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segunda-feira, 29 de dezembro de 2025

Elton John Urges U.S. Senate to Increase Funding in Global Fight Against AIDS

 Elton John Urges U.S. Senate to Increase Funding in Global Fight Against AIDS


Sir Elton John has twice addressed the U.S. Senate to call for stronger action in the fight against the global AIDS epidemic — first on April 11, 2002, and again on May 6, 2015 — each time marking a pivotal moment in his long-standing advocacy for public health.



In 2002, Elton John appeared before the Senate Committee on Health, Education, Labor, and Pensions at Capitol Hill in Washington, D.C. Speaking with urgency, he described the devastating impact of AIDS worldwide and highlighted the work of the Elton John AIDS Foundation, which was already providing prevention, treatment, and advocacy programs in dozens of countries. He shared personal stories — including the loss of his friend Ryan White — to underscore the human cost of the epidemic, urging lawmakers to provide immediate and significant funding to combat the crisis. His message was clear: delays would cost lives, and the United States had both the power and the moral responsibility to lead the global response.

The 2002 testimony can be watched here:



More than a decade later, on May 6, 2015, Elton John returned to Capitol Hill, this time addressing the Senate Appropriations Subcommittee on State, Foreign Operations, and Related Programs. By then, thanks to initiatives such as PEPFAR and increased international funding, millions of people had gained access to lifesaving HIV treatment. In his 2015 testimony, Elton John praised the progress made since his first appearance, pointing to real successes — mothers giving birth to HIV-free babies, entire communities transformed by prevention and treatment programs — while warning against complacency. He urged lawmakers to maintain funding levels, protect vulnerable populations from discrimination, and seize what he called a “window of opportunity” to finally end AIDS as a global health threat.

Together, these two historic testimonies — separated by thirteen years — chart the arc of Elton John’s advocacy: from the desperate urgency of the early 2000s to the cautious optimism of a world on the verge of turning the tide against HIV/AIDS. Both moments reflect his unwavering commitment to public health, human rights, and the belief that political leadership can change the course of history.

#EltonJohn #AIDSawareness #USSenate #GlobalHealth #EltonJohnAIDSFoundation #CapitolHill #PublicHealth #HIVPrevention #Charity #Advocacy





The Pioneers – Jamaica Jerk Off (Single, 1974)

The Pioneers – Jamaica Jerk Off (Single, 1974)



In 1974, the Jamaican reggae trio The Pioneers released the single Jamaica Jerk Off on Trojan Records (TR.7931).

Format: 7" Vinyl, 45 RPM

Side A: Jamaica Jerk Off

Side B: Grandma Grandpa

Release Date: August 1974

Label: Trojan Records, UK




The track was a reggae-infused version of Elton John’s song from his 1973 double album Goodbye Yellow Brick Road. Over the years, Jamaica Jerk Off has appeared in several Pioneers’ compilations, keeping its legacy alive among reggae and Elton John fans alike.

The Pioneers – Jamaica Jerk Off The Pioneers - Jamaica Jerk Off album cover More images Label: Philips – 6078 320 Series: Original Reggae Format: Vinyl, 7", Single, 45 RPM Country: Germany Released: 1974 Genre: Reggae Style: Roots Reggae A Jamaica Jerk Off Written-By – Elton John / Bernie Taupin* 3:45 B Sweet Number One Written-By – A. Crooks*, S. Crooks* 2:38 Phonographic Copyright ℗ – Trojan Records Published By – Dick James Music Ltd. Published By – B&C Music Lacquer Cut At – Phonodisc GmbH Pressed By – Phonodisc GmbH ℗ 1974 A 'Trojan' Recording





https://www.discogs.com/release/2482118-The-Pioneers-Jamaica-Jerk-Off


#ThePioneers #JamaicaJerkOff #Reggae1974 #TrojanRecords #GrandmaGrandpa #EltonJohnCover #ReggaeMusic #VinylRecords #MusicHistory

Dennis Roberts, Elvis Presley, Elton John, and the Eyewear Revolution of the 1970s

Dennis Roberts, Elvis Presley, Elton John, and the Eyewear Revolution of the 1970s



In the 1960s and 70s, West Sunset Boulevard in Los Angeles was not just an address—it was a stage where fashion, cinema, and music intersected. At 8653 W. Sunset Blvd, the Optique Boutique operated under the direction of optician Dennis B. Roberts: owner, operator, and widely known as “the optician of the stars.” Optique Boutique was officially incorporated in the state of California on June 7, 1968, and its products were sold under the “Optique Originals” label, often internally engraved as “On Tour Optique Originals Dennis Roberts.”













