The Gorilla Suit Incident — Elton John Crashes Iggy Pop’s Show in Atlanta

 The Gorilla Suit Incident — Elton John Crashes Iggy Pop’s Show in Atlanta

In mid-October 1973, during a series of performances at Richard’s Club in Midtown Atlanta, Elton John pulled off one of rock’s most legendary pranks. A huge fan of Iggy Pop and The Stooges, Elton decided to surprise the band by dressing up in a gorilla suit and “crashing” the stage during their set.

The plan was hatched with the help of journalists from Creem Elton John Magazines Vintageine, who were covering the tour. Elton borrowed a worn-out gorilla costume—which he later described as “the smelliest gorilla suit you could imagine”—and prepared for the stunt.

At the first show, Elton simply enjoyed the performance. But during the second or possibly third night of the residency (most sources point to October 9 or 10), Elton appeared on stage in the gorilla outfit. Iggy Pop, who was heavily under the influence of drugs—including acid, quaaludes, and reportedly even an injection of methadrine to get on stage—was genuinely terrified. Believing the gorilla was real, he thought he was being attacked by “Billy Bob,” someone out to kill him.

The tension eased only when James Williamson, guitarist of The Stooges, pointed out the costume, giving Elton time to reveal himself. Elton then took Iggy in his arms and carried him on stage. The crowd erupted in laughter, and Iggy later said Elton was “a cool guy.”

Elton humorously summarized the event: “It was the smelliest gorilla suit… I thought it was brilliant — but it kind of went wrong.”

Despite the initial shock, this episode remains one of the most absurd and memorable moments in 1970s rock history.

sources:
Dangerous Minds: https://dangerousminds.net/comments/that_time_elton_john_crashed_a_stooges_show_wearing_a_gorilla_outfit

Far Out Magazine: https://faroutmagazine.co.uk/when-elton-john-crashed-iggy-pop-concert-dressed-as-gorilla

Radio X: https://www.radiox.co.uk/news/music/iggy-pop-elton-john-gorilla-prank-1973/

Ultimate Classic Rock: https://ultimateclassicrock.com/elton-john-iggy-pop-gorilla/

Rolling Stone Brazil: https://rollingstone.com.br/noticia/vez-em-que-elton-john-se-fantasiou-de-gorila-para-assustar-um-iggy-pop-doidao-em-1973/

#EltonJohn #IggyPop #RockHistory #GorillaSuit #1973Concert #Stooges #MusicLegends #ClassicRock #EltonJohnStory #IconicMoments #RockPranks

The Art of Elton John’s Album Covers Part 1 and 2

 The Art of Elton John’s Album Covers: Stories, Behind the Scenes, and the Creators Behind the Image – Part 1

Elton John’s public image has always been shaped not only by his music and flamboyant outfits but also by the visual art that accompanies his records. The covers of his albums form a gallery of styles, techniques, and artistic visions that reflect the many phases of his career. Below, discover the stories behind these covers and the artists who created them—including their work before and after collaborating with Elton.

1. Goodbye Yellow Brick Road (1973)

Originally, portrait artist Brian Organ was commissioned to design the cover of Goodbye Yellow Brick Road. Organ was known for his traditional oil portraits and even developed early sketches with a more serious and classical approach. However, during the creative process, Elton’s team decided to take a more playful and symbolic route, better reflecting the album’s fantastical and theatrical tone. That’s when Ian Beck, a younger illustrator with a whimsical, surreal style, was brought on board.

Beck was given just ten days to complete the artwork. Inspired by The Wizard of Oz, he created an image of Elton stepping out of a poster and onto a yellow brick road. He used reference photos, including a model in platform shoes and childhood toys like a toy piano and teddy bear. At the time, Beck was a freelance illustrator, and the success of this cover helped launch his career as a children’s book author and illustrator, with works such as The Teddy Robber (1989) and Pastworld (2009).

2. Elton John (1970)

Elton John’s self-titled second album featured a cover designed by David Larkham, inspired by the pictorial style of Rembrandt, with photography by Roger Stowell. The idea was to portray Elton in a reflective and melancholic light, matching the introspective tone of the album. The image was intentionally printed with heavy grain, reminiscent of covers like Déjà Vu by Crosby, Stills, Nash & Young. The back cover was composed of two stitched photographs.

Larkham worked closely with Elton throughout the 1970s and also served as art director for album covers like Madman Across the Water and Captain Fantastic and the Brown Dirt Cowboy. His visual contributions were key in shaping Elton’s graphic identity during that era.

3. Tumbleweed Connection (1970)

The cover of Tumbleweed Connection was photographed at the Sheffield Park railway station in the English countryside, with art direction by Ian Digby Ovens. Though the album evokes the imagery of the American Old West, all the photos were shot in the UK. The goal was to blend American mythology with the British reality of the musicians, especially through Bernie Taupin’s lyrics.

Ian Digby Ovens later worked with various British artists and labels, including Island Records, and also designed covers for Cat Stevens. His style was notable for telling visual stories through real locations and moody atmospheres.

4. Captain Fantastic and the Brown Dirt Cowboy (1975)

This cover is one of the most intricate and psychedelic in Elton’s discography. The artist responsible was Alan Aldridge, one of the biggest names in British graphic art during the 1960s and 70s. Aldridge had already designed posters and illustrated books for The Beatles, including The Beatles Illustrated Lyrics. His style was marked by airbrushed visuals, vivid colors, surreal characters, and cartoonish elements.

The album art is a visual representation of Elton and Bernie Taupin’s journey as artists, filled with characters, symbols, and autobiographical references. Aldridge also created covers for albums by The Who, Cream, and Harry Nilsson, as well as the iconic children’s book The Butterfly Ball and the Grasshopper’s Feast.

5. The One (1992)

The One marked a period of aesthetic and musical renewal for Elton John. For this, the cover was designed by Italian fashion designer Gianni Versace, with whom Elton had a personal and artistic connection. Versace created an ornate design with Renaissance and Baroque elements, using deep colors like navy blue and gold. The result was an elegant, luxurious, and symbolic cover, reflecting the sophistication of the album’s sound.

Versace had previously created stage costumes for Elton, as well as for artists like Madonna and Prince. His influence in visual arts was as strong as in fashion. This collaboration further cemented the link between pop music and high fashion.

6. The Big Picture (1997)

The cover of The Big Picture (1997) is a painted portrait by Julian Schnabel, the acclaimed artist and filmmaker known for his expressive, large-format works. The image presents Elton John in a contemplative and refined pose, matching the introspective tone of the album.

