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.

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Roy Everett Sings Empty Sky – Before Elton John

In May 1969, singer Roy Everett released a single featuring Empty Sky, a song written by the then-unknown duo Elton John and Bernie Taupin. What makes this release extraordinary is that it came before Elton John himself recorded and released the track on his debut album of the same name.

Issued as the B-side to Everett’s single Happy Birthday Blues (Parlophone R 5781) on May 23, 1969, this version of Empty Sky stands as the first commercial recording of the song. Elton John’s debut album Empty Sky would only appear on June 6, 1969, making Everett’s version a rare yet significant milestone in Elton’s early career.

The single was produced by Jonathan Peel, arranged by Joe Moretti, and released in association with Tony Hall Enterprises. The publishing credits — Essex Music and Dick James Music (DJM) — reveal how the song reached Everett: through the publisher’s catalog, rather than a direct personal connection with Elton. This was common practice at the time, with young songwriters often offering their work to other performers.

Roy Everett’s recording is therefore more than a forgotten B-side; it is a glimpse into the moment when Elton John was still primarily seen as a songwriter for others, before the world discovered him as a performer. Everett’s Empty Sky remains a fascinating prelude to Elton’s rise, underscoring the underground pathways through which great songs often travel before reaching their definitive form.

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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





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Eugene Pitt and The Jyve Fyve – The Rare 1971 Recording of “Come Down In Time”

Eugene Pitt and The Jyve Fyve – The Rare 1971 Recording of “Come Down In Time” and Its Connection to Elton John

In 1971, the American vocal group Eugene Pitt and The Jyve Fyve released a rare crossover soul single on the Avco Embassy label titled “Come Down In Time.” The record appeared on AVE-4568 and has since become a sought-after 45 among collectors. The original Avco label features a photograph of Eugene Pitt at the center, and the release is known for its rarity among New York–based 1970s soul issues. Produced, arranged, and conducted by Billy Arnell, the recording presents a smooth and distinctive interpretation of the song.

The Jyve Fyve, also historically known as The Jive Five, was an established American vocal group led by Eugene Pitt. During the early 1970s, the group adopted the spelling “Jyve Fyve” while signed to Avco Embassy Records. Their lineup during this period included Eugene Pitt, Casey Spencer, Richard Fisher, and Webster Harris. Discography sources confirm that the group recorded “Come Down In Time,” written by Elton John and Bernie Taupin for Elton John’s 1970 album Tumbleweed Connection. The Avco single paired the track with the B-side “Love Is Pain,” and is documented in soul and R&B collector archives under Avco 4568.

A contemporary industry confirmation appears in the April 3, 1971 issue of Record World. The magazine reported that Eugene Pitt and The Jyve Fyve had signed with Avco Embassy Records and noted that the group would soon release the single “Come Down in Time,” explicitly crediting Elton John as the songwriter. The report also mentions that the group was managed by Otis Pollard, providing a clear historical connection between the release and Elton John’s catalog.

Although the single did not chart, it has become a hidden gem valued by collectors of 1970s soul, crossover, and doo-wop–influenced R&B. Its arrangement offers a soulful reinterpretation distinct from the version featured on Elton John’s Tumbleweed Connection, highlighting Eugene Pitt’s expressive vocal style and the group’s smooth harmonic structure.

Avco Embassy Records and Its Connection to Elton John (1970–1972)

During the early 1970s, Avco Embassy Records expanded its catalog by signing emerging pop, soul, and crossover acts. Although Elton John was not signed to Avco, the label became indirectly connected to his catalog through a notable release in 1971. That connection came through Eugene Pitt and The Jyve Fyve, who recorded a soul interpretation of Elton John and Bernie Taupin’s composition “Come Down in Time,” originally released on the 1970 album Tumbleweed Connection.

The Avco version presented a smoother, orchestrated soul arrangement produced by Billy Arnell. The single was issued as Avco 4568 with the B-side “Love Is Pain.” This recording demonstrates how Elton John’s early 1970s material reached beyond rock and pop markets, influencing R&B and vocal harmony groups. The Jyve Fyve’s rendition brought Elton John’s songwriting into the New York soul scene, giving the composition a new stylistic identity.