Dennis Roberts had a reputation for crafting bespoke eyewear for high-profile clients. Among his most famous customers were Elvis Presley, for whom he created hundreds of customized pairs of glasses, including gold-plated models and versions adorned with logos such as “TCB”; Steve McQueen, the cinematic icon; and Elton John, whose onstage visual style became unmistakable. Roberts’ designs combined technical precision with bold aesthetics, transforming eyewear into objects of artistic expression and status.

Elton John began incorporating custom glasses as a central element of his look around 1973, likely starting in the mid-year. The frames were large, colorful, and theatrical—from the iconic white frames with lightly tinted purple lenses to gold frames with blue lenses, often embellished with jewels. While not all glasses worn by Elton John in the 1970s were made by Dennis Roberts, the majority of the most iconic and recognizable models were, many featuring the internal markings of Optique Boutique.

Beyond defining Elton’s image, these glasses had a significant social impact. At the time, wearing glasses could be socially stigmatized, and derogatory terms such as “four eyes” were common, especially in the United States. Artists like John Lennon, Buddy Holly, and Jackie Kennedy Onassis had already begun shifting public perception, but Elton John did so on a global scale: his bold eyewear helped normalize glasses as a fashion statement, reducing stigma and making eyewear more acceptable and even desirable for the general public.

This cultural shift had tangible effects: the optical industry began investing in fashion-forward, colorful, and customizable frames; stylists incorporated glasses into stage and fashion looks; and everyday people who previously avoided glasses due to embarrassment began embracing them as a form of self-expression. In this sense, Elton John was a pioneer, showing that wearing glasses could signify personality and style rather than limitation.

Today, the glasses made by Dennis Roberts for Elvis Presley, Steve McQueen, and Elton John are collector’s items with significant historical and aesthetic value. The historic Optique Boutique address, the internal markings on the frames, and the celebrity connections help authenticate original pieces. Although the boutique is no longer active, Roberts’ legacy endures: he turned eyewear into wearable art, leaving an indelible mark on fashion, music, and society’s perception of glasses.

Official Recognition of Elton John by the Eyewear Industry

In addition to his social and cultural impact, Elton John received an award from the United States eyewear manufacturing industry for promoting the use of glasses as an element of style and visual identity. At that time, glasses were mostly seen as functional items or even stigmatized with nicknames like “four eyes,” especially among American children and teenagers. By incorporating bold, theatrical eyewear into his performances and public appearances, Elton helped make glasses acceptable and desirable, not only among fans and artists but also among the general public. This official recognition highlights the singer’s pioneering role in transforming what was once a purely functional accessory into a symbol of fashion and personal expression.

Death of Dennis Roberts

Dennis Roberts passed away on July 31, 2007. He was widely recognized as Elvis Presley’s personal optician, having created over 400 custom glasses for the King of Rock, many featuring the iconic “TCB” (Taking Care of Business) lightning logo. Roberts also crafted matching chains for Elvis. His contribution to Elvis’s signature style is celebrated to this day.


MAGAZINE:

DENNIS ROBERTS PUTS THE JEEPERS ON CELEBRITY PEEPERS

Rock star Elton John, the Optique Boutique’s most conspicuous consumer, sparked the rage for gaudy spectacles.

Sammy Davis Jr.’s pair has his name sculpted in rolled gold script on the earpieces and costs $300. Sixty of the Fancy Stones likes gold, too, but the bridge is adorned with the symbol of Islam.

So far, Elton John has spent $25,000 on dazzling spectrum-ranging frames — the rhinestone-encrusted star shapes to a $5,000 extravaganza that spells out his name in 57 battery-operated blinking mini-bulbs.

Whether they suffer from severe myopia or merely a mild sensitivity to sunlight, Dennis Roberts’ customers can eyeball the most spectacular money can buy. As founder and operator of Los Angeles’ seven-year-old Optique Boutique chain, Roberts, 28, is credited by fellow opticians with making the style of a man’s glasses as important as his image.

Aside from fitting glasses to the shape of a client’s face, about the only personalization an optician traditionally bothered to suggest was frame colours (usually neutral) to harmonize with skin tone. But, says Roberts, “nobody took the time to ask, ‘What do you want to look like?’ ‘What image do you want to project?’ Someone with a $20 haircut who puts himself in a $400 suit and a $10,000 car,” he adds, “shouldn’t just have ordinary eyewear.”