Mario Testino contributed to the album’s visual elements with photographs featured inside the booklet, including the page for Live Like Horses.

Paragraph reviewed by Andrea Grasso

#eltonjohn

The Art of Elton John’s Album Covers: Stories, Behind-the-Scenes, and the Creators Behind the Image – Part 2

If the first part of this series revealed the behind-the-scenes of some of Elton John’s most iconic album covers, this second installment delves into other visually striking moments of the artist’s career. Each album image is a snapshot of its era, filled with symbolism, creative choices, and collaborations with some of the most notable names in graphic design, photography, and fashion.

Caribou (1974)
The "Caribou" cover was photographed by Richard Imrie in the surroundings of the Caribou Ranch studio, nestled in the Rocky Mountains of Colorado. The image features Elton wearing a blue jacket adorned with silver stars, set against a barren landscape with a dramatic sky. The stark and direct visual contrasts with the album’s lush production.

Richard Imrie was a freelance photographer focused on nature and portrait work, contributing to various U.S. lifestyle and culture magazines. Art direction was once again led by David Larkham, who aimed to maintain a visual style consistent with the album’s universe.

Visual trickery on the cover: The backdrop — that dramatically blue and mountainous sky — is actually a hand-painted fabric panel used by David Larkham, inspired by the style of Maxfield Parrish. Larkham kept that backdrop stored by a friend in the U.S.

Iconic glasses: Elton appears wearing his "Palm Tree" glasses, now considered relics on display at Hard Rock Cafes in Las Vegas and London, alongside his rhinestone-covered piano lid bearing the word "BITCH".

High altitude = unique sound: Recorded at 2,600 meters above sea level, the studio required oxygen masks and produced richer bass when played at sea level — something other artists like Tom Dowd and Rod Stewart also capitalized on.

John Lennon's visit: Lennon joined Elton during sessions in 1974. It's said that right after a vocal take, he rushed to the oxygen tank — and Elton pulled him back in to sing backing vocals on “Lucy in the Sky with Diamonds.”

Studio vs. final product: Caribou Ranch was built by Jim Guercio inside a barn and hosted legends like the Rolling Stones, Bob Dylan, and Barbra Streisand. Technicians even created magnetic microphone stands to allow for quick adjustments without dismantling the setup.

Rock of the Westies (1975)
Continuing Elton's Rocky Mountains aesthetic, this cover was captured by Norman Seeff in an informal photo shoot. It shows Elton and his new band in a relaxed, almost family-like setting. This was deliberate — a way to introduce the new band and highlight the album’s rockier sound.

Norman Seeff was known for spontaneous sessions with artists like Joni Mitchell, Ray Charles, and the Rolling Stones. He sought natural, unforced moments. His work helped humanize Elton’s image during a time of sonic reinvention.

Blue Moves (1976)
The double cover of "Blue Moves" stands out as a true artistic piece. It features “The Guardian Readers” by British painter Patrick Procktor, a pop art figure connected to London’s bohemian scene. The image evokes melancholy, introspection, and a near-cinematic atmosphere — perfectly aligned with the album’s emotional weight.

Procktor, a friend of David Hockney and Francis Bacon, blended watercolor, graphic elements, and fragmented narratives. The use of his work marked one of the most artistic moments in Elton’s discography.

Peachtree Road (2004)
This album’s simple yet powerful cover shows a railroad track cutting through a rural Southern U.S. landscape. The photograph was taken by British multimedia artist Sam Taylor-Wood (now Sam Taylor-Johnson), known for emotionally charged, cinematic visuals.

The image evokes the American South — a recurring theme in Bernie Taupin’s lyrics — and matches the album’s organic, introspective sound. Taylor-Wood would later direct Nowhere Boy, a film about John Lennon’s early years.

The Diving Board (2013)
With visual direction by photographer Tim Barber and graphic concept by Mat Maitland, the cover shows a stylized Elton atop a diving board in an abstract, mysterious space. It symbolizes rebirth, risk, and the leap into the unknown — all themes of the album.

Barber is known for poetic, urban aesthetics, while Maitland became known for bold digital collages. Their collaboration produced a cover that references both surrealism and minimalism, matching the album’s introspective and mature tone.

Jump Up! (1982)
Shot by Brian Griffin, the cover shows Elton in a formal pose, wearing a dark blue suit, white shirt, and plain tie, complemented by a hat. The dramatic lighting, clean background, and serious expression create a sober, elegant, and subtly theatrical image — a focused aesthetic with a powerful presence, typical of Griffin’s expressionist style.

The cover isn’t minimal in the traditional sense (empty spaces, absence of elements), but it embraces a clean, graphic approach that stands out compared to Elton’s more fantastical or detailed covers.

The pose is serious and static, with contrasting lighting.
The album title appears in simple typography, and the framing is free of excessive graphical elements.

Griffin, inspired by German expressionism, was known for using strong shadows, dramatic angles, and rigid poses.
Intense, artificial lighting adds theatrical and melancholic flair.
The flat, uniform background focuses attention solely on Elton, with no visual distractions.

Brian Griffin trivia:
He also photographed covers for Depeche Mode, R.E.M., and Siouxsie and the Banshees, always maintaining that symbolic, dramatic style.
In interviews, Griffin said he tried to portray an artist’s soul using light and visual silence.

Made in England (1995)
The "Made in England" cover presents a frontal portrait of Elton John, captured with sobriety and elegance. Wearing round glasses and a dark turtleneck sweater, he appears slightly smiling against a neutral gray backdrop — a clean image with no distractions.

This restrained, mature visual reflects the album’s lyrical and musical introspection, which explores personal themes, memory, and belonging.

The photo was taken by renowned American photographer Greg Gorman, known for celebrity portraits emphasizing light, shadow, and dramatic simplicity. Gorman’s style involves soft lighting and careful direction to achieve natural expression — which can be seen in the serene, confident way Elton is portrayed.

Art direction was handled by the Wherefore Art team, led by David Costa, who had worked on previous Elton albums. The graphic design mirrors the photo’s minimalist spirit: artist name and album title appear in white at the top and bottom, using clean typography with no ornamentation. This reinforces Elton’s artistic maturity at age 48, balancing tradition and reinvention.

Though no specific interviews about the session are available, the involvement of Gorman and Costa suggests a process focused on direct portraiture and precise visual communication, emphasizing Elton’s identity. The absence of overt British symbolism is, ironically, one of the cover’s strengths — it conveys Elton’s “Englishness” not through clichés but through posture, elegance, and restraint, all traits of refined British aesthetics.

