The Muse Soundtrack album - Reviews

Members of The 22nd Row review the album, the score and the film

source:

https://web.archive.org/web/20090101191539/http://www.whizzo.ca/elton/articles/19990824.html

Jim McKay

Tue, 24 Aug 1999 08:01:05 -0500

The Soundtrack to The Muse came out today in the USA. If you are a fan of the Friends soundtrack and Carla/Etude, you will really like this, although this is a bit more upbeat. That is appropriate since The Muse is a comedy, of course. The album is almost entirely piano and orchestra instrumentals, save for the the last two tracks which are two versions of Elton and Taupin's pop song (and single), The Muse. Guy Babylon is credited as co-producer as well as as arranger. I love the instrumentals. The single has yet to grow on me, although, I prefer the remix instead of the "regular" version.

While this won't satisfy those wishing for an Elton rock and roll album, it will be a huge treat for those wishing for a rather classical sounding album of instrumentals from Elton.

Scott Lovegren

Tue, 24 Aug 1999 12:57:07 -0500

After a first listen to this 36:19 minute, 20 track recording, all I can say is, its' a plucky little recording. Don't buy it if your hoping for a lot of piano playing, the tracks are mostly orchestra based. The title song is ho-hum and not that catchy, probably not chart worthy and the re-mix of the title track hardly stirs the mix enough to have bothered the original. Overall-Scott-grade-C plus. Makes me long for Friends.

"Reality runs up your spine" EJ/BT

Anna Brown

Fri, 27 Aug 1999 07:19:47 -0700 (PDT)

My personal opinion of The Muse Soundtrack. I think the score is lame. I really do. When I first heard that Elton will be doing an original score to a movie, I thought, yeah, he'll probably win an Oscar for it, as anything he touches practically turns to gold (no pun intended). After hearing it, though, I'm very disappointed. It's too bouncy and happy, like those people that are happy ALL the time, to the point of annoying.

The song, though, I think it FANTASTIC. I agree, it kind of has to grow on you, so I had it on my repeat feature for three hours while I was cleaning house, and guess what -- it did! I love it. I am concerned, however, about its chances at the Oscars. I would LOVE to see Elton get another one, or two, for that matter, if he can somehow pull the score category off. But with songs like You'll Be In My Heart" by Phil Collins from Tarzan and You've Got A Way" by Shania Twain from Notting Hill, I don't know if Elton, if nominated, would be considered a favorite, or even a contender. I know it's a little early to think about hate Oscars, but it seems to be the only award Elton cares about anymore, so it would probably mean a lot to him to receive it.

I would love to hear your opinions on this.

Anna

Gary Knox

Sat, 28 Aug 1999 11:28:02 EDT

Scott Lovegren said the title tune to The Muse soundtrack was "ho-hum and not that catchy". He may be right about the first part, as the lyrics are rather simplistic - - definitely Taupin-for-hire stuff. However, it is one of the catchiest tunes EJ has crafted in quite awhile! I played it for the first time in my car with my kids while we were on vacation and we've all had the bloody song in our heads ever since! I'm not sure what the hook is, whether it is Elton's soulful voice or the onslaught of interesting imagery: "like lightning in a bottle", "I catch the spark, oh... she lights the dark", but whatever it is, it stays with you long after you've played it a few times.

I'm no expert at guessing singles success, but it seems to me it'll thrive on the Adult Contemporary charts and it may have a shot on the Hot 100 as well.

So, Scott, put the CD in, hit repeat, and let Sir Elton's crafty pop mastery insinuate itself into your brain.

As for the rest of the soundtrack, I was a bit disappointed. As always I was hoping for more piano. The orchestra sounds great but it may be too much of a good thing. Almost all the tunes are bright and upbeat and I cannot but wonder how the movie can sustain this mood throughout. Elton said in that recent Frost interview he likes funereal, sad music and perhaps I was looking for some moodier music along those lines. Still, it is a great sounding recording, a great new direction for Elton. Women Talking Dirty is next and I can't wait to hear what happens.

Gary Knox

Jim McKay

Sun, 29 Aug 1999

To those who write in with their opinions of The Muse score by Elton, I think the writers should mention if they have seen the movie or not. When I offered my first impressions last week, I had not seen the movie. Thanks to Meg, I got to see The Muse Friday. I have to say, that my appreciation of the score and the closing single greatly increased. Yes, as Anna offers, it's bouncy and happy to the point that it is almost annoying. BUT THAT IS EXACTLY why it is perfect! That is how the context of the movie business is being portrayed, -- like these people are happy ALL the time, to the point of annoying. It's intentional and brilliant. And so perhaps Elton will be an Oscar contender for capturing in music the saccharine-sweet nature of Brook's characters.