The son of a Beverly Hills surgeon, the nearsighted Roberts was himself fitted with his first pair of glasses at age 3. He still remembers those awful trips to the optician’s office with the desks and venetian blinds. “They’d start opening drawers, pulling out frames, and you were always left feeling you hadn’t seen everything they had.”

It didn’t occur to Roberts that he might engage all that until 1965, when he enrolled in Woodbury College, a Los Angeles business school, and took a job at a nearby optical lab to earn spending money. There he learned to grind lenses, build up inventory, set up work areas and even supervise them — all at a salary of $80 per week.

Roberts quit in 1968 to go it alone. Shunning the typical locale — in or near a medical building — he set up shop in a trendy Sunset Strip storefront. He started with a $6,000 bank loan and sold his motorcycle to buy a lens-grinding machine. Today, Roberts’ eight Optique Boutiques (five in the Los Angeles area and one each in Las Vegas, San Francisco and Scottsdale, Ariz.) gross well over $1 million annually. Says bachelor Roberts, who lives in Beverly Hills and owns houses in Beverly Hills, Las Vegas and Palm Springs: “There hasn’t been a dull moment.”

Roberts plans to expand next year to New York, Boston and San Francisco, and to open four or five more stores elsewhere. (The locations are Roberts’ secret.)

He planned for early retirement. He refuses to get into lucrative contact-lens business because he thinks they are potentially dangerous “foreign objects in the eye.” (Many doctors, of course, disagree.)

Celebrities account for only 2 percent of his total business, but to Roberts, who prides himself on treating doctors’ referrals and celebrities alike, they serve a special purpose. Their visibility gives prestige to his business.

Presley’s gold aviator glasses with “EP” on the bridge and lightning bolts at the temples? Elton John is a veritable catalogue of bizarre styles: his tiniest pair is made of ivory with tiny piano keyboards circling each lens. Many of Roberts’ famous customers seek merely a dash of style — Valerie Harper’s pink-tinted rectangular lenses, Peter Sellers’ hand-tooled Zeiss frames, James Garner’s large tortoise-shell glasses and James Mason’s monocle.

Roberts has also made some of Edith Head’s movie costumes and wardrobes, and designed costumes for films such as The Three Musketeers and Mod Squad.

As the trend becomes fashionable, Roberts chuckles: “Suddenly all my competitors are taking down their venetian blinds.”

— S. J. Diamond



THE VISION THEY CREATE IS MOST SPECTACULAR

By Al Martinez
Time Staff Writer

Dennis Roberts, a portly young man with a somber mien, dons a heavy pair of plastic glasses that spell “Elton” in multicolored letters and blinking lights, and leans forward.

One eye peering through a round lens in the letter “O,” the other through a square lens between the “L” and the “T,” he says confidently, “This is genius.”

He stares for a moment, letting the phrase hang, as 57 blinking mini-bulbs add a hypnotic effect to his round face.

Then he says, “This is the most unique pair of glasses ever made in the entire history of the world. They are optically perfect. They are a masterpiece of electronics and engineering.”

Blink on, blink off, blink on, blink off.

The glasses — created by Roberts for $5,000 — belong to rock star Elton John, who opens each show with them, winking and blinking on a dark stage.

They are the most expensive and certainly the most unconventional product ever turned out by Los Angeles–based Optique Boutique, a company that fashions eyewear for America’s stars.

Its list of customers ranges from Julie Andrews to Mama Cass. Sammy Davis Jr. is their biggest customer.


Caption under the photograph:

NEON EYES OF ELTON — Rock star Elton John models the glasses that spell out his name in plastic letters and blinking lights. He opens each performance wearing them on a darkened stage.
(Willis Stone photo)





Glasses

(Continued from First Page)

…tomer has, as Fiebig puts it, “600 pairs of our glasses and only one eye.”

Elvis Presley, whom Roberts first met as they were waiting in their cars side by side for a traffic light to change, owns 80 pairs, each bearing the Presley insignia of a lightning bolt and the initials “TCB” — Take Care of Business.

Presley turned down a solid gold pair of glasses featuring nude couples making love on the earpieces, but they weren’t wasted. The “Real Don Steele,” a radio-TV rock entrepreneur, bought them.

Roberts, 27, is president of Optique Boutique, which also has stores in four other cities. Fiebig, a practitioner of the optical arts for 30 years, is vice-president.

