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Thought-form of the Music of Gounod, according to Annie Besant and C.W. Leadbeater in Thought Forms (1901)

The term musical form refers to the overall structure or plan of a piece of music,^[1] and it describes the layout of a composition as divided into sections.^[2] In the tenth edition of The Oxford Companion to Music, Percy Scholes defines musical form as "a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration."^[3]

Musicologist Richard Middleton describes form through repetition and difference: difference is the distance moved from a repeat; a repeat being the smallest difference. Difference is quantitative and qualitative; how far different and what type of difference. According to Middleton, musical form is "the shape or structure of the work." In many cases, form depends on statement and restatement, unity and variety, contrast and connection.^[4]

Levels of organization[link]

The founding level of musical form can be divided into two parts:

• The arrangement of the pulse into accented and unaccented beats, the cells of a measure that, when harmonized, may give rise to a motif or figure.
• The further organization of such a measure, by repetition and variation, into a true musical phrase having a definite rhythm and duration that may be implied in melody and harmony, defined, for example, by a long final note and a breathing space. This "phrase" may be regarded as the fundamental formal unit of music: it may be broken down into measures of two or three beats, but its distinctive nature will then be lost. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, can be seen.^[5] (See also: Meter (music)) Thus, form may be understood on three levels of organization. For the purpose of this exposition, these levels can be roughly designated as passage, piece, and cycle.

Passage[link]

The smallest level of construction concerns the way musical phrases are organized into musical sentences and "paragraphs" such as the verse of a song. This may be compared to, and is often decided by, the verse-form or meter of the words or the steps of a dance.^{[citation needed]}

For example, the twelve bar blues is a specific verse form, while common meter is found in many hymns and ballads and, again, the Elizabethan galliard, like many dances, requires a certain rhythm, pace and length of melody to fit its repeating pattern of steps. Simpler styles of music may be more or less wholly defined at this level of form, which therefore does not differ greatly from the loose sense first mentioned and which may carry with it rhythmic, harmonic, timbral, occasional and melodic conventions.

In the analysis of musical form, any components that can be defined on the time axis (such as sections and units) are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions. If one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger time-scales. For example:

The following verse is composed of two differently-rhymed couplets (AABB), and thus its organization is binary or "twofold".

Twinkle, twinkle, little star,

How I wonder what you are.

Up above the world so high,

like a diamond in the sky.

However, in the verse below, there is a rhyme repeated in the second line, then a variant in the third line, two half-lines sharing a new rhyme, followed by a final return to the first arrangement in the last line (AABA), and thus its organization is ternary form or "threefold".

There once was a fellow from Leeds

Who swallowed a packet of seeds.

In less than an hour he burst into flower

And he died trying to pull up the weeds.

However, as music educator Stewart Macpherson stated, there is a preference at all levels of musical organization for groupings of two, four, eight over other divisions, so that even a ternary form is often extended by repetition of the first subject into a "fourfold" structure. Composers can be on guard against excessive "squareness".^[6]

Pieces[link]

The next level concerns the entire structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If two distinctly different themes are alternated indefinitely, as in a song alternating verse and [Refrain|chorus] or in the alternating slow and fast sections of the Hungarian czardas, then this gives rise to a simple binary form. If the theme is played (perhaps twice), then a new theme is introduced, the piece then closing with a return to the first theme, we have a simple ternary form.

Great confusion, argument and misunderstanding can be generated by such terms as 'ternary' and 'binary', as a complex piece may have elements of both at different organizational levels.^{[citation needed]} A minuet, like any Baroque dance, generally had simple binary structure (AABB), however, this was frequently extended by the introduction of another minuet arranged for solo instruments (called the trio), after which the first was repeated again and the piece ended—this is a ternary form—ABA: the piece is binary on the lower compositional level but ternary on the higher. Organisational levels are not clearly and universally defined in western musicology, while words like "section" and "passage" are used at different levels by different scholars whose definitions, as Scholes and others^[who?] point out, cannot keep pace with the myriad innovations and variations devised by musicians.

Cycle[link]

The grandest level of organization may be referred to as "cyclical form". It concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a related theme may be presented as a song-cycle, whereas a set of Baroque dances were presented as a suite. The opera and ballet may organize song and dance into even larger forms. This level of musical form, though it again applies and gives rise to different genres, takes more account of the methods of musical organisation used. For example: a symphony, a concerto and a sonata differ in scale and aim, yet generally resemble one another in the manner of their organization. The individual pieces which make up the larger form may be called movements.

Single forms[link]

Scholes suggested that European classical music had only six stand-alone forms: simple binary, simple ternary, compound binary, rondo, air with variations, and fugue. However, musicologist Alfred Mann emphasized that the fugue is primarily a method of composition that has sometimes taken on certain structural conventions.^[7]

Where a piece cannot readily be broken down into sectional units (though it might borrow some form from a poem, story or programme), it is said to be through-composed. Such is often the case with pieces named Fantasia, Prelude, rhapsody, etude or study, symphonic poem, Bagatelle, Impromptu, etc.^{[citation needed]} Professor Charles Keil classified forms and formal detail as "sectional, developmental, or variational."^[8]

Sectional form[link]

This form is built from a sequence of clear-cut units^[9] that may be referred to by letters as outlined above but also often have generic names such as Introduction and coda, Exposition, Development and recapitulation, verse, chorus or refrain, and bridge. Introductions and codas, when they are no more than that, are frequently excluded from formal analysis. All such units may typically be eight measures long. Sectional forms include:

Strophic form[link]

This form is defined by its "unrelieved repetition" (AAAA...).