Songs from the West Coast (2001)
This cover shows Elton walking down a desert road in American cinematic style, aligning with the album’s more organic sound. Sam Taylor-Wood captured the image using natural light, evoking road movies and introspection.
.

Wonderful Crazy Night (2016)
The cover features a vibrant, colorful portrait of a smiling, moving Elton, captured by photographer Juergen Teller. With saturated colors and a spontaneous pose, the image celebrates the album’s upbeat energy and optimism.

The visual art is straightforward yet striking, reflecting the album’s lively tone.

Verified reference links (as of June 2025):
https://www.mariotestino.com/
https://briangriffin.co.uk/elton-john-jump-up/

Text: Robson Vianna

Elton John: Victim of DISCO

Elton John: Victim of DISCO

At the end of the 1970s, as disco music was nearing its commercial decline, Elton John made a radical decision: to record an album fully immersed in the world of the dance floor. The project, titled Victim of Love, was released in October 1979 and produced by Pete Bellotte—known for his work with Giorgio Moroder and Donna Summer. The record was a bold experiment and, for many, a misunderstood one. But amid critical and commercial rejection, one element remains undeniable: Elton John’s voice, strong, expressive, and incredibly present on every track.

The invitation came from John Reid, Elton’s manager at the time, who arranged the meeting with Bellotte. Elton accepted the proposal with an unusual condition: he would not compose, not play piano, and would participate only in the vocal recordings. And so it was—a single eight-hour session was enough to capture his vocal performance. The studio band and all production duties were handled by Bellotte and his team.

Before and during the recordings of Victim of Love (recorded mid-1979 and released in October the same year), Elton John became a regular at Studio 54, the legendary New York nightclub that was the epicenter of disco culture between 1977 and 1980. Photos from 1978 and 1979 show Elton alongside Bianca Jagger and Divine at iconic Studio 54 parties attended by celebrities and artistic figures of the time. In interviews from the early 2000s, Elton described living a period of excess—nights filled with parties, alcohol, and drugs lasting until dawn. Shortly before, in June 1979, he had released the EP The Thom Bell Sessions, produced by the renowned Thom Bell, a Philadelphia soul icon, which brought him closer to sophisticated soul and influenced his style. The Studio 54 excitement combined with the artistic success of the EP was key to Elton’s plunge into the disco universe with Victim of Love, even if the album diverged from his traditional musical identity.

The result, however, divided opinions from the start.
The creative absence of Elton and Bernie Taupin, coupled with a homogeneous repertoire, produced an album many considered “soulless.” Rolling Stone’s Album Guide labeled Victim of Love as the lowest point in Elton’s career. On Sputnikmusic, the record was described as “monotonous, dull, bland, sterile”—a marathon of lifeless repetitive beats.

Highlight: The Vocal Performance

Still, critics agree on one point: Elton’s voice shines. Even in a repertoire that lacks his signature touch, he delivers interpretations with surprising energy and nuance. It’s this vocal commitment that sustains the album and prevents it from completely collapsing.

“Johnny B. Goode”
The disco version of Chuck Berry’s classic kicks off with dancefloor energy, and Elton holds the performance for almost eight minutes. Warewolf Reviews stated that he “doesn’t dishonor the original,” recognizing the strength of the performance despite the risky material.

“Thunder in the Night”
Considered by fans and critics as the most visceral track on the album. The Geocities archive highlighted: “He kills it on ‘Thunder in the Night’… it’s a full vocal performance.”

Key tracks: “Born Bad,” “Victim of Love”
Some see cohesion in the album’s final songs. On forums like Reddit, fans comment that “all the songs are catchy… they seem to form one continuous 35-minute sound flow.” Geocities also pointed out that “the vocals on the last four tracks are seriously underrated.”

Critical Reception: A Disaster in Other Aspects

Despite the praised vocal performance, most specialist critics were harsh.

Village Voice — Lester Bangs spared no words: “There’s no getting around it… Elton is in trouble.”

Ultimate Classic Rock — called it “the worst album of Elton’s career.”

Rolling Stone Album Guide — declared it “the lowest point in his discography.”

Sputnikmusic — perhaps the most scathing, described it as:

> “monotonous, dull, rancid, uninteresting, sterile… the worst thing associated with Elton John.”

Other outlets acknowledged one common point: Elton sings well despite the circumstances.

Dave’s Gen X Blog wrote: “He sings well, even with weak material.”

Warewolf Reviews, while calling the album lukewarm, admitted: “You still hear glimpses of the real Elton in certain songs.”

The Cover, the Detachment, and the Lack of Promotion

The black-and-white cover, sober and cold, perfectly reflects Elton’s emotional distance from the project. He did not promote the release, did not include any tracks in his shows, and didn’t tour. The album was, in every sense, an exception in his career—almost like a dancing outburst, with no commitment to his usual musical identity.

The Verdict of Those Involved

Elton never hid his opinion about the project:

> “It was self-indulgent. I just wanted a record to dance to… I’m not ashamed of it.”

Bellotte, meanwhile, was blunt:

> “It wasn’t a good move for him. Probably his least successful album.”

Final Reflection

Victim of Love is a curious chapter in Elton John’s history—a sonic adventure that departs from what made him an icon, but paradoxically reveals the strength of his voice to carry even his most controversial projects.

Elton John’s distinguishing feature is the wide variety of musical styles in his work and the changes he dares to make over decades. These shifts—black music, reggae, rock, country, new wave, pop, orchestras—kept him artistically alive for over fifty years. Many prefer he had stuck to repeating himself on albums like Madman Across the Water—which wouldn’t be a bad idea. For example, I have recent albums by Paul Simon (Seven Psalms) and Art Garfunkel (Father and Son) that are excellent—they maintain their creators’ classic style. But… would that be good for Elton?

Had he chosen to repeat Razor Face for 30 years, he might have missed the risks that produced songs like “I’m Still Standing,” “Sacrifice,” or “This Train Don’t Stop There Anymore.” It’s hard to say what would be gained or lost. But that is Elton John’s soul: a true chameleon—musically, visually, and personally. And even on the most rejected album of his career, it is his voice—powerful, determined, unmistakable—that saves the experience.

#eltonjohn

The Art of Elton John’s Album Covers Part 3 and 4

The Art of Elton John’s Album Covers: Stories, Behind-the-Scenes, and the Creators Behind the Image – Part 3

Behind the Cover of Honky Château: The Intimate Portrait of a Rising Star

By Robson Vianna

Released in May 1972, Honky Château marked a turning point in Elton John’s career. It was his first album to reach the top of the U.S. charts, starting a streak of seven consecutive number-one albums. But beyond the music, the album cover also became a symbol — simple, introspective, and deeply personal. Few know the story behind that sepia-toned image of Elton, with scruffy facial hair, dark sunglasses, and a thoughtful expression.