Roberts began the company in 1968 with a $6,000 bank loan. He sold his motorcycle to buy a lens-grinding machine. Today, the business is probably worth millions, but its owner declines to discuss the matter. “Eyes wear out,” he says firmly. “That’s what we’ll talk about.”

Roberts was born in Los Angeles and learned the optical trade in an optical laboratory. He met Fiebig, who taught him about optics.

It wasn’t long thereafter that the aggressive young optician joined by his partner opened a shop on Sunset Boulevard. A short while later, Steve McQueen walked in unannounced.

He was sporting custom-made eyeglasses that had been broken and repaired several times. Roberts fixed them, and McQueen later returned with more business.

Other customers were acquired almost accidentally.

Roberts goes around in denim and a vest, and is remembered for his whimsical glasses designs. He was stopped for a light on Sunset at La Cienega when a limousine pulled up next to him. It was Presley again, who rolled down the window, waved, and said he liked the glasses Roberts was wearing. He took his name and card.

Three months later, Presley, preceded by an advance man’s telephone call, ordered six pairs of glasses and an additional pair with flip-down windshield wipers — powered by a battery pack.

“He suggested,” recalls Fiebig, “that we make a pair with teeth above and below each lens that would open and close like separate mouths. We have not done that yet.”

Roberts, who is the salesman of the two, explains that John’s glasses “reflect what he is — flamboyant. I mean, he recently dyed his hair orange to match his fingernails.”

As the reputation of Optique Boutique spread, customers began dropping by. Roberts hastens to explain that most of their business — about 98 percent — comes from ordinary customers who just want good glasses. “We’re not a freak show,” he says. “This gimmickry is not selling.”

“What we create,” he adds, “has to be honest. We are not in the business of gimmicks. The extraordinary just sort of evolves.”



#DennisRoberts #ElvisPresley #EltonJohn #SteveMcQueen #OptiqueBoutique #VintageEyewear #GlamRock #1970sFashion #FourEyes #EyewearRevolution #MusicHistory #HollywoodStyle

George Michael’s Live Performance of Elton John’s "Ticking" in Coimbra

 George Michael’s Live Performance of Elton John’s "Ticking" in Coimbra






In 2007, George Michael performed Elton John’s song "Ticking" live during his 25 Live tour. The most widely recognized recording of this performance took place on May 12, 2007, at Estádio Cidade de Coimbra in Coimbra, Portugal. This performance highlighted George Michael’s admiration for Elton John and showcased his ability to interpret another artist’s work with his own unique style.
The 25 Live tour celebrated 25 years of George Michael’s musical career and included several notable live performances. "Ticking" was part of the setlist during the Coimbra show and stood out as a tribute to Elton John’s songwriting and musical influence. The live rendition captured both the emotional depth of the song and the enthusiastic response from the audience.
There is some confusion on YouTube regarding the location of this performance. Some videos claim it took place in other cities, such as Sofia, Bulgaria, but these claims appear to be incorrect. Based on available evidence and documentation, the Coimbra performance is the authentic version that is widely recognized by fans and music historians.
For viewers interested in watching this iconic performance, several videos are available on YouTube that showcase George Michael’s live interpretation of "Ticking" at Estádio Cidade de Coimbra. The performance remains a memorable moment in George Michael’s career and a testament to his appreciation for Elton John’s music.


Elton John and David Furnish vs Associated Newspapers: Understanding the 2025 Case

Elton John and David Furnish vs Associated Newspapers: Understanding the 2025 Case



In 2025, Elton John and his husband, David Furnish, filed a lawsuit against Associated Newspapers Limited (ANL), the company behind the Daily Mail, Mail on Sunday, and MailOnline.

They claim that the newspaper collected private information illegally about their personal lives. According to the lawsuit, journalists and investigators hired by ANL used illegal or deceptive methods, such as listening to voicemails, obtaining private documents fraudulently, and systematically invading their privacy. ANL denies all the allegations.

Who is Involved

The case is part of a group action including other public figures, such as:

Prince Harry

Elizabeth Hurley

Sadie Frost

Baroness Doreen Lawrence

Sir Simon Hughes

The case number for Elton John and David Furnish is KB-2022-003318.
Some claimants are represented by the law firm Gunnercooke, while ANL is represented by Baker McKenzie.

What Has Happened in Court

In November 2023, the London High Court allowed the case to proceed, rejecting ANL’s request to dismiss it early.

