top Singles. This was the last song for eight years to feature the original Elton John Band lineup — Elton, Dee Murray, Davey Johnstone, and Nigel Olsson — as Elton fired Murray and Olsson after the album’s recording.

https://en.m.wikipedia.org/wiki/Someone_Saved_My_Life_Tonight

"Song for Guy" (1978) – 5:02

"Nikita" (1985) – 5:44

"Sacrifice" (1989) – 5:07

Elton showed that, when there's a connection with the audience, time isn’t an obstacle.

When extended time becomes too much: the case of some Elton John tracks

Clive Franks vs. Gus Dudgeon: contrasting production styles

Many of the overly long tracks were produced by Clive Franks, Elton’s longtime sound engineer. Franks often stuck closely to Elton’s original structure, allowing for repetitions and extensions that didn’t always benefit the energy of the track.

"It Ain’t Gonna Be Easy" (1978) – 8:25

"Song for Guy" (1978) – 6:35

"Two Rooms at the End of the World" (1980) – 5:40

"Give Me the Love" (1980) – 5:40



Personally, I think all of them could have been one minute shorter, but feel free to disagree.

In contrast, Gus Dudgeon — the producer behind Elton’s biggest albums of the 70s — was more precise and strategic with edits. His production style favored tight cuts and arrangements that held listener interest, even on long tracks. Dudgeon was key in making songs like “Rocket Man” and “Daniel” radio classics with excellent time control and narrative flow.

And today? Streaming and the end of rules

With streaming, song duration has become free. Platforms like Spotify, YouTube, and Apple Music don’t impose time limits, allowing full creative freedom.

Ironically, though, the short-song pattern has returned strongly. Tracks lasting 2 to 3 minutes are more likely to get more plays, maximizing stream revenue. Even so, some current hits exceed 4 minutes:

"As It Was" – Harry Styles (2022) – 2:47

"Anti-Hero" – Taylor Swift (2022) – 3:20

"Pasilyo" – SunKissed Lola (2022) – 4:30

Eminem: the modern exception

Even in the digital world, Eminem showed that the public still embraces long songs. His track "Rap God" (2013), at 6:04, was a massive success — racking up millions of streams, getting radio play, and entering the Guinness World Records as the song with the most words in a hit track.

"Rap God" – Eminem (2013) – 6:04

The song debuted at No. 7 on the US Billboard Hot 100 on November 2, 2013, becoming Eminem’s seventh Top 10 entry on that chart, surpassing Lil Wayne’s record for most Top 10 debuts among male artists. In the UK, the song debuted at No. 5 on the UK Singles Chart on October 26, 2013.

Eminem is one of the few modern voices who consistently and successfully challenged the 3-minute standard.

When music beats the clock

The history of popular music shows that while rules and standards may try to dictate the ideal format, it’s the strength of a song — and the connection with the audience — that truly defines its success. Elton John is living proof: with talent, sensitivity, and the courage to go beyond convention, he proved that song duration is just a detail in the face of great music.

From the limited singles of the ’60s, to radio waves in the ’70s and ’80s, to today’s digital platforms — what remains is the emotion that music brings. And in the end, whether it’s two or seven minutes — when a song truly moves us, time simply… doesn’t matter.

Elton John songs that defied 3 minute rule, Elton John long songs list, Elton John extended track history, Elton John non-single duration songs, Elton John epic recordings over 3 minutes, Elton John album tracks beyond 3 minutes, Elton John progressive song structures, Elton John unconventional song lengths, Elton John iconic long songs, Elton John music evolution extended tracks

Hashtags:
#EltonJohn #EltonJohnSongs #EltonJohnMusic #LongSongs #EltonJohnLegacy #MusicHistory #EltonJohnBlog #SongDurations

The Very Worst of Elton John

The Very Worst of Elton John

INTERVIEW SUMMARY:

With the sensationalist title "The Very Worst of Elton John", the interview conducted by journalist Jenny Baxter for TALK magazine in 1990 presents a surprisingly candid Elton John as he opens up about the deep personal struggles he faced throughout the 1980s.

https://www.thecelebrityinterviews.com/elton-john-interview/?amp

Victim of the trapping of fame, Elton John is turning his back on the “game” TALK’s Jenny Baxter recently met the pop star in his London hotel to discuss the alcohol abuse, bulimia and promiscuity which have pervaded his past.

“I spent 10 days in Indianapolis watching someone die, a young kid. Watching Ryan die of Aids which he got from a blood transfusion. He was a hemophiliac. I was in an intensive care unit with children who were dying gradually, but had so much hope and so much dignity.” Hope and dignity. Two qualities which the now poignantly speaking Elton John desperately lacked.