Darla

Mon, 30 Aug 1999 19:41:24 EDT

I picked up The Muse soundtrack last week and I absolutely loved it. Before seeing the film the music already had me picturing the action. At one point I was listening to a track and I thought, this is bizarre, I don't know if I like this one, then I looked at the title and it was Multiple Personality and then I thought oh, cool, it fits!

The driving music was perfect. For those who complain it's too upbeat I say, hey it's comedy, it should be upbeat. The upbeat music contrasts perfectly to the turmoil the main character is in. It reflects the pie-in-the-sky world that is La La Land. Sure, we'd all like more piano, it's Elton, who wouldn't, but one must listen without prejudice and pretend it could be a score by anyone and judge it on it's merits alone. I was very, very impressed, the melodies were wonderful. They had a sweetness to them, particularly The Gift that reminded me a bit of some of Beethoven's music of which I am a big fan.

I liked the title track, too, except that once again, a good song is marred by bad production. I just can't stand the overpowering syncopated drum sound in that song. I don't know about anyone else, but really didn't hear much difference between the remix and the regular version of the song.

I saw the film over the weekend and I really liked it as well. Brooks is a great dialogue writer. I felt the music fit the film like a glove. Well done.

Darla

William Cleere

Mon, 30 Aug 1999 21:06:40 -0800

I've been an Albert Brooks fan for about 7 years now. I own all the movies that he's written and directed. Being a fan of both Brooks and Elton, I was thrilled to hear that EJ was doing the score. I got to see the film over the weekend and loved it. The music was exactly as it should've been, I thought. A pseudo-classical type score that rarely went under dialogue. The music was mostly used in transitional scenes, such as Albert Brooks driving and walking and so on. I thought Elton did a marvelous job writing music that wasn't "theme" music like in Star Wars or other operatic type films. Elton's music was there to keep the pace of the movie going, and I think this goal was achieved. Also, if you watch other Brooks' films such as Lost in America or Mother, you will find similar types of musical scores. Those two movies were done by Arthur Rubenstein and Marc Shaiman respectively. Two composers with impressive resumes I might add. Point being that Albert Brooks takes his movie music very seriously, but he uses it to a different effect than most movies. Hence, the "bouncy" and upbeat soundtrack from Elton. Timing is of the essence in comedy, and Elton's music contributes greatly to the comic timing of The Muse as a whole.

--Bill Cleere

Margot Wright

Tue, 31 Aug 99 23:37:25 PDT

I did not see the movie and if I had I'm sure I would have loved the score...everyone knows that movie music sounds much better and relevant when it is played during the actual show. However, I bought The Muse soundtrack and was very disappointed in the score..it didn't have nearly as much piano as I had hoped and many songs seemed the same to me. And the title track I thought was terrible upon the first listen..but I've upgraded it now to refreshing. I love his ooh- oohs and the way fluctuates his voice.But Taupin's lyrics are quite schmaltzy and the line "means to fill your quota" is painfully awkward.

all IMHO,

Margot

"Please excuse my frankness - well it's not my cup of tea" - lyrics by

Bernie Taupin, sung by Elton John

Perry J. Passarotti

Wed, 1 Sep 1999 10:32:28 -0400

We listened to The Muse Soundtrack over the weekend while cleaning the house as someone else had posted. We cleaned the house in record time... the pace of the soundtrack helped tremendously. We enjoyed the piece and are looking forward to seeing it in the movie (we're also BIG Albert Brooks fans).

Regarding the two versions, we're split- I liked the first version and my wife Eva liked the master-blaster version better. But on one thing we agree -> we don't understand the lyrical reference to "two hands on the throttle". I mean, you can have your two hands on the throttle while you're going down in flames too, so it was a little disturbing.

be seeing you

Perry

(EJ@MSG on 10/16!!!!   yeah!)

Andy Geisel

Wed, 1 Sep 1999 22:32:39 EDT

Just wanted to throw my two cents in on "The Muse". First got to hear it the day before I saw the movie. With many lively and fairly complex runs, it's a spritely soundtrack.

Though not as elegant as say "Midsummer Night's Dream", it flows well and reminds you that Elton was indeed classically trained. You can hear him drawing from his influences.

