My Video Creations Inspired by the Music of Elton John
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In this space, I share my video creations inspired by the music of Elton John, one of the most influential and timeless artists in music history. Each video is a personal visual interpretation, created with respect for the original work and inspired by the emotions, narratives, and atmosphere present in his songs. My goal is not simply to illustrate the music, but to create an audiovisual experience that connects with the viewer. The productions explore imagery, rhythm, and editing in order to follow the melodic and poetic strength of the compositions, offering a new way to experience songs that have marked generations. This blog is a space for creation, tribute, and artistic expression. I hope you enjoy the videos as much as I enjoyed creating them.
ROBSON VIANNA
WARM LOVE IN A COLD WORLD
I Feel Like a Bullet (in the Gun of Robert Ford)
CRAZY WATER
The Story and Meaning Behind Elton John's "Crazy Water"
"Crazy Water," released in 1976 on Elton John's Blue Moves album, is one of the most enigmatic and emotionally charged songs written by Bernie Taupin for Elton John. The song draws heavily from Taupin’s personal life, specifically his turbulent relationships during the mid-1970s.
Background
Maxine Feibelman, who Bernie Taupin married in 1971, divorced him in 1975. After their separation, she began a relationship with Kenny Passarelli, Elton John’s bassist at the time. Despite this potentially complicated triangle, Taupin and Passarelli remained good friends. Taupin even remarked, “She’s exceptionally content with my bassist”
Taupin described the sadness of the end of his marriage in the song and other writings, drawing metaphors comparing his separation from Maxine to "shoreline widows" and "missing whalers," with the "crazy water" representing the emotional distance between two people who should have been together
Lyrics and Meaning
The lyrics of "Crazy Water" reflect themes of marital discord, heartbreak, and separation. Taupin’s writing conveys his personal feelings of loss and the turbulent emotions surrounding the dissolution of his marriage. The up-tempo contemporary jazz arrangement enhances the song's emotional tension, while the lyrics remain poetic and enigmatic, containing some of Taupin’s most inspired references to love lost and personal upheaval (
The “crazy water” metaphor embodies the obstacles and emotional barriers between two people who were once close. The song also references the age at which Taupin and Maxine married, tying their youthful decisions to the life changes and heartbreak that followed
Personal and Professional Context
At the time of writing Blue Moves, Taupin was 27 and experiencing both personal and professional crises. His work with Elton John had reached unprecedented heights, with albums selling over 100 million copies and concerts in the world’s largest stadiums. Despite this success, Taupin struggled with feelings of emptiness and disillusionment with rock ‘n’ roll fame, admitting he had turned to alcohol to cope with the pressures
This period of emotional turmoil, combined with his breakup with Maxine and her new relationship with Kenny Passarelli, directly influenced the lyrical depth and emotional weight of "Crazy Water." Despite these challenges, Taupin and Elton continued their professional collaboration, though Taupin also began exploring his own musical projects, such as his solo album He Who Rides the Tiger
Musical Style and Reception
Musically, “Crazy Water” is a contemporary jazz-infused pop rock track with sophisticated arrangements, including clavinet and orchestral elements. Although not one of Elton John’s most widely performed songs, it has occasionally appeared in live performances with percussionist Ray Cooper. It stands out on Blue Moves as one of the album’s most intricate and emotionally resonant tracks.
Maxine Feibelman, Bernie Taupin's first wife, inspired several songs written by Taupin and performed by Elton John. Their relationship, including their marriage and subsequent divorce, deeply influenced the duo's music during the early 1970s.
One of the most notable songs inspired by Feibelman is "Tiny Dancer" from Elton John's 1971 album Madman Across the Water. Taupin wrote the lyrics to capture his feelings for Feibelman, who was a seamstress for the band and traveled with them during their early U.S. tours. The line "seamstress for the band" directly references her role. Feibelman confirmed that she was the inspiration behind the song, noting her involvement in sewing patches on Elton's jackets and jeans, as well as her background in ballet.
Other songs influenced by their relationship include "I Feel Like a Bullet (In the Gun of Robert Ford)" from the 1975 album Rock of the Westies, which reflects the emotional turmoil of their deteriorating marriage. "Between Seventeen and Twenty" from the 1976 album Blue Moves addresses the age difference between Taupin and Feibelman and the pain of discovering her affair with bassist Kenny Passarelli. Additionally, "The Bitch Is Back" from the 1974 album Caribou was inspired by Feibelman's remark about John's bad moods. "Mellow" from Honky Château (1972) is considered a reflection of the happiness Taupin felt during their early married life. "Lovesick" and "I Cry at Night," both from the 1978 album A Single Man, were written during the sessions for Blue Moves and express the emotional strain of their relationship.
These songs showcase how Taupin's personal experiences with Feibelman profoundly influenced his songwriting, contributing to some of Elton John's most enduring and emotionally resonant tracks.