So obnoxious was the pop star that ordinarily he would have checked out of the opulent hotel room we’re sitting in because the wallpaper’s a lousy color! So self-opinionated that this time last year he phones his manager from a nearby London flat to demand that something be done to stop the wind blowing. It was irritating him! And when the manager couldn’t oblige, Elton left for his apartment in Paris “but the people upstairs made too much noise, so I went to Phoenix, Arizona. But I only stayed there four hours because it was too hot. So I ended up in Los Angeles,” he reveals, admitting now that that was not normal human behavior. Elton John was definitely going crazy.

“My sense of values had gone completely out the window. None of my friends knew where they stood with me. I would say to them ‘I’m coming around to dinner tonight,’ and they would say ‘cor blimey, what’s he going to be like, is he going to eat, is he going to stay, is he going to insult anybody?’ I was really, really an obnoxious pig!”

This is NOT the kind of confession you would’ve got out of Elton a few months ago. Notorious for storming out of interviews often reticent, and regularly drunk… it’s a pleasant shock (akin to the tremors of a minor atom bomb) to meet the present-day Elton was extremely enthusiastic to talk about the past he’d rather put to bed than ever have to sleep with. A past in which the melody maker created mayhem in his own personal life. He was on a kind of self-induced self-destruct program. Let him tell you about it.

“Before I made it as a ‘star’, I always felt inadequate and timid, but I was never self-destructive. I think drink did that to me, and made me lose all sense of self-esteem. The more I drank, the fatter I got, and being overweight is very visible. I couldn’t fathom why I was always trying to drown my feelings.

“And I was bulimic too. Since I was eating so much, I thought the only way that I could keep my weight fairly constant was to throw up. I did that for five years. I knew how dangerous it was, but I didn’t realize just how dangerous. I was in a mess!

“When I’ve been happy, drunk or sad I’ve eaten. My emotions were never good enough, you know. Like whenever I’ve been happy, I’ve wanted to feel happier. So I’ve always had to ‘fix’ myself more. And I’ve done that for so long now and it didn’t make me any happier. I just went off on a tangent, until I realized I didn’t have any idea who I was, or what I’d become… and I was very, very unhappy,” he says softly.

The sun had long gone down on the early days of Elton’s naive enthusiasm and happiness for all the success he was enjoying. From being “like a kid in a candy story”, Elton had regressed to being like a bull in the china shop of his own personal life. He started dipping his fingers in so many pies – music, art collection, football – “but never had enough fingers in my own personal life. It’s important to spend time for yourself, otherwise you just get wrapped up in your career, and I guess that’s what’s happened to me over the last 15 years. I’ve really lost where I’ve been going personally.”

He humbly admits that it was the priority he gave his career which resulted in the divorce from his wife in 1987, an extremely traumatic year for him. “That year I split up with my wife, had an operation on my voice in Australia which worried me a great deal, had a lawsuit with Rupert Murdoch and the biggest selling tabloid newspaper in England (referring to the “rent boy” scandal) which was very, very exhausting and upsetting.

EASIER TO TALK AWAY

The more Elton’s problems accumulated, the more he would run away from them by either delving deeper into melancholy melody-making, or flying off to a new city. “I was running away all the time. Instead of staying in one place and trying to sort it out, I was running to a new place to fix it, thinking that then everything would be okay, but that wasn’t the case because I was still going with myself,” he says, and them adds rather philosophically, “Yeah, so I went on holiday, but unfortunate thing was that I went with me!”

For the star “help” seems to be the hardest word to say. “I could not say three words: I need help. Nobody who’s that unhappy doesn’t know there’s something wrong with them, but it’s just admitting that you’re fallible, vulnerable and that you’ve made a mistake. That was terribly hard for me to do. I always used to look down on people who actually sorted their lives out by asking for help. I thought: can’t they do it on their own? And there was me who couldn’t do anything on my own. Everything I did, I was stuffing up!” he says remorsefully. It was therefore a tremendous relief for Elton when a friend sat him down and said: “By the way, you’re going to be dead in five or six months if you keep drinking like this, if you keep eating like this.” And so, as a consequence of the “brave” friend’s remark, Elton entered a treatment facility in June 1990 to “stop drinking and stop filling my body with crap”.

And since cutting alcohol, sugar and white flour out of his diet Elton’s gained more self-respect instead of weight. Elated with his new inner and outer being, he’s quite to jump up from his seat and demonstrate how he’s now able “to take my jacket off and not be afraid that my stomach’s showing”! (And I can vouch for that -there are no buttons bursting to pop off his red shirt.) This is a guy who can now look “forward to getting up every day. I know what sort of mood I’m to be in because I’m not going to be hungover!” he states so emphatically that he almost knocks over his glass of mineral water.

Elton’s thrown as much effort into getting well, as he used to into drinking alcohol. “I’m really trying to enjoy every single minute of the day that’s I’m living now,” he says enthusiastically, “because you know, I was living in a hell and not many people knew that. I think it’s important for me to say that, in order to help anybody by letting them know everybody goes through problems and there is help available.