The connection between Avco Embassy and Elton John was publicly documented in the April 3, 1971 issue of Record World, which reported the group’s signing to Avco Embassy and specifically mentioned that their next release would be “Come Down in Time,” written by Elton John. This confirms the direct licensing of Elton John’s work to Avco for this single. Although Elton John did not personally record for Avco Embassy, the inclusion of his composition in their release schedule shows the early reach of his songwriting into diverse American genres.

Magazine source:
https://www.facebook.com/share/p/1FSWZYRQsB/

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The Greatest Discovery — Tony Butala / The Lettermen

 

Tony Butala is a founding member and lead vocalist of the American vocal group The Lettermen. Known for their romantic style and tight harmonies, the trio signed with Capitol Records in 1961 and achieved major success throughout the 1960s on the adult contemporary charts. In 1971, The Lettermen recorded the song "The Greatest Discovery," written by Elton John and Bernie Taupin. The track was released as a 7-inch single by Capitol Records with the catalog number P-3097, featuring Tony Butala as the lead voice on the recording.

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Rex Allen Jr.’s 1971 Recording of “Country Comfort”

 

REX ALLEN JR.-SSS 837.
COUNTRY COMFORT (Dick James Music, BMI)
Elton John and Bernie Taupin wrote this hip country tune. This Is the kind of product that will turn the younger listeners on to country.

https://www.worldradiohistory.com/Archive-All-Music/Record-World/70s/71/RW-1971-05-29.pdf
- Page 54

Rex Allen Jr. recorded a notable country version of “Country Comfort,” the song originally written by Elton John and Bernie Taupin for the album Tumbleweed Connection. His single was released on the SSS International label with the catalog number SSS 837. At the time, music publications highlighted the track as a “hip country tune,” noting that Elton John and Bernie Taupin’s songwriting brought a modern appeal that could attract younger listeners to country music.

The version by Rex Allen Jr. was associated with Sun Record Co. as producer and later appeared under Sun Label Group, LLC. Although the original recording dates to 1971, this release was reissued digitally with a release date listed as January 1, 1979. The track is titled “Country Comfort · Rex Allen, Jr.” under the Sun Label Group catalog.

The recording maintains the Americana storytelling of the original composition while giving it a traditional country arrangement typical of Rex Allen Jr.’s style. This interpretation helped broaden the song’s reach beyond Elton John’s rock and folk audiences, demonstrating its versatility and strong narrative structure.

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American Eagle’s 1971 Recording of “Ballad of a Well Known Gun”

AMERICAN EAGLE-Decca 32833
BALLAD 0F A WELL KNOWN GUN (Dick James. BMI)
ON THE RACK (MCA/Exploding Parakeet, ASCAP)
Group impressed with first album.
They're back now with a rocker from the Elton John-Bernie Taupin catalog.Sure to garner play.

Source: https://www.worldradiohistory.com/Archive-All-Music/Record-World/70s/71/RW-1971-05-29.pdf

American Eagle recorded a cover version of “Ballad of a Well Known Gun,” the opening track from Elton John’s 1970 album “Tumbleweed Connection,” written by Elton John and Bernie Taupin and published by Dick James Music (BMI). The group’s single was issued by Decca Records under the catalog number Decca 32833. The release paired two tracks: “Ballad of a Well Known Gun” and “On the Rack” (published by MCA / Exploding Parakeet, ASCAP). Industry notes from the period described the song as a strong, uptempo rocker taken from the Elton John–Bernie Taupin songbook, suggesting Decca viewed the track as radio-friendly and suitable for broader exposure.

The original Elton John recording was made in March 1970 in London and released in October 1970 as part of the album Tumbleweed Connection. During this period, Dick James Music actively licensed Elton John and Bernie Taupin compositions to various artists for reinterpretation, and American Eagle became one of the acts selected to re-record material from the Tumbleweed Connection catalog.