It also fit the mood of the film quite well and did what Albert Brooks scores do - serve to transition the scenes and underscore montages. Elton has good comic pacing, too I might add. As for the song, nothing memorable. He could have done better and I for one would have preferred a more "Michelle's Song" approach and arrangement, as opposed to the generic modern sound of "The Muse". Ultimately forgettable. Don't look for it at Oscar. Phil's is better at the moment, and then there's Toy Story 2.

I think we should expect bigger and better from "El Dorado".

On the whole, though, a fine work. Can't wait to see the next one.

Now, onto "Sixth Sense", which is composed by James Newton Howard. An amazingly good score. Very sedate, but woven perfectly into the fabric of the film, which is also amazingly good. (For my money, screw the "Blair Witch Project" - Sixth Sense is REAL movie making). James Newton Howard has shown himself to be an excellent craftsman at film scores and it is to this level that someone like Elton, we all know how good a songsmith he is already, should aspire. I think we'll all agree he's more than capable.

Andy Geisel

Studio City, CA

"like lightning in a bottle..."  EJ/BT '99

Ben West

Tue, 7 Sep 1999 16:21:12 -0500

Well, as a soundtrack lover, I have been intrigued by the comments placed here on the Row and decided to go see for myself. I have now listened to the soundtrack and seen the film, so here's my two cents. (even though some may feel I have no sense..<g>)

First, this is a more than a soundtrack, this is a film score. I get the feeling that some never really listen to a film's score. The most popular soundtracks as far as sales are the ones with pop/rock songs on them, not actual orchestral scores (ie. #1 and #2 all-time in sales, Titanic, propelled by Celine Dion, and The Bodyguard with Whitney Houston). There are many impressive writers of purely orchestral scores such as James Goldsmith, James Newton Howard (whose score for Grand Canyon is one of the most incredibly complex, jaw-dropping works in the last 10 years), and the father of the modern film score John Williams. These scores can go from extreme complexity (Grand Canyon) to elegant simplicity (Close Encounters by Williams... mostly based on 5 notes). Either way, they add to the film immensely. However, to quote Williams, "the best film music is not heard, but felt."

The score for The Muse does this well... it is light and airy due to the nature of the film, and moves well within its context. This was not the format for 3 or 4 studio-type songs from Elton, it was simply to drive the action of a film. I feel that some members wanted several songs, or expected something that a score simply cannot be.

Whether or not it has themes that are "borrowed", I agree with the point that much of the "classical" music world has similar sounds and themes, and can sound extremely similar. You'd be hard pressed to convince me that the beginning of Jaws wasn't directly influenced by Antonin Dvorak's New World Symphony.... and there are hundreds of other examples of film music being influenced very directly by the classical realm. This isn't plagiarism, it's just that there is nothing new under the sun.

As for the title song, I haven't listened to it long enough for it to grow on me. I agree with those who say that it sounds a little contrived, and I don't see it as an Oscar contender, but with Elton's name behind it, he may at least get a nomination... we can hope for the best!

Thanks, and if anyone knows of a newsletter similar to the Row for soundtrack fans, or if anyone wants to discuss them, please e-mail me at macmanben@aol.com

David R.

Tue, 7 Sep 1999 18:44:57 -0400

This has become such a hot topic on the Row, and being a musician myself, I figured I had to put in my two cents.

I am not an avid listener of classical music (in fact, The Muse is the first quasi-classical album I have bought), so I do not know the characteristics of Bach, Vivaldi, Mozart, et al's compositional style and techniques. However I do listen to a wide variety of jazz and rock (classically influenced and not), and pride myself on having a very diverse record collection. That said, on to the opinion.

I think the score is fabulous, however too short. I love the different themes that make up all the cues in this score. And while someone said it gets repetitive, it is a score and most scores (and classical pieces for that matter) have themes that are ultimately reverted back to and stated in a different matter. The different shading and instrumentation in the statements of the themes are beautiful. It sounds like a rhapsody with 18 different but cohesive movements, and the entire score could be seen as one full classical piece. I would like to see Elton release the sheet music for piano only (i.e. the string parts would be arranged for the 88). It is a very good effort by Elton in a relatively foreign field compositionally for him, and I have said for a long time that Elton should do an all instrumental album. His piano playing and compositions are what drew me to him in the first place. Vocals I can take or leave, as they deteriorate with age. Writing styles and playing styles will stay with one performer forever.