“You think it’s impossible for anyone else to be as unhappy as you, but you go to your doctor or therapy group, and you find that’ you’re not the only one with problems. You just think yours are more valuable and more important than everyone else’s, and of course there’s not. You can work at these things. I found that out. And… it’s been such a relief to find out that I’m not the only lunatic in the world!” he laughs and throws back his head allowing the gold earring to bop merrily in his right ear-lobe.

Another major catalyst in the transformation from the bizarre-living Elton the “star”, back to the decent human being who was lost inside of him, was the experience of being with Ryan while he was dying of Aids.

“I spend time with Ryan’s family who had no bitterness. They were just so incredible. And in watching his family, and watching Ryan die with so much dignity of this awful disease, I just suddenly thought: my life has to change! I cannot go through this bloody awful charade, how I’m behaving, what I’ve become. It’s about time that I got myself together!”

REG STRIKES BACK!

With the blessing of his record company, Elton John is taking a break from his musical career for a year to rediscover himself, Reginald Kenneth Dwight. He owes it to himself. He owes it to his family and friends. Watching Ryan’s family deal with the tragedy of their son’s death made Elton realize that “it’s okay to donate things and stuff like that, but what’s special is the time you give us, is pending time with us… and I never did. I had gotten so far off base,” he smiles sadly.

So before Elton cavorts around the world again or makes an album, he wants to stabilize his feelings “figure out who I am and have a bit of happiness, spend time with my family, kind of like walk the dog, move back into my house, have time with my friends and just do as normal things as possible in this lifestyle of mine.”

“I don’t think I’ve been put on Earth just to play music and write songs. I have a feeling that I’ve got to do something else in life as well. I don’t know what but I would like to do more philanthropic things because I get enjoyment out of it. I liked being in there every morning and seeing those kids, but before I can do more of that stuff I have to slow down my way of life,” he professes.

Throughout the interview, Elton makes constant references to Ryan and to Aids, a cause for which he has much concern. Already, he’s “lost so many of my friends” to this disease, while his own personal sex life – once very active – has had to be curtailed.

“I’ve had tests and I don’t have Aids,” he reveals, “I don’t have the virus, but I’m just very careful in what I do. I have regular check-ups and I’m not promiscuous like I used to be. I think it’s very important for people to take an educational stand on Aids, to show some responsibility.” Apart from time spent visiting Aids patients, Elton has also generously donated all the royalties from his UK singles to four different Aids organisations.

For the next few months though, Elton’s visits to the hospitals will be put on hold while he takes stock of his life and decides “what I’m going to do next”. Could that possibly mean we won’t be hearing any more melodies from Elton?

Fortunately, he reassures that he definitely will get back into his musical career and will possibly record a new album in February next year. Although it’s the longest break he’s ever taken he’s not daunted by the thought of ‘writers block’ because that’s never affected him. He is certain though that his music will sound different.

“My feelings have always come out in my melodies,” he explains, “I mean there’s been a lot of kind of gloom and doom, but a lot of happy ones too. My life wasn’t all gloom and doom… but in the last few years it’s far outweighed the happy times. So I just figure that whatever I do next, it will be a change. Who knows? I do know that I spiritually new it’s going to be fairly special. I really think so, because there’s a much happier person there.

You know, because you’re artistic, people think you need pain and stuff to write, but I don’t think that’s necessarily correct. I’d rather write without having to go through all that mental anguish, thank you very much!” he declares adamantly, meeting my gaze directly, his eyes challenging anyone to disagree with him.

Although Elton hasn’t stopped talking during the past hour, words have merely been accessory to his story-telling. His perfectly rounded eyes say it all. The acute pain and anguish of his past, the relief and elation at leaving it behind, his compassion for Aids sufferers and new-found passion in being sober rather than sombre. All those feelings and memories. They’re all there – visibly reflected, like an emotional cocktail, in Elton’s bespectacled eyes. Eyes which are no longer greedily looking ahead to the future…

“I can’t predict the future. I don’t want to project any more. I’m just happy to live from one day to the next, and just be happy with what I’ve got. I’m actually very grateful just to be alive!” he grins optimistically.

Well, maybe he can’t predict the future… but I can safely predict that tonight Elton will be raving at Billy Idol’s concert, while Sue (Ternent) and I will be tucking into the champagne and special Harrod’s chocolates he’s just given us! (And maybe, since we’ve just heard the worst of Elton, we’ll even give “The Very Best of Elton John” a listen!)