In April 2025, the court issued a Transmission Direction Order, which explained how the press or the public could watch parts of the hearings remotely. Recording or sharing the feed was strictly prohibited. The hearing took place in early May 2025.

Connection to the Leveson Inquiry

Some documents related to previous privacy cases were restricted because of the Leveson Inquiry (a UK investigation into journalistic practices between 2011 and 2012).

In March 2025, the UK government allowed limited access to some of these documents so the court could use them in the current cases, under strict confidentiality rules.

Why This Case Matters

If Elton John and David Furnish win, the case could strengthen rules on how newspapers gather information about celebrities and public figures, especially regarding private data.

The next steps of the process — possibly a full trial in 2026 — will determine how much private information the media in the UK can legally publish.

Sources and Public References

1. Reuters – Preliminary coverage, May 6, 2025
https://www.reuters.com/world/uk/prince-harrys-lawyers-back-court-against-daily-mail-publisher-2025-05-06/

2. The Independent – Article on the case arguments, May 6, 2025
https://www.the-independent.com/news/uk/home-news/prince-harry-court-case-mail-publisher-b2745683.html

3. BBC News – Coverage of the privacy lawsuit
https://www.bbc.co.uk/news/entertainment-arts-65087072

4. 5RB Barristers – Case summary involving multiple claimants
https://www.5rb.com/case/baroness-lawrence-ors-v-associated-newspapers-ltd/

#EltonJohn #DavidFurnish #AssociatedNewspapers #PrivacyCase #MediaEthics #HighCourt #RightToPrivacy #UKLaw

Elton John Quote: "My career is gonna be very short. .. 1½ years, that's alI."

 Elton John Quote: "My career is gonna be very short. .. 1½ years, that's alI."

“My career is gonna be very short. … One and a half years, that’s all.”

Interview with Elton John

Record Mirror, February 20, 1971
Interview by Bill McAllister


Elton John sat down casually, dressed in red trousers, a green T-shirt and a black Chinese housecoat, sipping an odd egg-based drink while posing for the camera. The atmosphere was relaxed, informal, and full of humor. Nothing controversial was planned — we simply talked.

“My career is gonna be very short. One and a half years, that’s all. I want to quit while I’m at the top and then fade into obscurity.”

He paused, then added:

“Does it sound bad saying I want to quit while I’m at the top? I don’t mean it arrogantly. It’s just that so many artists never see the end — they never know when they’ve started that long slide downhill.”

Elton explained that his commitments were already mapped out:

“I’ve got lots of obligations for this year and next, and when they’re all done the group will split.”

According to him, two more American tours were planned, one early in 1972, and that would be the end.

“There won’t be anything after that, because I know — I just know — that I’ll be tired of being on the road by then.”

At the time, his main motivation was still the enjoyment of playing:

“At the moment all I’m interested in is playing, because I’m enjoying myself so much.”

He acknowledged that there had been talk about films, but felt that would come later:

“When the group breaks up — it must sound horrible talking about it like this, but it’s so inevitable — we all accept it, and that’s the best way.”

Elton then spoke about the future of the other band members. Nigel Olsson, he said, would likely move into production full-time, something he enjoyed greatly. Dee Murray, on the other hand, would always remain a player:

“I can’t ever see a time when he won’t be. He’ll always be successful.”

Elton reflected on how carefully he had thought about forming the group:

“I had a pretty clear idea of the kind of group I wanted — the basic, raw thing we’ve got now, lots of power. But I also knew how hard it would be to find the right people.”

He admitted initial doubts about Nigel Olsson:

“I was a little unsure about him at the start, but I wanted to give him a chance. Other people told me to get rid of him, said he wasn’t good enough. I said, ‘Hold on, wait,’ and it’s worked. He’s improved enormously.”

He added that both Nigel and Dee being able to sing was a major strength of the band.

Despite speaking repeatedly about the group’s eventual breakup, Elton stressed that he was simply being realistic:

“It seems bizarre to talk about the band breaking up, but it has to happen. This is just me talking about the inevitable.”

Looking ahead, he revealed ambitions beyond music:

“I really want to do films. But it can’t just be a pop star trying his hand at acting — that would be wrong. I wouldn’t even attempt it if I didn’t think I could do it well.”

He concluded with a statement that, in retrospect, became one of the most ironic quotations of his career:

“My career is gonna be very short… one and a half years, that’s all.”