A Brief Overview of the Band American Eagle

American Eagle was an American rock group active in the early 1970s and associated with Decca Records. The band released their self-titled album “American Eagle” in 1970, which blended rock, country-rock, and pop influences common in the post-Woodstock era. Though not widely documented, the group received favorable critical attention for their musicianship and vocal harmonies.

Their single Decca 32833, featuring the cover of Elton John’s “Ballad of a Well Known Gun,” appeared after the release of their debut album and served as a follow-up intended to keep the band visible in the competitive AM-radio market of the time. Contemporary industry reviews emphasized the band’s energetic style and their ability to reinterpret well-known compositions with a harder, more driving sound.

American Eagle’s tenure was brief, and the group did not achieve major commercial success, but their recordings—particularly their cover of “Ballad of a Well Known Gun”—remain of interest to collectors and to researchers tracing early cover versions of Elton John and Bernie Taupin compositions.

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Solomon Burke – “Three Psalms of Elton” (1971)

SOUL SOLOMON BURKE- Electric Magnetism. MGM SE 4767 Solomon Burke has bounced back better

than ever, as his hardworking hit, "Elec-
tronic Magnetism," signals new vigor for Burke's career via his refreshing brand of pop -gospel, well -produced with today's sophisticated soul sound. Burke's "Three Psalms of Elton," an Elton John medley, "All for the Love of Sunshine," "Bridge of Life," plus his version of Sly's "Stand"
ring out with the news that Burke's back. Paul Humphrey and David T. Walker pro- vide the great beat.

Source:
JUNE 5, 1971
A BILLBOARD PUBLICATION

https://www.worldradiohistory.com/Archive-All-Music/Billboard/70s/1971/Billboard%201971-06-05.pdf

“Three Psalms of Elton” is the opening track of Solomon Burke’s 1971 album Electronic Magnetism, released by MGM Records under the catalog number SE-4767. The medley combines three Elton John and Bernie Taupin compositions: Your Song, Border Song, and Take Me to the Pilot. Burke transforms these contemporary pop pieces into a soulful, gospel-infused interpretation that reflects both his vocal power and his spiritual background.

Background and Recording
Electronic Magnetism marked a creative moment in Burke’s career, bringing together a sophisticated soul production with strong gospel overtones. The album features an impressive roster of session musicians, including David T. Walker, Joe Sample, Larry Knechtel, Louie Shelton, and Victor Feldman. Their contributions give the project a polished sound typical of early-1970s Los Angeles studio work.

The Medley
“Three Psalms of Elton” runs approximately 3:17 and presents the three Elton John songs as a unified spiritual statement. By calling them “psalms,” Burke elevates the material into a reverent setting, as if framing Elton John’s melodies within a gospel tradition. Your Song is rendered with tenderness, Border Song gains weight through Burke’s deeper vocal approach, and Take Me to the Pilot closes the medley with energetic soul phrasing. The arrangement blends organ, soft horns, rhythmic guitar, and light percussion to create an atmosphere that is both devotional and contemporary.

Electronic Magnetism was issued as a vinyl LP on MGM Records. The track “Three Psalms of Elton” appears on Side A of the album. Known matrix numbers for the LP include MGS-2572 and MGS-2573, associated with the SE-4767 pressing.
There is no reliable evidence that “Three Psalms of Elton” was released as a separate single (45 rpm). Discographies of Solomon Burke list other singles from the period, but this medley does not appear among them. The track is therefore considered an album-only recording.


Label, Catalog, and Formats
Label: MGM Records
Album catalog number: SE-4767
Matrix / Runout: MGS-2572 / MGS-2573
Format: LP, Stereo
Country: United States
Original Release Year: 1971

The medley is notable for showing Solomon Burke engaging directly with modern pop songwriting. Elton John and Bernie Taupin were rising rapidly in 1970–1971, and Burke’s decision to reinterpret three of their early works demonstrates both admiration and artistic curiosity. Rather than imitate Elton John’s arrangements, he re-imagines the songs through the lens of Southern soul and gospel, highlighting new emotional colors and lyrical depth.