TALK 1990

Elton John The Very Worst of Elton John interview struggles 1980s, Elton John candid TALK magazine 1990 interview, Elton John personal challenges alcohol bulimia and fame, Elton John self-destructive behavior anecdotes, Elton John reflections on life and career low points, Elton John fame backlash and emotional honesty, Elton John 1990 interview on mental health and recovery, Elton John early career self-destruction insights, Elton John celebrity pressures and personal breakdown, Elton John historical interview analysis

hashtags:

#EltonJohn #EltonJohnWorst #EltonJohnInterview #EltonJohnStruggles #EltonJohnHistory #EltonJohnFame #EltonJohnPersonalLife #EltonJohn1980s #EltonJohnRecovery

You May Also Like
Follow me for more Elton updates:
https://allmylinks.com/robsonvianna

ketman #sireltonjohn #bernietaupin #robsonvianna #eltonjohnpictures

The Case of Geffen Records and the MCA Conflict in Elton John’s Career

1970s: The Initial Partnership with MCA

Throughout much of the 1970s, Elton John’s American career was managed and distributed by MCA Records, achieving great commercial success. At the same time, he retained autonomy in the United Kingdom through the Rocket Record Company label.
This period includes some of the greatest albums of his career, but by the late 1970s, his contract with MCA was nearing its end, with a remaining contractual obligation to deliver new material.

1977: The Thom Bell Sessions

In June-July 1977, Elton John recorded six tracks with legendary Philadelphia soul producer Thom Bell at Sigma Sound Studios in Philadelphia.

These sessions produced:

“Mama Can’t Buy You Love”

“Are You Ready for Love”

“Three Way Love Affair”

And three other tracks that were unreleased at the time.

For commercial and strategic reasons, MCA did not immediately release the full set of material.

1979: Partial Release of the Sessions

In 1979, MCA released an EP titled The Thom Bell Sessions, featuring three of the six tracks recorded in 1977.
The single “Mama Can’t Buy You Love” reached the Top 10 on the US Billboard charts.
This release gave the material renewed commercial life, but Elton’s contract with MCA still required delivery of a full new album.

1980–1981: The Origin of the Conflict with MCA

With the contract still active and needing formal closure, Elton John offered MCA the three remaining Thom Bell tracks to fulfill his final contractual obligation.
MCA refused, claiming the tracks did not constitute a full, original album as stipulated by the contract.
Additionally, MCA withheld a payment of $1.3 million due to Elton upon contract completion.

This disagreement led Elton John, his manager John Reid, and his company Sackville Productions to sue MCA for breach of contract.
Elton’s argument: the material delivered met his contractual obligations.
The lawsuit sought the owed payments and contractual freedom.

MCA’s Response and Legal Escalation

MCA counter-sued, alleging that:

Elton had not properly fulfilled the contract.

MCA sought compensation for production costs already incurred.

Elton attempted to block releases of new albums on other labels.
MCA also requested a restraining order to prevent the release of a new Elton John album on a different label.

1981: David Geffen’s Entry and the Beginning of the Geffen Records Partnership

While the litigation with MCA continued, Elton John signed with the newly founded Geffen Records, created in 1980 by David Lawrence Geffen — a renowned executive who had established Asylum Records in the 1970s.
David Geffen was known for his negotiation skills, strategic vision, and for launching careers of artists such as Jackson Browne, Linda Ronstadt, and The Eagles.
Geffen Records quickly became one of the most important labels in the US.

Geffen agreed to distribute Elton’s new album The Fox (1981) in the United States.
MCA attempted to block the release through legal means, but the court denied their request.
The Fox was released successfully, marking the official start of Elton John’s Geffen Records era in the American market.

1981–1989: The Geffen Records Period

Throughout the 1980s, Elton John released his albums in the US via Geffen Records, including:

The Fox (1981)

Jump Up! (1982)

Too Low for Zero (1983)

Breaking Hearts (1984)

Ice on Fire (1985)

Leather Jackets (1986)

Reg Strikes Back (1988)

This phase brought Elton greater stability and creative freedom, despite some fluctuations in commercial success.

1990: The Sale of Geffen Records and End of the Contract

In 1990, David Geffen sold Geffen Records to MCA — the very label Elton had litigated against.
Sale price: $550 million in stock.
With the acquisition, Geffen Records ceased to be independent.
Artist contracts, including Elton John’s, were absorbed into the MCA/Geffen/Sony corporate structure.
Elton’s direct relationship with Geffen gradually dissolved.

1990s and Beyond: Elton Gains Control Over His Catalog

Following changes in the music industry’s structure, Elton John entered a new phase:

Signing long-term direct agreements with Universal Music Group.

Taking greater control over his copyrights and catalog.

Consolidating global partnerships for remasters, reissues, and comprehensive discography management.

Who is David Geffen Today

Born February 21, 1943.

Founder of Asylum Records, Geffen Records, DGC Records, and co-founder of DreamWorks SKG.

Sold his label for $550 million in 1990.

Currently retired, with an estimated net worth between $9 billion and $9.1 billion.

One of the largest philanthropists in the US:

$300 million to the David Geffen School of Medicine at UCLA

$150 million to the Lincoln Center (David Geffen Hall)

Major donations to MoMA and AIDS-related organizations.

Also among the world’s leading art collectors and retains strong cultural influence.