The title song, to not mince words, in my opinion is HORRIBLE!!!!! It is one of the worst things (I can't bring myself to refer to it as a song, or a piece of music) I have ever heard Sir Elton do. It is a valiant attempt from Elton to do already flaccid R&B sap territory, as covered by Brandy, Monica, Tyrese, Deborah Cox, etc. Not to throw any disrespect to R&B; it's classic days were deep-down funky and beautiful, Stevie Wonder, Earth Wind And Fire, Kool and the Gang. . . It's now absolute garbage. I have nothing against drum machines when they're well disguised and sequenced, but the 808 sounds used on the song are BLATANTLY obnoxious. Especially when I have the same sound on MY synthesizer. I wanted to hear Elton R&B-style funky. Yes this is R&B, but far from funky.

I am not saying for Elton to stop moving forward. As an artist he must evolve. But I would rather hear him evolve into a classical composer, than into a washed-up artist struggling to stay with the times. I have nothing against using technology to make music. Loops are wonderful compositional tools, and samples, when hidden, add a character all their own. But use it to make music, not garbage.

All in my opinion, of course.

David R. aka DavidPiano

William Cleere

Wed, 8 Sep 1999 19:18:15 -0700

It's been stated here a few times lately that Elton's Muse score is very reminiscent of classical music that has already been written. It should be noted that in a recent interview about The Muse, Albert Brooks said that he edited up a version of the film using works by Vivaldi and others to serve as a guideline for Elton to write to. So it would seem Elton was writing within specific parameters for this movie. Not only does a film composer have to adhere to strict music in and out cues, he is also usually given a "guide" soundtrack to give him an idea of what style music to compose. That was definitely the case here. An example of this would be that when doing Star Wars, George Lucas gave John Williams a rough cut using music from The Planets by Gustav Holst. One only has to listen to about three minutes of those two recordings to hear the similarities there.

For what it's worth...

Bill Cleere

Ben West

Fri, 10 Sep 1999 10:05:01 -0500

Bill Cleere's article was correct in mentioning that composers are often given a "guide", and it would certainly be interesting to hear the guide music for some films. There are other restrictions placed upon the composer, too. For instance, music has to be sped up or slowed down to fit the space that is needed to be filled in the film. This can lead to either an unwanted tempo in some portions or even the total removal of some themes/motifs. Also, film composers generally only have 6-10 weeks to complete a score, from the first time they see the movie to the finished recording. So don't blame Sir Elton if this doesn't feel like something he's spent months of intense work on.... it's not, but it is still a good work, and a good look at a different side of our favorite. I would enjoy hearing a purely instrumental album as well, that has been fully worked up, with all of Elton's intensity... We all can dream.

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Elton John VS The Sun Newspaper 1987-88

Don't Let

Go Down On Me

In this episode of Explaining History, we turn our focus from world events to a pivotal moment in pop culture history: the infamous legal battle between music superstar Elton John and the British tabloid, The Sun. Based on John Sweeney's insightful feature, "The Sun and the Star," from the "Faber Book of Pop" anthology, we unravel the intricate story behind one of the most high-profile libel cases of the 1980s.

Our exploration takes us through the tumultuous relationship between the media and celebrity culture, set against the backdrop of the fast-paced andElton John VS the Sun Newspaper 1987-88
scandal-driven world of British tabloid journalism. We dissect the dynamics of this epic battle, where Elton John took on The Sun's sensationalist reporting, claiming defamation and fighting for his privacy.

The episode delves into how the case unfolded, the consequences it had for both parties involved, and the wider implications for press freedom and privacy rights. As Sweeney's feature deftly illuminates, this was not merely a feud between a pop star and a newspaper, but a watershed moment that challenged the boundaries of media ethics and celebrity privacy.We also consider the broader societal context of the 1980s, highlighting the role of the media in shaping public perception, and the emergence of celebrities as powerful figures in their own right.

Join us as we step back into this riveting period of pop history, examining the tension and the impact of this landmark case on celebrity and media relations.Whether you're a fan of pop culture, interested in media studies, or just love a good story of David Vs Goliath, this episode of Explaining History is a fascinating look at an event that helped shape the landscape of modern celebrity culture.

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The Bob Halley Case in Elton John’s Career

Professional Relationships and Trust Conflicts: The Bob Halley Case in Elton John’s Career

Bob Halley was born on November 9, 1947. Before meeting Elton John, he worked as a chauffeur and appeared in some TV productions, including credits in Top of the Pops (1978) and Him and Us (2006). There is no record of a significant business career before his involvement with Elton.