Although not a hit single, “Three Psalms of Elton” remains a unique entry in Solomon Burke’s discography. It documents an intersection between classic soul and the emerging pop-rock era of the early 1970s. For collectors and fans, the track is appreciated for its originality, its strong musicianship, and its rare example of a soul legend paying tribute to Elton John through a medley format.

https://www.discogs.com/release/4077322-Solomon-Burke-Three-Psalms-Of-Elton-John?srsltid=AfmBOoru-rm9HqlTTYod6-a28gHYt-qefFbEy1k_hrTjV96-lCBHn2jy

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Earl Scruggs & The Earl Scruggs Revue – 1971 Recording of “Country Comfort”

EARL SCRUGGS AND THE EARL SCRUGGS REVUE- Columbia 4-45413

COUNTRY COMFORT (Dick James Music, BMI)
By far the most commercial entry for the super talents. Earl's son Randy handles the vocal on the Elton John -Bernie Taupin song. Neil Wilburn produced.

Source: RECORD WORLD JUNE 26, 1971
https://www.worldradiohistory.com/Archive-All-Music/Record-World/70s/71/RW-1971-06-26.pdf

Earl Scruggs & The Earl Scruggs Revue released their version of “Country Comfort,” the Elton John and Bernie Taupin composition published by Dick James Music (BMI), as a Columbia Records single under the catalog number Columbia 4-45413. The A-side featured “Country Comfort”, while the B-side of the single was “T for Texas.” The record was issued in 1971, during the most active recording period of the Revue, and it presented a progressive country-bluegrass reinterpretation of the song originally released on Elton John’s album Tumbleweed Connection in 1970. The Scruggs version runs approximately 2 minutes and 50 seconds, following the typical radio-oriented format of Columbia’s country releases.

Columbia promoted the single as a strong entry into both country and progressive country markets, with contemporary industry publications noting that the combination of Elton John’s songwriting and Earl Scruggs’ innovative banjo-driven style gave the track crossover potential. As with other Scruggs releases of the early 1970s, the publishing rights for the A-side were credited to Dick James Music (BMI), reflecting the continued licensing of Elton John/Taupin compositions to American country and rock artists.

A Brief Overview of the Career of Earl Scruggs

Earl Scruggs (1924–2012) was one of the most influential musicians in American roots music, best known as the pioneer of the three-finger banjo style that became the foundation of modern bluegrass. He first rose to national prominence as part of Flatt & Scruggs, a duo that helped popularize bluegrass in the 1950s and 1960s through records, television appearances, and soundtrack contributions such as “The Ballad of Jed Clampett.”

In the late 1960s, Scruggs broke away from traditional bluegrass and formed The Earl Scruggs Revue with his sons Gary, Randy, and later Steve Scruggs, along with musicians such as Vassar Clements and Josh Graves. The Revue became known for blending bluegrass instrumentation with country-rock, folk-rock, and progressive country influences, appealing to younger audiences and appearing at universities, festivals, and major concert circuits.

Under Columbia Records, the Revue recorded throughout the 1970s, releasing several albums and singles that expanded Scruggs’ reach beyond traditional bluegrass circles. This era marked Scruggs as a bridge between genres, maintaining his virtuosity on the banjo while embracing the evolving sound of American country and rock music.

Earl Scruggs remains celebrated as a foundational figure in American music, a musician who transformed the role of the banjo and opened new paths for crossover collaborations—exemplified by recordings such as his 1971 interpretation of “Country Comfort.”

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AMOREENA BY PANHANDLE

AMOREENA BY PANHANDLE – A STUDY OF THE RECORDING AND THE BAND

The British studio project Panhandle recorded a distinctive version of Elton John and Bernie Taupin’s “Amoreena” for their only album, released by Decca Records. The LP, titled simply “Panhandle,” was issued by Decca under the catalog number SKL 5105. Most historical discographic sources place the release in 1972, although some collectors refer to sessions dated in late 1971. The album was released exclusively as an LP and had no commercial single extracted from it.