Photos:

David Geffen and Two Historic Music-Related Moments

The two images capture distinct but equally symbolic moments in the career of David Geffen, one of the most influential executives in the music industry.

Image 1 — David Geffen and Yoko Ono on the Night of John Lennon’s Death (December 8, 1980)

The first photo shows David Geffen beside a visibly distraught Yoko Ono, just hours after John Lennon was assassinated in New York City.
At this dramatic moment in music history, Geffen was deeply involved with the couple, as Geffen Records had just released Double Fantasy, marking Lennon’s return to music after years of seclusion.

David Geffen personally signed Lennon and Yoko Ono to Geffen Records in 1980 under a highly anticipated contract. The album was released in November 1980, and days later Lennon was murdered outside the Dakota building.
Following the tragedy, Geffen was present offering support to Yoko Ono in the immediate aftermath, as shown in the photograph. This event marked one of the most traumatic moments in recent music history and profoundly impacted Geffen’s personal and professional life.

Image 2 — David Geffen with Elton John, Carly Simon, and James Taylor (1974)

The second image takes us back to an earlier time, during the height of the 1970s music scene.
Taken around mid-1974, likely at a party or social event in Los Angeles, the photo features some of the era’s top international music artists gathered together.

Sources

Wikipedia: David Geffen
https://en.wikipedia.org/wiki/David_Geffen

Forbes: David Geffen Profile and Net Worth
https://www.forbes.com/profile/david-geffen

Bloomberg: Sale of Geffen Records
https://www.bloomberg.com/billionaires/profiles/david-l-geffen

Wikipedia: Geffen Records
https://en.wikipedia.org/wiki/Geffen_Records

Wikipedia: The Fox (Elton John album)
https://en.wikipedia.org/wiki/The_Fox_(Elton_John_album)

Business Insider, InfluenceWatch, CEOToday Magazine

The Case of Geffen Records and the MCA Conflict in Elton John’s Career

Elton John Geffen Records dispute, Elton John MCA Records lawsuit, Elton John Geffen MCA legal conflict, Elton John record label contract case, Elton John Geffen Records history, Elton John MCA album rejection, Elton John music industry lawsuit, Elton John Geffen MCA controversy

#eltonjohn #eltonjohngeffen #eltonjohnmca #eltonjohnlawsuit #eltonjohnmusicindustry #eltonjohnrecordlabel #eltonjohnhistory

Behind the Hits: What You Never Knew About Elton John

Elton John’s legendary career is filled with timeless classics, but many of his songs hold fascinating behind-the-scenes stories that even devoted fans may not fully know. Below is an extensive collection of rare facts, personal connections, and curious details about some of his most celebrated works.

Don’t Let the Sun Go Down on Me (1974 / 1991)

Recorded at Caribou Ranch, Colorado, Elton was deeply dissatisfied with his vocal performances and called the song "a pile of rubbish." At one point, he even suggested that Engelbert Humperdinck or Lulu should record it instead.

Despite his doubts, the song reached #2 in the US and #16 in the UK, and received Grammy nominations for Record of the Year and Best Pop Vocal Performance – Male.

In 1991, Elton performed it live as a duet with George Michael during a benefit concert at Wembley Arena. This version reached #1 in both the US and UK and also received Grammy nominations.

After George Michael’s death, Elton dedicated several performances of the song to him, including during his headlining show at Glastonbury 2023.

Fans continue to debate which version — original or duet — delivers the greatest emotional impact.

Sacrifice (1989 / 1990)

From the album Sleeping with the Past, this song was inspired by the soul music of Marvin Gaye, Otis Redding, and Sam Cooke.

Initially, the song had modest chart success. However, after being re-released as a double A-side with "Healing Hands," it became Elton’s first solo UK #1 hit, remaining at the top for five weeks and earning platinum certification.

The music video, directed by Alek Keshishian, starred model Yasmeen Ghauri and singer Chris Isaak, with Elton portraying a silent narrator.

Bernie Taupin considers Sacrifice one of his finest lyrical achievements, exploring the disillusionment of marital relationships beyond romantic clichés.

Elton performed the song live using a Roland RD-1000 electric piano during the Sleeping with the Past tour, though he omitted it from some large events, such as Knebworth Park 1990.

Madman Across the Water (1971)

Recorded in only four days, the sessions were filled with tension. During production, arranger Paul Buckmaster accidentally spilled ink all over the orchestral scores, forcing him to rewrite his arrangements overnight.

The song’s narrative has been interpreted as addressing mental illness or referencing Richard Nixon ("madman across the water"), though Taupin said the Nixon theory was unintentional but amusing.

Elton later expressed ambivalence about this album, saying it represented "three years of crap" before he finally solidified his band lineup.

The 50th Anniversary box set (2022) includes 18 previously unreleased tracks (piano demos, BBC sessions, Old Grey Whistle Test performances), a Blu-Ray disc with 5.1 surround mixes and 1971 live footage, embroidered artwork by Janis Larkham, and a 104-page deluxe booklet.