It is possible that the song Sorry Seems to Be the Hardest Word also reflects this turbulent period, much like other tracks from Blue Moves
**** This video is an edit created by Robson Vianna.***
IF THERE´S GOD IN HEAVEN
WARM LOVE IN A COLD WORLD
OUT OF THE BLUE
REVERIE
ONE DAY AT A TIME
SALVATION
COME DOWN IN TIME
Where’s the Shoorah? — Chaos, Escape, and Satire in Elton John’s Mid-Seventies Sound
Released in 1976 as the opening track of Blue Moves, “Where’s the Shoorah?” captures Elton John at a moment of exhaustion, excess, and artistic transition. Unlike the melodic intimacy that characterized much of his earlier work, this song opens the album with restlessness, sarcasm, and an almost confrontational energy.
Lyrically, Bernie Taupin constructs a fragmented narrative that reflects emotional overload and cultural disillusionment. The repeated question — “Where’s the Shoorah?” — does not seek a literal answer. Instead, it functions as a symbol of something elusive: peace, meaning, relief, or escape from an environment dominated by pressure, indulgence, and emotional burnout.
Musically, the track blends pop-rock with elements of soul and funk, driven by rhythmic piano lines, layered backing vocals, and an urgent groove. The arrangement feels intentionally unsettled, mirroring the lyrical sense of confusion and excess. Rather than offering resolution, the song sustains tension, reinforcing the idea of a life moving too fast to pause or reflect.
At the time of Blue Moves, Elton John was dealing with the physical and psychological toll of relentless touring and fame. “Where’s the Shoorah?” reflects this reality without direct confession. Instead of introspection, it opts for irony and satire, exposing a world where pleasure is abundant but satisfaction remains unreachable.
As the opening statement of Blue Moves, the song sets the tone for an album that would explore vulnerability, withdrawal, and emotional fatigue. “Where’s the Shoorah?” stands not as a single designed for comfort or clarity, but as a sharp and restless snapshot of an artist questioning where, in all the noise, genuine relief can still be found.
SEASONS
Elton John "Seasons"
Seasons — Intimacy and Emotional Cycles in Elton John’s Songwriting
“Seasons” is one of Elton John’s most intimate and understated songs, revealing a quieter side of his songwriting that favors emotional nuance over grandeur. Rather than relying on dramatic hooks or elaborate arrangements, the song unfolds gently, allowing mood and reflection to take center stage.
Lyrically, the song uses the passage of seasons as a metaphor for emotional change, distance, and renewal within a relationship. The shifting climate mirrors the natural rise and fall of closeness and separation, suggesting that love, like nature, moves in cycles that cannot be forced or frozen in time.
Musically, “Seasons” is restrained and atmospheric. The piano lines are subtle, the tempo unhurried, and the overall arrangement creates a sense of stillness and introspection. This simplicity enhances the song’s emotional honesty, inviting the listener into a private space rather than a theatrical performance.
The strength of “Seasons” lies in its emotional realism. There is no dramatic resolution or clear promise of permanence. Instead, the song acknowledges change as an inevitable part of human connection. By embracing impermanence rather than resisting it, Elton John delivers a piece that feels quietly mature and deeply human.
“Seasons” stands as a reminder that some of the most powerful moments in music occur not in declarations, but in reflection. It is a song about acceptance, emotional weather, and the passage of time — themes that continue to resonate long after the final note fades.
For our world, the circle turns again
Throughout the year we've seen the seasons change
It's meant a lot to me to start anew
Oh the winter's cold but I'm so warm with you
Out there there's not a sound to be heard
And the seasons seem to sleep upon their words
As the waters freeze up with the summer's end
Oh it's funny how young lovers start as friends
Yes it's funny how young lovers start as friends
SOUL GLOVE
Elton John – “Soul Glove”
Originally released on Elton John’s 1985 album Ice on Fire, “Soul Glove” stands out with its funky groove, energetic brass sections, and playful lyrics. It reflects Elton’s mid-80s experimentation with pop and R&B influences, bringing a vibrant and infectious sound to his catalog.
This video montage was created by Robson Vianna as a tribute to the song’s upbeat spirit.
If There’s a God in Heaven (What’s He Waiting For?) — Elton John’s Cry for a Troubled World
In 1976, Elton John and Bernie Taupin released one of their most thought-provoking songs, “If There’s a God in Heaven (What’s He Waiting For?)”, from the album *Blue Moves*. Unlike the vibrant glamor often associated with Elton’s earlier work, this track delves into darker, more contemplative themes — poverty, war, and human suffering.
Taupin’s lyrics ask a piercing question: *If there truly is a God watching over us, why does He remain silent while the world collapses under its own cruelty?* Lines like *“If He can’t hear the children, then He must see the war”* reflect both frustration and a desperate hope for compassion in an unjust world.
Musically, the song carries a soulful melancholy reminiscent of the Chi-Lites’ “There Will Never Be Any Peace on Earth (Till God Is Seated at the Conference Table).” This influence gives the piece a gospel-tinged gravity that amplifies its message.
Within *Blue Moves*, this song represents Elton and Bernie’s courage to step away from mainstream expectations and confront deeper philosophical questions. It’s a reminder that their partnership wasn’t just about melodies and fame — it was also about conscience, empathy, and the search for meaning in chaos.