Panhandle was not a touring band, but rather a studio ensemble assembled around some of the most respected musicians in the British rock and session scene. The lineup included guitarist Chris Spedding, well known for his work with Jack Bruce and later for his strong solo career; bassist Herbie Flowers, one of the most recorded English session players and a founding member of Sky; and keyboardist and actor Dudley Moore, who contributed piano parts. The project also featured well-known vocalists such as P. P. Arnold on backing vocals. The album was produced by Rodger Bain, a producer famous for his early work with Black Sabbath.

The record presented a collection of rock, soul, and contemporary pop reinterpretations, transforming known songs into studio-driven arrangements with high technical quality. Their version of “Amoreena” stands out for its warm instrumentation, polished production, and faithful yet modernized interpretation of the Elton John original. Even with a high-caliber cast, Panhandle remained a short-lived recording project and did not continue beyond this album. Commercial impact was minimal at the time, but the LP eventually became a collector’s item due to the presence of top-tier musicians and for its unique selection of covers. A later reissue on CD by Prog Temple reintroduced listeners to this obscure but fascinating entry in early 1970s British studio rock.

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Spooky Tooth – “Son of Your Father”

Spooky Tooth – “Son of Your Father”: The 1969 Single Connected to Elton John’s Early Career

In June 1969, the British rock band Spooky Tooth released the single “Son of Your Father,” a composition written by the emerging songwriting duo Elton John and Bernie Taupin. Issued by Island Records under the catalogue number WIP-6060, the 7-inch single featured “I’ve Got Enough Heartache” as its B-side and was performed by the band’s lead vocalist at the time, Mike Harrison. The record was pressed at 45 RPM and reflected the group’s characteristic blend of rock, soul, and blues.

The release of “Son of Your Father” is historically significant not only because it predates Elton John’s own recorded version — which would appear more than a year later on his album Tumbleweed Connection — but also because it coincided with the launch of Elton John’s debut album Empty Sky. Both the Spooky Tooth single and Empty Sky reached the market in June 1969, making them parallel milestones in the beginnings of Elton John’s recorded output. While Elton and Bernie were working to establish themselves as songwriters, Spooky Tooth became one of the first notable bands to introduce their compositions to a wider audience.

The Spooky Tooth recording of “Son of Your Father” differs markedly from Elton John’s later interpretation. Where Elton’s 1970 studio version would adopt a style aligned with the Americana-influenced atmosphere of Tumbleweed Connection, Spooky Tooth delivered a more forceful rock-oriented performance driven by Harrison’s gritty vocals and the band’s heavier instrumental backdrop. This contrast highlights how versatile the John–Taupin material already was, even in its earliest years.

Although Elton John’s own recording would not appear until late 1970 in the United Kingdom (and early 1971 in the United States), Spooky Tooth’s single offered the first published interpretation of the song. For listeners in 1969, “Son of Your Father” represented an emerging creative presence from John and Taupin—one that, at that moment, was still more recognized through other performers than through Elton’s own voice.

Brief Career Summary of Spooky Tooth and Its Members

Spooky Tooth was formed in 1967 and quickly became known for its distinctive combination of rock, blues, psychedelia, and soul. The band’s sound was built primarily around the contrasting vocal styles of Mike Harrison and Gary Wright, who also contributed keyboards and songwriting. Other core members during the classic years included guitarist Luther Grosvenor, bassist Greg Ridley, and drummer Mike Kellie.

The group released several influential albums between the late 1960s and early 1970s, including It’s All About, Spooky Two, and The Last Puff. Despite numerous lineup changes, Spooky Tooth earned a reputation for adventurous arrangements and powerful vocal performances. Although they never achieved massive commercial success, their work became an important part of the late-1960s British rock landscape and influenced several musicians who followed. The band’s members went on to notable careers: Gary Wright found solo success in the mid-1970s, Ridley joined Humble Pie, and Grosvenor later became known as Ariel Bender with Mott the Hoople.

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