📌 Editorial note (for archival or timeline use)

This interview, published in Record Mirror on February 20, 1971, stands as a striking early document of Elton John’s self-perception before global superstardom. The prediction of a brief career sharply contrasts with the more than five decades of international success that followed, making this quote one of the most frequently cited examples of early-career misjudgment in popular music history.


https://archive.org/details/elton-john-my-career-is-gonna-be-very-short-1-12-years-thats-ali

Source: Record Mirror — February 20, 1971 PDF link:

Calling It Christmas – Elton John feat. Joss Stone

Calling It Christmas – Elton John feat. Joss Stone

Hear Music / Starbucks Special Edition (2005)



Released in November 2005, Calling It Christmas is an original Christmas song written by Elton John (music) and Bernie Taupin (lyrics), recorded as an exclusive duet with Joss Stone for the compilation Elton John’s Christmas Party. The track closes the album and represents the only newly recorded material contributed by Elton John specifically for this project.



The song was created expressly for this release and does not belong to any of Elton John’s regular studio albums. Its debut took place within the framework of a special retail edition developed through a partnership between Starbucks Hear Music and Universal Music Group, aimed at the North American market.




Conception and release context

Elton John’s Christmas Party was officially released on November 14, 2005, as a Hear Music exclusive, available only at company-operated Starbucks stores in the United States and Canada, as well as through Starbucks’ online store. The album was not initially distributed through conventional music retail channels, making it a controlled, specialty-market release.

The project brings together 21 tracks personally selected by Elton John, combining classic Christmas recordings, songs associated with the seasonal spirit, and one newly written composition created specifically for the album. For every copy sold, US$2 was donated to the Elton John AIDS Foundation.

Distribution was handled by Universal Music Special Markets, the division responsible for non-traditional and partnership-based releases. The CD includes liner notes written by Elton John, in which he explains the personal and artistic reasons behind each track selection.

Discographic and technical details

Album title: Elton John’s Christmas Party
Release date: November 14, 2005
Label: Hear Music (Starbucks)
Distribution: Universal Music Special Markets
Catalog number: B0005466-02
Format: CD (Starbucks exclusive edition)
UPC / Barcode: 7 62111 70007 0

Calling It Christmas appears as track 21, closing the compilation.

Song credits – Calling It Christmas

Title: Calling It Christmas
Artists: Elton John & Joss Stone
Music: Elton John
Lyrics: Bernie Taupin
Year: 2005
Recording type: studio, previously unreleased
First release: Elton John’s Christmas Party

Lyrically, the song addresses the Christian origins of Christmas, recounting the journey of the Magi guided by the star to Bethlehem and the symbolic decision to “call this day Christmas” in honor of the birth of Christ. The text emphasizes themes of faith, tradition, spiritual continuity, and the enduring meaning of the season.

Complete track listing
Elton John’s Christmas Party (2005)

1. Step Into Christmas – Elton John

2. Feliz Navidad – El Vez

3. Frosty the Snowman – The Ronettes

4. Santa Claus Is Coming to Town – Bruce Springsteen

5. The Man with All the Toys – The Beach Boys

6. A Change at Christmas (Say It Isn’t So) – The Flaming Lips

7. It Doesn’t Often Snow at Christmas – Pet Shop Boys

8. Spotlight on Christmas – Rufus Wainwright

9. Jingle Bell Rock – The Ventures

10. Run Rudolph Run – Chuck Berry

11. Rudolph the Red-Nosed Reindeer – The Crystals

12. Playa’s Ball – Outkast

13. Merry Christmas Baby – Otis Redding

14. Christmas Island – Jimmy Buffett

15. St. Patrick’s Day – John Mayer

16. Please Come Home for Christmas – The Eagles

17. Christmas Must Be Tonight – The Band

18. 2000 Miles – The Pretenders

19. December Will Be Magic Again – Kate Bush

20. New Year’s Day – U2

21. Calling It Christmas – Elton John & Joss Stone

Calling It Christmas occupies a distinctive place in Elton John’s discography, having been written exclusively for a themed compilation and originally distributed outside the traditional music retail system. The collaboration with Joss Stone underscores the special nature of the recording, while its release format and charitable association position the album as a project of cultural, commercial, and philanthropic significance.

https://www.discogs.com/release/817022-Various-Elton-Johns-Christmas-Party

#EltonJohn #CallingItChristmas #JossStone #BernieTaupin #EltonJohnsChristmasParty #HearMusic #StarbucksExclusive #ChristmasMusic #HolidayAlbum #MusicHistory #Discography #UniversalMusic #EltonJohnAIDSFoundation




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