Deep cuts like Razor Face, Indian Sunset, Holiday Inn, All the Nasties, and Rotten Peaches are praised by fans for their rich orchestration, social commentary, and lyrical depth.

Tiny Dancer (1971)

The song was inspired by Bernie Taupin's wife Maxine and their early life in California, reflecting the laid-back West Coast vibe. Elton composed the melody in about 20 minutes.

BJ Cole’s pedal steel guitar added a distinct texture to the track, rarely heard elsewhere in Elton’s discography.

Though not a major hit upon initial release, the song gained cult status after its appearance in the 2000 film Almost Famous and has since been certified triple platinum in the US.

Piano demos of Tiny Dancer were included in the Madman Across the Water 50th Anniversary box set.

Levon (1971)

The name "Levon" was not inspired by Levon Helm, as many assume, but simply appealed to Bernie Taupin.

The story follows Levon and his father Alvin Tostig, exploring themes of generational conflict and disillusionment.

Released as a US single in 1972, it reached the Top 30 charts.

Decades later, Elton gave his first son the name Zachary Jackson Levon Furnish-John, incorporating "Levon" into his personal life. Zachary was born on Christmas Day (December 25, 2010), making the song’s legacy even more intimate and personal for Elton.

Rocket Man (1972)

Inspired by Ray Bradbury’s short story The Rocket Man and Taupin’s observations of the early space era.

The song reached #2 in the UK and #6 in the US and was certified 5× platinum in the US and triple platinum in the UK.

Ranked #149 in Rolling Stone’s 500 Greatest Songs of All Time, it marked a creative evolution in Elton's storytelling through music.

Your Song (1970)

Bernie Taupin wrote the lyrics at age 17; Elton set them to music in about 20 minutes, sitting at the breakfast table.

Bernie Taupin was 17 years old when he first started writing the lyrics to Your Song, shortly after meeting Elton John in 1967. However, the final version of the song, as it was eventually recorded and released in 1970, was completed when Taupin was 19.

Three Dog Night first recorded it, but Elton’s version, released in 1971, became iconic.

The song remains one of Elton's most beloved ballads and has been performed at numerous special events, including the Concert for Diana in 2007.

Sorry Seems to Be the Hardest Word (1976)

Elton composed the music before Bernie Taupin quickly wrote the lyrics, inspired by its melancholic melody.

The song topped the Adult Contemporary charts in the US and Canada and peaked at #6 on the Billboard Hot 100.

In 2004, Elton recorded a duet version with Ray Charles, which became Charles’s final Grammy-nominated collaboration before his passing.

Honky Cat (1972)

The second single from Honky Château featured a fusion of piano-driven rock and New Orleans funk, supported by vibrant horn arrangements.

The song became especially popular during Elton’s early US tours and remains a staple of his live performances.

Nikita (1985)

Though "Nikita" is a male name in Russian, English-speaking audiences often perceived it as female, adding a layer of ambiguity to the Cold War love story.

George Michael contributed backing vocals, while Nik Kershaw played guitar on the track.

The song became the subject of a plagiarism lawsuit alleging similarities to the 1982 song "Natasha," but the case was dismissed in 2012.

Crocodile Rock (1972)

Often viewed as Elton’s first pure "pop hit," Crocodile Rock was inspired by the wave of 1950s rock and roll revival and nostalgia that swept the early 1970s.

Elton and Bernie wrote it as a playful homage to early rock pioneers like Bill Haley and Buddy Holly. The Farfisa organ riff became instantly recognizable and remains a signature sound of the song.

Released as the lead single from Don’t Shoot Me I’m Only the Piano Player, it became Elton’s first US #1 hit, staying at the top for three weeks and selling over a million copies.

Although Elton himself has at times expressed mixed feelings about the song, calling it “lightweight,” it remains a fan favorite and a staple of his live shows.

A lawsuit was filed in the 1970s claiming that the melody borrowed heavily from an Australian song called "Speedy Gonzales," but the case was settled out of court.

Candle in the Wind 1997 / Something About the Way You Look Tonight (1997)

The rewritten version of Candle in the Wind was released as a tribute to Princess Diana, with proceeds going to her charities.

It remains the best-selling physical single of all time, selling around 33 million copies worldwide.

The double A-side featured Something About the Way You Look Tonight, which also became a major hit.

Someone Saved My Life Tonight (1975)

The song recounts Elton’s near-marriage and suicide attempt, and how Long John Baldry ("someone saved my life tonight") convinced him to call off the engagement.

Elton refused to shorten the track’s running time of over 6 minutes for radio airplay, a rare stance in an industry accustomed to heavy edits for commercial radio formats.

Rare Fan Discussions

On fan forums such as Reddit, many Elton John collectors and longtime fans rank Madman Across the Water as "perfect from start to finish," praising not just the hits but also the deep album cuts for their complexity and emotional weight.