The photograph that graces the cover was taken by Ed Caraeff, a renowned American photographer who, at the time, had already shot covers for artists such as Jimi Hendrix, Bee Gees, and Steely Dan. Unlike images produced in studios or lavish locations, this photo was captured in a completely mundane setting: the hotel room where Elton was staying in Los Angeles, at the iconic Continental Hyatt House on Sunset Boulevard.

The photoshoot took place in August 1970, precisely when Elton arrived in the United States for his historic debut at the Troubadour Club in Los Angeles. Caraeff, who already knew Elton and his lyricist Bernie Taupin from previous visits to London, was invited for a quick photo session. The result captured a rare moment: Elton, just 23 years old, still transitioning from the shy Reginald Dwight to the flamboyant persona the world was about to discover.

> “He was sitting on the edge of the bed, with a distant, thoughtful look,” recalls Caraeff. “When I showed him the cloth-based sepia print, Elton immediately chose it for his next album cover.”

Curiously, the album was titled Honky Château not because of Los Angeles, but in reference to the place where it was recorded: the historic Château d’Hérouville, a studio set in an 18th-century castle in France. There, in January 1972, Elton, Bernie, and his band spent just over a week recording songs that would become classics, including “Rocket Man” and “Honky Cat.”

The contrast between the album’s title and the cover image is striking. While the name evokes a French castle, the photo reveals a raw Elton — no costumes, no showmanship — captured in a moment of introspection. A decision that today is seen as brilliant — a faithful representation of the duality that has always defined his career: the man behind the star.

A Similar Look, But Different Moments

It is interesting to note that just over a month after that photo session in Los Angeles, Elton appeared with a similar look — sunglasses and scruffy beard — in an interview published by the British underground magazine Friends, on October 2, 1970, titled “The Radio One Hype”, conducted by John Coleman.

In that interview, Elton was back in London, at the BBC Radio One studios, promoting his second album, Elton John (1970), as he began gaining traction on British radio.

Despite the similarity in appearance — a sign that this look was starting to become part of his identity — the context was completely different. Ed Caraeff’s photos were taken in Los Angeles, while John Coleman’s interview was held in London. There is no record that the photos taken at the Hyatt House in Los Angeles were used in the Friends magazine article.

🔗 You can read the full interview at the link below:
Friends Nº 15 – October 2, 1970
“The Radio One Hype” – by John Coleman
Link:
https://www.ibiblio.org/mal/MO/philm/elton/elton.html

The simplicity of the Honky Château cover is as powerful as its music. It reflects not only an artist on the brink of worldwide fame but also the vulnerability of someone who, at that moment, was still figuring out how to become a star. Perhaps it is precisely this honesty that makes Honky Château — both in music and imagery — one of the most iconic albums in the history of pop and rock.

Photo References from the Era:

https://www.reddit.com/r/EltonJohn/comments/sz1lfb/elton_john_backstage_at_the_troubadour_in_august/

https://iconiclicensing.net/photo/ec-ej378

https://iconiclicensing.net/photo/ec-ej373

The Art of Elton John’s Album Covers: Behind-the-Scenes, Stories, and the Creators Behind the Image – Part 4

Throughout his career, Elton John has built not only a musical catalog full of classics but also an impressive visual legacy. His album covers often transcend the role of simple commercial packaging to become pieces of art in their own right, full of symbolism, cultural references, and fascinating stories. In this fourth part of the series, we explore the behind-the-scenes of iconic album covers.

Don’t Shoot Me I’m Only the Piano Player (1973)

In early 1972, Elton John and Bernie Taupin moved into a mansion in Malibu, California. It was a period marked by intense creativity, constant parties, and encounters with celebrities. Among the notable guests, the legendary comedian Groucho Marx played a curious role in the story behind Don’t Shoot Me I’m Only the Piano Player. Groucho, famous for his peculiar humor, often jokingly called Elton “John Elton,” deliberately reversing his name. During a dinner, pointing his fingers like pistols at Elton, Groucho triggered a playful response from the singer, who raised his hands and said, “Don’t shoot me, I’m only the piano player!” The phrase stuck in Elton’s mind and months later was chosen as the album’s official title.

Released in January 1973, the album became a huge commercial success, driven by hits like Crocodile Rock and Daniel. But the homage to Groucho Marx went beyond the title. The cover, photographed by Ed Caraeff, shows the entrance of an old movie theater, with the album title displayed as if it were a film on the marquee. Inside the scene, Elton and Bernie appear as spectators. A subtle but clever detail is the visible movie poster for Go West (1940), by the Marx Brothers, sealing the visual tribute to Groucho. The nostalgic atmosphere of the cover connects directly with the album’s sound, which pays homage to the pop music of the 1950s and 60s, reinterpreted by Elton with humor and emotion.

Madman Across The Water (1971)

Released on November 5, 1971, Madman Across The Water marked an aesthetic and sonic shift in Elton John’s career. Musically darker and more introspective, the album features dense, emotional songs like Tiny Dancer, Levon, and the title track. Its rustic, mysterious, and almost handmade-looking cover perfectly reflects this artistic transition.

Who Created the Cover?
The cover art was designed by David Larkham, art director at Camouflage Productions, and the fabric piece featured on the cover was handcrafted by Michael Ross.

David Larkham – The Art Director
Larkham was responsible for many of Elton John’s iconic covers throughout the 1970s. He worked on the artwork for:
Tumbleweed Connection (1971)
Honky Château (1972)
Goodbye Yellow Brick Road (1973)
Captain Fantastic and the Brown Dirt Cowboy (1975)

He also worked with other artists under DJM Records and Rocket Records. His signature style combined illustration, typography, and photography with a handcrafted, conceptual approach. Larkham’s work was crucial in shaping the visual identity of Elton’s classic era.

Michael Ross – The Textile Artist
Michael Ross, lesser-known to the public, was a graphic designer with hands-on artistic skills. For the Madman Across The Water cover, he stitched the album title onto denim-like fabric with rough, visible stitching, creating a raw, folk-inspired aesthetic. His collaboration with Larkham was a one-off and is considered unique within the history of album cover design.

How Was the Cover Made?
The idea emerged after meetings between Elton, Bernie Taupin, and David Larkham. They wanted something different from traditional photos — something that visually matched the album’s somber tone. The blue fabric, which appears denim-like, was actually linen dyed to avoid reflections during photography. The stitched title looks like a torn or patched label, metaphorically representing an outsider figure, aligning with the album’s lyrical themes.