In 1974, Halley was hired as Elton John’s personal chauffeur. Over time, he became Elton's personal assistant and later the director of operations and logistics. He was responsible for organizing tours, schedules, travels, and managing Elton’s professional and personal agendas. Halley worked closely with Elton for nearly 30 years, becoming one of his most trusted staff members and an intimate part of his personal and professional life.

Throughout the decades, Halley also developed a strong personal bond with Elton’s mother, Sheila Farebrother. According to reports from The Sun and Daily Mail, Sheila saw him as a son. Halley frequently visited her, assisted with her personal affairs, and became a constant presence in her life, even during periods of tension between Elton and his mother.

In 2008, Elton John abruptly severed his professional relationship with Bob Halley, as well as with his former manager John Reid and other long-time team members. The decision was made during a major financial and administrative restructuring. Although the official reasons were never fully disclosed, the rupture was reportedly caused by trust issues and suspicions of financial misconduct.

After Halley’s dismissal, Elton asked his mother to also cut ties with him, but Sheila refused. This led to an eight-year estrangement between Elton and his mother, from 2008 to around 2015. In her statements, Sheila said: “Bob is like a son to me… he’s always been wonderful to me and visits me regularly.”

Shortly before her death in December 2017, Sheila revised her will. She left approximately half of her estate, worth about £534,000, to Bob Halley. Elton John received only two ceramic vases and some family photographs as inheritance. According to the reports, despite their reconciliation shortly before her passing, Elton was practically excluded from the financial part of her estate.

Since his dismissal in 2008, Bob Halley has completely withdrawn from public life. He continued to live in England and remained close to Sheila until her death. There are no public records of his current occupation or any new professional projects.

This case illustrates how deeply personal and professional relationships can intertwine, creating significant risks in the career of a major artist. In Elton John’s case, the mixture of business and personal loyalties resulted not only in professional upheaval but also in a public family rift with long-term consequences.

Sources and links:

Blog Elton John All Songs List: https://eltonjohnallsongslist.blogspot.com/2008/05/eltons-people-bob-halley.html

Vanity Fair: https://www.vanityfair.com/hollywood/2019/05/rocketman-movie-elton-john-mom-sheila

BBC News: https://www.bbc.co.uk/news/entertainment-arts-42220913

The Independent: https://www.independent.co.uk/news/people/elton-john-back-in-touch-with-his-mother-after-eightyear-feud-a6859276.html

The Sun: https://www.thesun.ie/tvandshowbiz/2242714/who-is-bob-halley-pa-to-elton-johns-late-mum-sheila-farebrother-who-was-left-half-of-her-fortune/

Daily Mail: https://www.dailymail.co.uk/news/article-5442767/amp/Elton-Johns-mum-leaves-half-fortune-former-PA.html

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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

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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:
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Diana Ross – "Harmony"

Diana Ross – "Harmony" (1976 – Unreleased)

Originally written by Elton John and Bernie Taupin, "Harmony" was recorded by Diana Ross during the 1976 sessions for her self-titled Motown album. Although the track remained unreleased for decades, it finally surfaced in 2012 as part of the Diana Ross (1976) Deluxe Edition, featuring previously unheard studio material.

Ross delivers a lush and emotional version, layering her vocals in harmony with herself, creating a unique interpretation distinct from Elton John’s original 1973 rendition from Goodbye Yellow Brick Road.

The track stands out as a hidden gem in Ross's discography, highlighting her artistic transition in the mid-'70s and her willingness to explore deeper emotional textures in her music.

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Crimes of Passion

Among the vast catalog of Elton John and Bernie Taupin, a few rare compositions were never officially released by Elton himself. One of these hidden gems is "Crimes of Passion," a collaboration between Elton John, Bernie Taupin, and Davey Johnstone that found a unique path: it was recorded and released only by the band Public Domain, led by Billy Trudel, in 1998.

The Origin of "Crimes of Passion"

"Crimes of Passion" emerged during Elton John's songwriting sessions in the second half of the 1980s. It is believed that the song was originally written around the time of the Leather Jackets album (1986), although it was never officially released by Elton. According to some collectors' sources, the track was considered "too personal" by Elton at the time, which may have led to its exclusion from his main catalog.