These fans highlight how some songs reflect Elton’s struggles with identity, mental health, and complex personal relationships — layers that often go unnoticed by casual listeners.

This collection reveals how Elton John’s greatest hits — and many of his lesser-known tracks — are filled with untold stories, personal struggles, and moments of creative defiance that helped shape one of the most remarkable careers in popular music history.

Sources and Research Notes

This article was created based on extensive research using multiple sources to gather rare facts, behind-the-scenes details, and historical information about Elton John’s songs. Key references include:

Official Elton John discography, album liner notes, and box set booklets (especially the Madman Across the Water 50th Anniversary Box Set and Sleeping with the Past deluxe releases)

Interviews with Elton John and Bernie Taupin published across various decades in outlets such as Rolling Stone, Billboard, NME, and Mojo Magazine

Elton John’s official autobiography Me (2019)

Bernie Taupin’s memoir Scattershot: Life, Music, Elton, and Me (2023)

BBC interviews and documentaries (BBC Radio, Old Grey Whistle Test appearances)

Fan community forums such as EltonFan.net, EltonJohn.com community, and dedicated subreddits

The Rocket Record Company archives and historical releases

News archives (The Guardian, The Telegraph, Los Angeles Times, New York Times)

Wikipedia articles for cross-referencing specific song histories and public data

All efforts have been made to compile the information faithfully, combining both official and fan-sourced material to preserve rare insights into Elton John’s creative journey.

Part 2: Behind the Hits — What You Never Knew About Elton John

Elton John’s extraordinary career spans decades of creative brilliance, but even after exploring many of his most iconic songs, numerous tracks still hold fascinating stories waiting to be told. In this second part of Behind the Hits, we dive even deeper into hidden gems, surprising facts, and behind-the-scenes tales that further showcase Elton’s musical genius. From deep cuts to fan favorites, each song carries its own story — filled with creative experiments, personal moments, and sometimes unexpected twists.

Whether you are a lifelong fan or a curious listener, join us as we continue this journey through Elton John’s remarkable catalog, unveiling the lesser-known stories behind more of his unforgettable songs.

Simple Life (1993)

When it reached the U.S. Top 40 in 1993, Elton set a new record: 24 consecutive years with a chart hit, surpassing Elvis Presley.

Ego (1978)

Written during the Blue Moves sessions, the track features unusual musical elements — such as train whistles, synthesizers, waltz tempo, and carnival organs.

The music video, directed by Michael Lindsay-Hogg, portrays a theatrical take inspired by Romeo & Juliet.

The Last Song (1992)

The lyrics tell the story of a son dying of AIDS, rejected by his father because of his homosexuality — Bernie Taupin wrote it shortly after Freddie Mercury’s death, and Elton admitted he cried when singing it for the first time.

It was the first single whose profits were directed to the newly established Elton John AIDS Foundation.

Quick Facts from Wikipedia

“Tiny Dancer” originally peaked only at #41 in the U.S. and wasn’t released as a single in the U.K. due to its “lack of a strong chorus.”

“Bennie and the Jets” was so successful on R&B radio that Elton was invited to appear on Soul Train, becoming only the second white artist ever to perform there.

On “Don’t Go Breaking My Heart,” the backing vocals initially featured members of the Beach Boys and Dusty Springfield — but most were cut because the mix sounded “too messy.”

Daniel (1973)

Written by Bernie Taupin, inspired by a blind Vietnam War veteran (the narrator’s brother), based on an article he read in Newsweek (or Time Out), though many have interpreted it as a gay love song.

The original lyrics included a verse explaining the blindness and the escape to Spain, but Elton cut it for making the song too long.

Even without the extra verse, the realistic theme remains: “Your eyes have died but you see more than I” strongly reflects the literal blindness.

Your Song (1970)

Written in 1967: lyrics by Taupin during breakfast, music by Elton completed in about 20 minutes, becoming his first true international hit.

Recognized as one of Rolling Stone’s 500 Greatest Songs of All Time.

Bennie and the Jets (1974)

Inspired by Taupin as a fictional “proto-sci-fi punk” band led by an androgynous frontwoman in the style of Helmut Newton.

Though it sounds live, the piano was recorded in the studio — the audience sounds were added afterward, stemming from an impromptu piano outburst by Elton.

Elton was initially reluctant to release it as a single; it started as a B-side and only became an A-side after becoming a hit on Canadian radio stations.

Empty Garden (Hey Hey Johnny) (1982)

Written by Elton and Bernie, the song is a tribute to John Lennon, who was murdered in December 1980 — the “empty garden” symbolizes Madison Square Garden, where Elton and Lennon had performed together in 1974.

In the video, Elton plays piano in front of a replica of the Dakota building in New York, where Lennon was killed.

Released as a single: reached #13 in the U.S. and #51 in the U.K. Elton stated he rarely performed it live after 1982, as it brought back painful memories.