Interesting Facts
The original fabric piece created by Michael Ross still exists and has been displayed at select private exhibitions about Elton’s career. Larkham once revealed that the fabric was photographed in high definition and then stored as a personal keepsake. The handmade texture and lighting were carefully managed to create the three-dimensional look seen on the cover.

The back cover continues the handcrafted theme, with handwritten-style text and simple illustrations. The inner sleeve follows the same concept, evoking something intimate and homemade, in contrast to the grand orchestration of the music.

The Madman Across The Water cover is not just packaging — it’s part of the storytelling. Its apparent simplicity hides a complex manual design process that fits perfectly with the album’s introspective mood.

A Single Man (1978)

Released on October 16, 1978, A Single Man marked a significant transformation in Elton John’s career and public image. It was his first album since 1969 without Bernie Taupin as his lyricist and followed a sabbatical break from touring. The cover reflected this new chapter: a mature, sober, and almost unrecognizable Elton.

On the cover photo, Elton stands in the middle of an empty road at Great Windsor Park, near Windsor Castle, dressed in a long overcoat, top hat, tie, boots, and holding a cane. This image carried multiple messages. The absence of his signature glasses — a trademark since the early 70s — signaled change. The Victorian, aristocratic style represented British tradition, contrasting with the flamboyant image Elton had embraced for most of the decade. More directly, the title A Single Man carries an evident double meaning.

Literally, A Single Man means a single, unmarried man. But in English, it also suggests “a man alone,” not only in the romantic sense but as someone facing new challenges, navigating a transitional moment in life. This wordplay reflected Elton’s state at the time. After years of intense partnership with Bernie Taupin, he now stood artistically on his own. Some critics also note a possible reference to Christopher Isherwood’s 1964 novel A Single Man, which deals with themes of loneliness and personal reinvention — though Elton never confirmed this connection.

The cover photo was taken by Terry O’Neill, a renowned British photographer famous for portraits of The Beatles, David Bowie, Audrey Hepburn, and Queen Elizabeth II. Art direction was handled by David Costa, who had previously worked on other Elton John projects and with artists like Genesis, Eric Clapton, and Roxy Music.

Known for capturing natural, candid moments of celebrities, O’Neill took a different approach here. The A Single Man cover is a highly staged, iconic portrait. The location choice — a long, tree-lined avenue with Windsor Castle in the background — symbolized both British tradition and the solitude of someone walking their own path, with past and future both visible on the same horizon.

The outfit, inspired by 19th-century British fashion, was a joint decision between Elton and O’Neill, aimed at conveying sophistication and introspection while distancing Elton from the extravagant image of his earlier years. This was the first time in nearly a decade that Elton appeared on an album cover without his iconic glasses, surprising fans and media alike. Elton explained that he was trying to reconnect with his true identity, temporarily stepping away from the flamboyant character he had built.

Though the photo appears simple, the production was anything but. O’Neill had to obtain special permission to shoot at Windsor Great Park, a restricted area owned by the British royal family. The back cover shows Elton in a slightly more relaxed pose, still dressed in the same attire. The inner sleeve features more photos from the session and credits for the musicians, including Clive Franks and Gary Osborne, key partners on the album.

Musically, A Single Man is more sober and introspective, diverging from the sonic and visual extravagance of albums like Goodbye Yellow Brick Road or Captain Fantastic. The songs are more mature, sometimes melancholic, sometimes nostalgic — as heard in Song for Guy, one of Elton’s biggest instrumental hits.

The cover isn’t just an elegant photo — it’s a statement. It marks the end of one era and the beginning of another in Elton’s life and career. By temporarily abandoning his signature glasses and flamboyant outfits, Elton revealed to the world that behind the superstar, there was indeed a single man — or perhaps a man alone. Either way, the message was clear: this was a new Elton John, ready to move forward on his own.

21 at 33 (1980)

Released on May 13, 1980, 21 at 33 marked a new chapter in Elton John’s career. It was his return to a fully structured band setup after years of working with various musicians and more experimental projects. The title refers to it being his 21st album (including studio albums, live recordings, and compilations) released at the age of 33. Just like the title, the cover is full of symbolism.

The artwork is minimalist, abstract, and striking, composed of geometric shapes and primary colors — blue, red, yellow, and dark green. Two hands appear from outside the frame, each holding an Ace of Hearts — a clear nod to luck, gambling, and symbolically, a “new game” for Elton. Nearby, three poker chips — red, white, and blue — further reinforce the gambling theme.

The cover was designed by the Rocket Records art team, led by David Costa, who had created several Elton John covers since the mid-70s, including A Single Man and Jump Up!. Costa was known for his clean, elegant, conceptual designs that often prioritized graphics over traditional photography.

The hands holding the cards were photographed by David Nutter, a photographer who also worked on covers for artists like Cat Stevens and Bryan Ferry. The goal was to create an image that felt modern, symbolic, and didn’t rely on Elton’s physical presence — a conscious choice aligned with the era’s aesthetic trends and Elton’s desire for reinvention.

The use of geometric forms and bold colors reflected late 70s and early 80s design trends, heavily influenced by European modernism and Bauhaus principles. The artwork conveys simplicity, clarity, and a sense of calculation — as if someone is studying the game board before making the next move.

The card game concept also has a personal and professional resonance. Elton was, in a way, betting on himself again, rebuilding his band with members like Nigel Olsson, Dee Murray, Richie Zito, and featuring guest appearances by Steve Lukather and David Paich of Toto, plus Ringo Starr and Pete Townshend.

Curiously, 21 at 33 is one of the few Elton John albums whose cover doesn’t feature his image — something only indirectly seen before on Madman Across The Water and Blue Moves This was no accident but an intentional, conceptual choice. The music would speak for itself without needing to reinforce his visual presence.

Another interesting detail is the placement of “Elton John” in the upper-right corner and the album title 21 at 33 written vertically. This breaks traditional layout expectations, reinforcing the modern, daring graphic design.

If the cover symbolizes betting on something new, the music inside reflects this transition. 21 at 33 blends styles, from radio-friendly pop like Little Jeannie — his biggest U.S. hit since the 70s — to introspective ballads.

The 21 at 33 cover isn’t just graphic design; it’s a visual metaphor for Elton’s life and career at the time — a poker table, cards in hand, and a chance to restart the game with new allies and a new future. As history showed, it was indeed a winning bet.