It was Davey Johnstone, Elton's longtime guitarist and musical partner, who introduced the track to Billy Trudel, with whom he had previously collaborated on other projects. With the approval of Elton John and Bernie Taupin, Trudel was authorized to record the song with his own band, Public Domain.

The Radio Nights Album (1998)

In 1998, Public Domain released the album Radio Nights, which included "Crimes of Passion" in its tracklist. The album features a collection of melodic rock/AOR, a style popular among soft rock fans and collectors of rare music. Although the album had limited distribution, "Crimes of Passion" gained some notoriety due to its prestigious songwriting credits.

The record was released by smaller labels such as MTM/Arctic Rock and remains a collector's item for both Elton John fans and AOR enthusiasts.

Billy Trudel: The Direct Connection with Elton John

Billy Trudel was no stranger to the Elton John universe. He was a backing vocalist for Elton's band during the late 1990s, performing on several tours between 1997 and 2000, including The Big Picture tour. In addition, Trudel had previously fronted the band Warpipes, formed in the early 1990s.

Warpipes was a side project created by members of Elton John’s own band:

Davey Johnstone (guitar)

Nigel Olsson (drums)

Guy Babylon (keyboards)

Bob Birch (bass)

Billy Trudel (lead vocals)

The group’s only album, Holes in the Heavens (1991), was unfortunately hindered by the collapse of its label, Artful Balance Records, shortly after its release.

The Connections Within Elton’s Band

The story of "Crimes of Passion" reflects the deep bond between Elton John's musicians throughout the decades. Side projects like Warpipes and Public Domain are the result of this strong internal musical chemistry:

Davey Johnstone has performed with Elton since 1971.

Nigel Olsson has worked with Elton since the early 1970s.

Guy Babylon was Elton's keyboardist from 1988 until his passing in 2009.

Bob Birch became Elton's longtime bassist for over a decade.

In this context, Billy Trudel held a unique role: he was the only artist to officially record and release an unreleased Elton John, Bernie Taupin, and Davey Johnstone composition.

Timeline: Crimes of Passion and Billy Trudel’s Journey with Elton John

🔹 1985-1986
Probable period when "Crimes of Passion" was written by Elton John, Bernie Taupin, and Davey Johnstone during sessions for Leather Jackets (released in November 1986).

🔹 1990
Formation of the band Warpipes by Davey Johnstone and Nigel Olsson.
Members: Billy Trudel (vocals), Davey Johnstone (guitar), Nigel Olsson (drums), Guy Babylon (keyboards), Bob Birch (bass).
Recording of the album Holes in the Heavens.

🔹 1991
Official release of Warpipes - Holes in the Heavens (Artful Balance Records).
The label soon went bankrupt, limiting the album's promotion.

🔹 1994
Billy Trudel performs at high-profile events (such as the Oscars) as a backup singer for major artists.

🔹 1995-1996
Davey Johnstone presents "Crimes of Passion" to Billy Trudel for a new studio project.

🔹 1997
Recording of Radio Nights by Public Domain, led by Billy Trudel with guest musicians.

🔹 1998
Official release of Public Domain - Radio Nights, featuring the only official recording of "Crimes of Passion".
The album was released by smaller labels such as MTM/Arctic Rock with limited circulation.

🔹 1997-2000
Billy Trudel serves as a backing vocalist for Elton John’s band, participating in The Big Picture tour and various global events.

🔹 2000
Unofficial re-release of Warpipes’ Holes in the Heavens with some bonus tracks.

🔹 2009
Passing of Guy Babylon, Elton John Band’s longtime keyboardist and Warpipes member.


Watch the video below for more context and visual material related to this story:



Research and Sources

https://melodic-hardrock.com/public-domain-radio-nights-1997/
https://www.discogs.com/release/3923951-Public-Domain-Radio-Nights
https://www.rocksverige.se/interview-billy-trudel-public-domain/
https://www.eltonjohn.com/the-band/davey-johnstone
https://www.eltonjohn.com/the-band/nigel-olsson
https://www.eltonjohn.com/the-band/guy-babylon
https://www.eltonjohn.com/the-band/bob-birch
https://melodic-hardrock.com/warpipes-holes-in-the-heavens-1990/
https://aorarchive.blogspot.com/2010/05/public-domain-radio-nights-1997.html
https://www.gemm.com/music-billy-trudel-public-domain-radio-nights/
https://www.westcoast.dk/interviews/interview-with-billy-trudel/
https://www.eltonography.com/bios/band_bios.html
https://eltonjohn.com/

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