It was performed at two iconic appearances: one with Yoko Ono and Sean Lennon at Madison Square Garden in 1982, and another on Saturday Night Live in April 1982, when Johnny Cash hosted.

Elton had previously composed an instrumental called “The Man Who Never Died,” but feared tributes to Lennon might seem “cheesy” — it was only after reading Bernie’s lyrics that the project took shape.

I Guess That’s Why They Call It the Blues (1983)

Marked the return of the classic Elton John Band lineup — Davey Johnstone, Dee Murray, and Nigel Olsson — for the first time since 1975.

The harmonica was played by Stevie Wonder — a collaboration that added a soulful and nostalgic feel to the track.

Composed and recorded almost spontaneously: Elton and the band built the song in about 20 minutes while recording in Montserrat.

The single spent 4 weeks at #2 on the Billboard Adult Contemporary chart and reached #4 on the Hot 100, becoming one of Elton’s biggest hits of the 1980s.

In the words of critic Bill Janovitz, the track “has stood the test of time as a classic.”

Although the chorus repeats “I guess that's why they call it the blues,” the lyrics don’t explicitly explain the reason — it’s more of an expressive refrain capturing the melancholic feeling Taupin wanted to convey.

Island Girl (1975)

Became Elton’s last solo #1 hit on the Billboard charts for 22 years — holding the top spot for three weeks.

The lyrics describe a Jamaican prostitute in New York, but today are viewed as both racist and sexist — as a result, Elton has not performed it live since 1990.

The song combines reggae, funk, marimba, synthesizers, and gospel piano — but many critics felt the attempt to sound “Caribbean” came off as artificial.

Facing criticism for its lyrics, Elton described the song as “not that great” and dismissed it for those reasons.

Crocodile Rock (1972)

Elton’s first U.S. #1 single, holding the top spot for three weeks in early February 1973.

The main riff is played on a Farfisa organ — a deliberately “cheesy” sound reminiscent of 1960s hits, especially inspired by Johnny and the Hurricanes.

Despite its success, Elton and Bernie have regarded the song as somewhat of a “joke” or “throwaway pop” — Elton even said, “I don’t want people to think of me for ‘Crocodile Rock.’”

In 2021, he stated he would “throw a party when I never have to play it again,” revealing his fatigue with performing it repeatedly.

A band member once described that, during live performances, he wore a crocodile costume while playing the organ — “the hardest part was that the jaw pointed straight up, so I had to lean back at a 90° angle.”

Blue Eyes (1982)

Co-written by Elton and Gary Osborne, it was the second single from the Jump Up! album.

Reached the Top 10 in the U.K. (#8) and U.S. (#12 Hot 100), and spent two weeks at #1 on the Billboard Adult Contemporary chart.

Elton often brought it back to his live setlists, performing it regularly until 2012.

Razor Face / Indian Sunset / Holiday Inn / All the Nasties / Rotten Peaches

These lesser-known album tracks feature rich arrangements: Razor Face even has extended versions; Indian Sunset discusses Native American genocide; Holiday Inn has medieval touches; and All the Nasties subtly references Elton’s sexuality.

Reddit users praise the album as “perfect from start to finish,” highlighting tracks like All the Nasties and Razor Face.

Sources and Research Notes

This article was created through extensive research using multiple sources to collect rare facts, behind-the-scenes insights, and historical information about Elton John’s songs. Key references include:

Official Elton John discography, album liner notes, and box set booklets (especially Madman Across the Water 50th Anniversary Box Set and Sleeping with the Past deluxe editions)

Interviews with Elton John and Bernie Taupin published across several decades in outlets such as Rolling Stone, Billboard, NME, and Mojo Magazine

Elton John’s official autobiography Me (2019)

Bernie Taupin’s memoir Scattershot: Life, Music, Elton, and Me (2023)

BBC interviews and documentaries (BBC Radio, Old Grey Whistle Test appearances)

Fan community forums such as EltonFan.net, the EltonJohn.com community, and dedicated subreddits

The Rocket Record Company archives and historical releases

News archives (The Guardian, The Telegraph, Los Angeles Times, New York Times)

Wikipedia articles for cross-referencing specific song histories and public data

Every effort has been made to faithfully compile this information, combining both official and fan-sourced material to preserve rare insights into Elton John’s creative journey.

Discover even more rare Elton John content, archives, and exclusive materials:
https://allmylinks.com/robsonvianna

Elton John behind the hits secrets, Elton John lesser-known song facts, Elton John hit song origins, Elton John music trivia, Elton John songwriting insights, Elton John chart-topping tracks story, Elton John album hidden details, Elton John classic hits background, Elton John music career facts, Elton John song creation secrets

#eltonjohn #eltonjohnhits #eltonjohnmusic #eltonjohntrivia #eltonjohnsongfacts #eltonjohnbehindthehits #eltonjohncareer #eltonjohnfans #eltonjohnhistory