Even today, “If There’s a God in Heaven” resonates as a timeless reflection on humanity’s failures and hopes — a quiet prayer wrapped in Elton John’s unmistakable voice.
There are creative works that come to life even when they bring discomfort — and one example is making a video montage for this song.
I usually create these montages as a way to visually express the spirit of Elton John’s lyrics, matching the tone and emotion carried by both the words and the music.
For this particular piece, I used images depicting **famine, the war in Ukraine, and the suffering in Gaza** — themes that mirror the song’s message and remain painfully current. Because of that, this video contains strong, emotional scenes meant to reflect the harsh reality described in the lyrics.
The John/Taupin duo never commented on this track, nor, to my knowledge, ever performed it live. Yet it remains a significant, relevant piece in Elton’s career — one that, unfairly, goes unnoticed and is rarely mentioned among fans.
A song that deserves recognition for its emotional depth and powerful message — a true injustice that it has been so overlooked.
DANCE
"Little Island": A Song by Randy Newman and Elton John on the Album Faust
Who is Randy Newman ?
Randy Newman is a renowned American composer, singer, and pianist, known for his sarcastic, intelligent, and often melancholic style. Born in 1943, Newman stood out both for his solo songs and his film scores — including Toy Story, Monsters, Inc., and Cars — which earned him numerous awards, such as Oscars and Grammys. His music navigates between pop, blues, jazz, and musical theater, always marked by sophisticated arrangements and lyrics that address social, political, and human themes.
Collaboration with Elton John
The collaboration between Randy Newman and Elton John first took place on the album Faust, released in 1995. Although they are not frequent musical partners, Newman invited Elton — already an established giant in pop music — to play the character Angel Rick, a sarcastic and disillusioned British angel. Elton performs the song "Little Island", one of the most powerful and socially critical tracks on the album.
Later, Randy Newman collaborated again with Elton John on the song "It's Tough to Be a God" from the DreamWorks film The Road to El Dorado (2000). In the track, the two share vocals in a theatrical and humorous number, portraying characters who are mistaken for gods. This collaboration highlights the theatrical and musical strengths of both artists and stands out as a rare yet memorable partnership.
The choice of Elton John was strategic: his theatrical and expressive voice fit perfectly with the dramatic and ironic tone of the song. Both artists share a taste for intense emotion and cultural critique in their work, making this collaboration remarkable.
The Album: Faust (1995)
Faust is a modern rock opera written by Randy Newman, based on the classic legend of Faust, the man who sells his soul to the devil in exchange for power and knowledge. In Newman’s version, the story is set in contemporary United States. The protagonist, Henry Faust, is an apathetic college student, caught in a battle between God and the Devil for his soul.
The album features major music artists like James Taylor (God), Don Henley (Henry Faust), Linda Ronstadt, and Elton John. Musically, it blends orchestral pop, introspective ballads, and theatrical moments, all stitched together with Newman’s sharp sarcasm and lyrical brilliance.
The Song "Little Island"
Performed by Elton John, "Little Island" is an emotionally dense song that appears at the moment when Angel Rick tries to explain to Henry — and to the listener — the complexity of divine justice, or the absence of it.
Themes in the Lyrics
The song touches on several deep and unsettling themes:
Historical injustice: The song points to how societies commit atrocities — such as slavery, genocide, and persecution — and then pretend nothing happened or rationalize these events as "necessary" or too distant to deserve attention.
References to World War II and the Holocaust:
One of the most impactful lines in the song is:
"Some of them were burning, some of them were waiting for a train..."
This line is interpreted as a clear allusion to the Holocaust, in which millions of Jews and other groups were deported to Nazi concentration camps, many transported by train to their deaths. It is a direct and painful critique of indifference to human suffering.
Another line:
"The little island has a short memory..."
"It don’t remember what it did..."
refers to historical amnesia — societies that forget or minimize their own crimes, suggesting that time erases guilt.
Celestial cynicism: Instead of offering spiritual comfort, Angel Rick presents a bitter view of God and the world. The song suggests that suffering and injustice are tolerated or even ignored by divine forces.
Moral isolation: The “little island” in the title works as a metaphor for the human condition: a kind of emotional and moral prison where mistakes are forgotten but never truly overcome.
Conclusion
"Little Island" is not just a collaboration between two giants of music — it is a sharp and moving portrayal of the human condition, historical memory, and the absence of true justice. In the context of the Faust album, it serves as a moment of revelation, where the world is not shown as a battlefield between good and evil, but as a place marked by indifference and forgetfulness.
Elton John’s performance brings Angel Rick to life with intensity and bitterness, while Randy Newman uses his lyrical genius to confront the listener with uncomfortable truths. The song thus becomes a powerful piece of social critique and moral reflection — with both historical and emotional resonance.
This version is part of the album Faust (1995), a rock opera written by Randy Newman based on the legend of Faust. The song is sung by Elton John in the role of the angel Rick and offers a critical and ironic view of justice and human history.
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