#EltonJohn #DontShootMeImOnlyThePianoPlayer #MadmanAcrossTheWater #ASingleMan #21at33 #EltonJohnArt #EltonJohnAlbums #EltonJohnCovers #AlbumArt #VinylCommunity #70sMusic #80sMusic #RocketMan #MusicHistory #AlbumDesign #EltonJohnFans

Elton John and Watford FC: The Legal and Emotional Revolution of the Pop Icon in English Football – Parts 1 to 3

 Elton John and Watford FC: The Legal and Emotional Revolution of the Pop Icon in English Football – Parts 1 to 3

Part 1 – Blood and Fandom Connections

1. Footballing Origins: Roy Dwight, the Victorious Uncle

Elton’s first tangible connection with football began within his family. His paternal great-uncle, Roy Dwight, stood out as a forward for Nottingham Forest and was applauded for scoring the opening goal in the 1959 FA Cup final—until he suffered a leg fracture in the same match.
This family link personified football for young Reginald (Elton’s birth name), who grew up hearing stories of triumph on the pitch and was inevitably captivated by the stadium atmosphere.

2. From Uncle to Young Fan

Elton attended his first Watford game at age 5 or 6, taken by his father, experiencing a rare moment of bonding amid a turbulent home environment.
He would recall the moment fondly: leaving behind his parents’ arguments to enter the stadium was a transformative relief—“the only time my father ever seemed happy.”

3. Passionate Support

From then on, Reginald regularly went to Vicarage Road, cheering for bold striker Cliff Holton and local players like Sammy Chung, Dennis Bond, and Duncan Welbourne.
He didn’t just shout from the stands—he once even invaded the pitch during a game, showing how much the team was part of his identity since childhood.

4. The Emotional and Psychological Bond with Watford

Elton used this bond as an emotional refuge. Even when things were going badly at home, there was solace in the community and familiarity of football afternoons.
This deep attachment would later grow into his involvement with the club—not merely based on celebrity, but on solid emotional roots.

Part 2 – From Stage to Locker Room: Elton John’s Path Behind the Scenes at Watford

1. Fame and a Return to His Roots

By the early 1970s, Elton John was one of the world’s most successful artists, with albums like Goodbye Yellow Brick Road and Honky Château topping charts. Yet despite his global stardom, he never turned away from Watford FC.
While touring the US and Europe, Elton stayed closely connected to the club—writing letters to the board, tracking results from afar, and attending games at Vicarage Road whenever possible during tour breaks.

2. First Public Gesture: The 1974 Charity Concert

On May 4, 1974, Elton triumphantly returned to Vicarage Road—not as a fan, but as a performer.
He held a charity concert at the stadium, with proceeds going directly to the club. The event was symbolic: a global superstar returning to his "backyard" to raise funds for a then-humble team languishing in the Fourth Division.
This act marked the beginning of a new kind of relationship between Elton and Watford—from passionate supporter to informal and influential patron.

3. First Steps Behind the Scenes

After the show, Elton began gaining access to club decisions, even without a formal role. He participated in informal meetings, made direct donations, and used his public image to draw attention to Watford.
His influence grew. Even without a seat in management, fans increasingly saw him as a benefactor—someone willing to change the fate of a stagnant team.

4. Football as a Personal Mission

Years later, Elton would say that he saw football as a “payback project.” He wanted to give something back to the club—and to the Watford community—for the joy football had given him as a child.
Moreover, he viewed the sport as a way to connect with everyday British people, contrasting with the glamour of pop music. Watford represented roots, identity, and purpose.

Part 3 – The Rise of the Pop Chairman: Elton John Takes Control

1. The Turning Point: 1976

In January 1976, Elton John officially announced he was taking over as chairman of Watford Football Club. At the time, the club was in the bottom Fourth Division of the Football League and suffering from financial and sporting crises.
Elton didn’t just want to lend his image—he wanted to transform the club from within. He told the local press:

> “I love this club. I want to see it achieve something greater. I’m taking over because I believe Watford can be big.”

2. Legal and Regulatory Challenges

Becoming chairman of a Football League club in 1976 came with legal constraints and institutional compliance. At the time, English football was governed by strict rules regarding club ownership and financing. Key points that impacted Elton’s entry included:

Restriction on financial personification: The club couldn’t depend solely on one financier. So Elton didn’t “buy” the club as in modern models but became the majority shareholder while respecting the member-association structure still in place.

Requirement of local representation: As a global celebrity, Elton had to appoint local administrative representatives to validate legal decisions. Enter Bertie Mee, former Arsenal manager, who acted as a bridge between the board and football authorities.

FA oversight: Elton had to submit a formal declaration of no conflict of interest and prove his capacity to manage club affairs.

Despite these hurdles, his candidacy was approved without objections by the League due to his solvency, public integrity, and strategic plan.

Details of the “Deal” Through Which Elton John Took Control of Watford FC

Elton became the majority shareholder—but did not “buy” the club outright like modern private takeovers.

Legal Structure of Football Clubs at the Time

In that era, Football League clubs were mostly registered as “limited companies,” but with tight restrictions imposed by the FA and the League on who could be a shareholder and how capital could be used. The rules aimed to:

Protect clubs from opportunistic or foreign buyers.

Prevent direct personal profits from football operations.

Keep clubs as community assets, even if legally businesses.

What Elton Actually Did:

1. Acquired Existing Shares
He bought majority shares from old shareholders, including part of the capital from the previous chairman. This wasn’t a modern privatization or auction—it involved direct agreements with existing shareholders to secure voting control.

2. Injected Personal Capital Through Direct Loans
Beyond buying shares, Elton personally loaned money to the club without demanding immediate return. Some of these loans were used for infrastructure or wages. The FA allowed this, provided the board approved it—something Elton controlled as chairman.

3. Assumed Chairmanship of the Board of Directors
Legally, being chairman meant leading the board of directors of Watford Football Club Ltd, giving him decision-making power over operations, signings, and finances—though FA rules still had to be followed.

What Elton Didn’t Do:

He did not “own” the club as a sole proprietor, like Roman Abramovich later did with Chelsea.

He did not take personal profit from club operations.

He did not transfer the club to any personal company or fund.

Public Records and Documentation

Shareholder control and executive roles at Watford FC in the 1970s were registered with the UK’s Companies House, where historical files list Elton Hercules John as director and principal shareholder from 1976 onward.

He also ensured club minutes were transparently approved, securing legal compliance.

The Immediate Impact of Elton’s Leadership

One of his first acts as chairman was the (initially unsuccessful) attempt to hire a high-profile manager. Soon after, he secured Graham Taylor, a young manager from Lincoln City.
This bold move, based on mutual trust and a verbal agreement, would become one of English football’s most legendary partnerships: Elton and Taylor.

Elton also boosted investment in stadium infrastructure, player signings, and youth development. Watford soon evolved from a curiosity to an emerging Football League power.

Key Signings Under Elton John’s Early Tenure (from 1976 onward):

John Barnes (1976): Later a Liverpool star, Barnes began at Watford, joining at age 15 with Elton’s support for youth development.

Ross Jenkins (1976–77): Promoted from the youth ranks and retained under Elton’s backing.

Alan Mayes (1977): A striker signed with financial and political support from the chairman.

Derek Hales (1977): Brought experience to strengthen the attacking line.

Tony Currie (1978): A skilled midfielder signed to bring creativity, with board approval.

At the time, player transfers were simpler—no agents or million-dollar deals—so Elton financed transfer fees and salaries as needed.

His focus was on building a reliable squad, mixing youth and experience.

Watford FC’s Rise Under Elton John (1976–1982):

1. 1976: The Struggles in the Fourth Division
When Elton took over, Watford was struggling financially and competitively in the Fourth Division.

2. The Arrival of Graham Taylor and Sporting Growth
In 1977, Elton appointed Graham Taylor, a young and ambitious coach who transformed the club.

3. Consecutive Promotions
Under Taylor’s leadership and Elton’s support, Watford achieved:

1977–78: Fourth Division champions – promoted to Third Division.

1978–79: Third Division runners-up – promoted to Second Division.

1979–80: Consolidated position in the Second Division.

1981–82: Second Division runners-up – promoted to the First Division (now Premier League).

4. Key Matches in This Era

1977–78 title-winning games: Big wins against Bournemouth and Newport County.

Third Division promotion games: Tough clashes with Swansea City and Bristol City.

1981–82 promotion to First Division: A crucial win over Grimsby Town sent the club to the top tier.

More Highlights

In 1982–83, Watford debuted in the First Division under Elton and Taylor, finishing fourth—a historic high.

This rise also brought national competition exposure and boosted club revenue and recognition.

Elton John and Homophobia in 1970s–1980s English Football

In those decades, English football was deeply conservative and masculine, where homosexuality remained taboo. Players rarely came out, fearing repercussions. Fans often expressed homophobia from the stands.

Elton John—whose sexuality was publicly perceived even before his 1988 announcement—faced this climate while chairing Watford FC. His presence as an openly gay pop star made some sports media and traditional fans uncomfortable, and he faced hostility at times.

Despite prejudice, Elton earned respect for his commitment to the club and his leadership results. His role helped initiate a still-nascent conversation on diversity and inclusion in English football, paving the way for future anti-discrimination efforts in the sport.

Robson Vianna

> This article continues in the next post

Featured Report
https://nypost.com/2024/09/03/entertainment/how-elton-john-saved-an-english-soccer-team-book-excerpt/

You Might Also Like: More Elton John Content
I invite you to visit my page dedicated to the study and documentation of Elton John’s journey:
https://allmylinks.com/robsonvianna

Photos, videos, interviews, audio and video files, articles, and a timeline covering Elton John and his world.

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Rich Fever – “Seasons” (1971): A Rare Recording from Elton John and Bernie Taupin

 Rich Fever – “Seasons” (1971): A Rare Recording from Elton John and Bernie Taupin

Released in 1971 by Parlophone Records, “Seasons” is a little-known composition by the celebrated duo Elton John and Bernie Taupin, performed by the obscure British group Rich Fever. The band, largely undocumented, released three singles in the early 1970s, but left virtually no biographical trace. “Seasons” stands out as their only recording written by already established songwriters.

The track features rich, emotive orchestral arrangements conducted by Andrew Pryce Jackman, renowned for his work with acts like Yes. The production leans toward a dramatic and melancholic style, reminiscent of the introspective ballads of the era. The lyrics reflect the emotional tension of balancing romantic relationships with the demands of a creative life—a theme rarely explored in mainstream pop at the time.

Despite its musical ambition, the single failed to chart and marked the quiet end of Rich Fever’s brief presence in the recording industry. Over the years, “Seasons” has become a collector’s item, appreciated not only for its rarity but also as a forgotten link in the songwriting legacy of Elton John and Bernie Taupin.

Today, the recording is being rediscovered by music researchers and fans of early seventies British pop, recognized as an example of how remarkable songs could emerge from the peripheries of the music industry.

#EltonJohn #BernieTaupin #RichFever #Seasons1971 #ParlophoneRecords #AndrewPryceJackman #ObscurePop #SeventiesBallad #BritishPopHistory #LostGems #RareVinyl #EltonJohnCollectors #VinylDiscovery #ForgottenSongs #SeventiesOrchestralPop #DeepCuts #EltonJohnArchives #EltonJohnSongwriter #1971Singles

Elton John Covers The Trammps’ “Disco Inferno” in Blazing Performance

 Elton John Covers The Trammps’ “Disco Inferno” in Blazing Performance

On April 13, 2000, a star-studded night of music and philanthropy took place at the legendary Carnegie Hall in New York City. The event, titled “Respect: A Tribute to Music Legends,” was organized as part of the annual Rainforest Foundation Benefit Concert, co-founded by Sting and Trudie Styler. The concert brought together a remarkable lineup of artists, including Elton John, Billy Joel, James Taylor, Sting, Stevie Wonder, Diana Krall, Gladys Knight, and many more, all performing to raise funds and awareness for environmental preservation and rainforest protection.

The evening featured a vibrant mix of soul, R&B, rock, and pop classics, with each artist paying tribute to the rich musical heritage of Motown, funk, gospel, and disco. One of the most unexpected and electrifying moments of the night came when Elton John took the stage to perform a dynamic cover of The Trammps’ disco anthem “Disco Inferno.” Known primarily for his ballads and rock hits, Elton embraced the high-energy spirit of the song, delivering a flamboyant and fiery rendition that ignited the crowd and brought the house to its feet.

Dressed in his signature flamboyant attire, Elton danced and played with unbridled enthusiasm as he belted out the famous chorus “Burn, baby, burn!” His performance captured the spirit of the 1970s disco era and served as a thrilling tribute to a genre that brought people together on the dance floor. Backed by a live band and joined onstage by backup vocalists, Elton transformed the prestigious concert hall into a full-fledged disco party, if only for a few exhilarating minutes.

The night also featured a powerful group finale with Stevie Wonder, Sting, Elton John, Billy Joel, James Taylor, and others uniting for a soulful performance of the gospel-tinged “Amen,” bringing the evening to an emotional and celebratory close.

The 2000 Rainforest Benefit Concert was yet another example of how music can serve as both entertainment and activism. The funds raised supported sustainable development and conservation projects in some of the world’s most endangered ecosystems. Elton John’s participation — and his unforgettable take on “Disco Inferno” — remains one of the event’s standout moments.

#EltonJohn #DiscoInferno #TheTrammps #RainforestFoundation #LiveAtCarnegieHall #2000Concerts #Sting #BillyJoel #JamesTaylor #StevieWonder #LegendaryPerformances #DiscoRevival #BurnBabyBurn

Elton John on the Early Web: A Tribute to Classic Fan Sites of the Early 2000s

Elton John on the Early Web: A Tribute to Classic Fan Sites of the Early 2000s  and before

Blog Text:
This page is dedicated to classic Elton John fan websites from the early years of the internet, especially the late 1990s and early 2000s. At that time, fans created simple yet passionate websites using basic HTML, static pages, guestbooks, and colorful layouts. These sites were often hosted on platforms like GeoCities, Angelfire, and Tripod, and they played a crucial role in connecting fans around the world.

In English, these older websites are commonly referred to as “early fan sites,” “vintage websites,” “classic fan pages,” or “old-school websites.” They represent an important era of digital culture, long before social media and modern content management systems. Despite their technical limitations, these sites were rich in dedication, featuring discographies, lyrics, photo galleries, tour information, and personal tributes to Elton John’s music and legacy.

This blog page celebrates that nostalgic web aesthetic and preserves references to those early Elton John fan sites. It is not about modern design or advanced technology, but about honoring the creativity, enthusiasm, and community spirit of fans who helped shape online music fandom at the beginning of the century.

By revisiting and documenting these early websites, we keep alive a piece of internet history and recognize how Elton John’s influence extended not only through music, but also through the earliest forms of online fan expression.

Hashtags:
#EltonJohn #EltonJohnFans #VintageWebsites #EarlyInternet #ClassicFanSites #OldSchoolWeb #InternetHistory #MusicFandom #Early2000sWeb

Keywords:
Elton John fan sites, early 2000s websites, vintage fan pages, classic Elton John websites, old internet design, early web fandom, music fan websites, retro internet culture

A Hidden Gem for Elton John Fans: Exploring the Legacy of http://www.andreakugler.de/EJ/

In the digital age of streaming and social media, where information moves fast and fan content often disappears as quickly as it appears, some websites stand as timeless archives—passion projects that preserve music history with care and dedication. One such example is http://www.andreakugler.de/EJ/, a longstanding fan-made website devoted entirely to the legendary career of Elton John.

Launched in the late 1990s or early 2000s, this vintage-style website is a treasure trove of information for serious Elton John collectors, historians, and longtime admirers. Maintained by German fan Andrea Kugler, the site reflects an era when fans built detailed online archives out of pure love for the artist, long before platforms like YouTube, Spotify, or Instagram dominated the music experience.

The site is not flashy or modern in design, but its strength lies in its content. Divided into well-organized sections, it provides:

Extensive concert documentation, including rare setlists, dates, and photos from European shows—many of which are hard to find anywhere else.

An impressive catalog of CD singles, complete with scans of covers, tracklists, and variations across countries and editions.

Trade lists and bootlegs, showing the depth of the collector culture that flourished in Elton John’s global fan community.

Personal photos and memorabilia, adding an intimate and authentic layer to the archive.

Among the highlights is the 1999 concert in Dresden, featuring rare photographs and a complete breakdown of the performance. For collectors, the CD single section is a goldmine, listing forgotten releases and unique combinations of songs, such as medleys and live B-sides.

In many ways, http://www.andreakugler.de/EJ/ stands as a historical document. It's a reminder of how fans preserved and shared music culture in the early web era—before algorithms, when building a website was an act of passion and personal devotion.

Despite its old-school design and simple HTML structure, the site still functions reliably and remains a valuable reference for those interested in Elton John’s live history and recorded legacy. For new fans, it offers a chance to explore beyond the hits. For longtime followers, it brings a sense of nostalgia and respect for an artist whose impact spans decades.

While newer platforms offer instant access to music and media, websites like http://www.andreakugler.de/EJ/ are increasingly rare. They deserve recognition not only for their content but for the dedication behind them. In the case of Elton John, whose musical journey has touched millions, archives like this help keep his legacy alive—one scanned CD cover and setlist at a time.

Elton John’s Rare Cameo on The Kenny Everett Video Show (1978)

 Elton John’s Rare Cameo on The Kenny Everett Video Show (1978)

In 1978, Elton John made a brief and fun appearance on the British television comedy series **The Kenny Everett Video Show**. This unique TV moment combines Elton’s musical charisma with the zany humor of one of the UK’s most beloved entertainers, **Kenny Everett**.

Who Was Kenny Everett?

Kenny Everett (1944–1995) was a British comedian, radio DJ, and television presenter known for his surreal, offbeat sense of humor and highly creative use of video effects. Starting as a popular DJ on **Radio 1** and **Capital Radio**, he became a household name through **The Kenny Everett Video Show**, which ran from 1978 to 1981 on ITV. His TV shows featured a mix of sketch comedy, lip-sync performances, guest musical appearances, and outrageous characters like “Cupid Stunt.”




Elton John’s Appearance

Elton John appeared in **Season 1, Episode 1** of the show, broadcast on **July 3, 1978**. Instead of a full musical performance, Elton was featured in **short humorous clips** edited into the show’s comedy sequences.

In the complete video, Elton shows up **twice**:

*At 1:35 minutes** – A quick cameo where Elton is seen smiling and interacting playfully, likely lip-syncing or participating in a comedic cutaway.
*At 4:40 minutes** – A second appearance, again brief, with Elton popping up as part of the fast-paced sketch format typical of Kenny Everett’s show.

Why It Matters

These moments are a snapshot of Elton John in the late 1970s, during a time when he was one of the biggest pop stars in the world. His willingness to appear in lighthearted comedy sketches highlights his fun personality and connection to UK pop culture. For fans and collectors, these clips are a rare gem—brief, but charming glimpses of Elton outside the concert stage.

⏱️ **Timestamps of Elton’s appearances**:

* 1:35
* 4:40

The full video including Elton John’s appearances is available on my page**:
https://archive.org/details/@robsonvianna

If you are a completist or a fan of Elton John’s television appearances, this is a delightful piece of history worth checking out.