Medley or "chain" form[link]

Medley, potpourri or chain form is the extreme case opposite that of "unrelieved variation": it is simply an indefinite sequence of self-contained sections (ABCD...), sometimes with repeats (AABBCCDD...). Examples include orchestral overtures, which are sometimes no more than a string of the best tunes of the show to come.

Binary form[link]

This form uses two sections (AB...); each section is often repeated (AABB...). In 18th-century western classical music, "simple binary" form was often used for dances and carried with it the convention that the two sections should be in different musical keys but maintain the same rhythm, duration and tone. The alternation of two tunes gives enough variety to permit a dance to be extended for as long as may be required.

Ternary form[link]

This form has three parts. In Western classical music a simple ternary form has a third section that is a recapitulation of the first (ABA). Often, the first section is repeated (AABA). This approach was popular in the 18th-century operatic aria,^{[citation needed]} and was called da capo (i.e. "repeat from the top") form. Later, it gave rise to the 32-bar song, with the B section then often referred to as the "middle eight". A song has more need than a dance of a self-contained form with a beginning and an end.

Rondo form[link]

This form has a recurring theme alternating with different (usually contrasting) sections called "episodes". It may be asymmetrical (ABACADAEA) or symmetrical (ABACABA). A recurring section, especially the main theme, is sometimes more thoroughly varied, or else one episode may be a "development" of it. A similar arrangement is the ritornello form of the Baroque concerto grosso. Arch form (ABCBA) resembles a symmetrical rondo without intermediate repetitions of the main theme.

Variational form[link]

Variational forms are those in which variation is an important formative element.

Theme and Variations: a theme, which in itself can be of any shorter form (binary, ternary, etc.), forms the only "section" and is repeated indefinitely (as in strophic form) but is varied each time (A,B,A,F,Z,A), so as to make a sort of sectional chain form. An important variant of this, much used in 17th-century British music and in the Passacaglia and Chaconne, was that of the ground bass - a repeating bass theme or basso ostinato over and around which the rest of the structure unfolds, often, but not always, spinning polyphonic or contrapuntal threads, or improvising divisions and descants. This is said by Scholes (1977) to be the form par excellence of unaccompanied or accompanied solo instrumental music. The Rondo is often found with sections varied (AA¹BA²CA³BA⁴) or (ABA¹CA²B¹A).

Developmental form[link]

Developmental forms are built directly from smaller units, such as motifs, combined and worked out in different ways, perhaps having a symmetrical or arch-like underpinning and a progressive development from beginning to end. By far the most important in Western classical music is:

Sonata form[link]

This form, also known as sonata allegro form, first movement form, compound binary, ternary and a variety of other names,^{[example needed]} developed from the binary-formed dance movement described above but is almost always cast in a greater ternary form having the nominal subdivisions of Exposition, Development and Recapitulation. Usually, but not always, the "A" parts (Exposition and Recapitulation, respectively) may be subdivided into two or three themes or theme groups which are taken asunder and recombined to form the "B" part (the Development) - thus e. g. (AabB[dev. of a and/or b]A¹ab¹+coda). This developmental form is generally confined to certain sections of the piece, as to the middle section of the first movement of a sonata, though nineteenth-century composers such as Berlioz, Liszt and Wagner made valiant efforts to derive large-scale works purely or mainly from the motif.

Chester (1970) distinguished this as "extensional music", that "produced by starting with small components - rhythmic or melodic motifs, perhaps - and then 'developing' these through techniques of modification and combination." "Intensional music", meanwhile, "starts with a framework - a chord sequence, a melodic outline, a rhythmic pattern - and then extends itself by repeating the framework with perpetually varied inflections to the details filling it in."

Cyclical forms[link]

Opera was originally modelled upon classical drama and takes much of its form from its libretto and narrative. For many years, ballet was a component of opera, not in itself narrative, but having the form of a suite of set dances included at some appropriate moment in the story such as a festival or wedding. It emerged as a separate form, supplying its own narrative or representation, during the 19th-century.^{[citation needed]} At the same time, the song cycle emerged, which is a set of related songs (as the suite is a set of related dances). The oratorio took shape as a narrative, often religious,^{[citation needed]} recounted—rather than acted—by the singers.

The sonata, symphony, and concerto were all developed by major composers of the Viennese school (Haydn, Mozart and Beethoven primarily) along the same formal lines into distinctively musical forms limited little by the forms of song, dance or ceremony. Other forms of music, such as the Catholic mass and requiem, are largely shaped by, and subordinated to, their texts and ceremonial functions.

More recent developments[link]

This section is written like a personal reflection or essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (September 2011)

A common idea is the depth of layers of form necessary for complexity, in which foregrounded detail events occur against a more structural background, as in Schenkerian analysis.^{[citation needed]} Composer and music theorist Professor Fred Lerdahl, among others,^{[who else?]} argues that popular music lacks the structural complexity of multiple structural layers and thus lacks depth.^[10] However, Lerdahl's theories explicitly exclude associational details which are used to help articulate form in popular music; the theories of which are analyzed in music theorist and musicologist Allen Forte's book, The Structure of Atonal Music.^[11]

Western classical music is the apodigm of the extensional form of musical construction. Theme and variations, counterpoint, tonality (as used in classical composition) are all devices that build diachronically and synchronically outwards from basic musical atoms. The complex is created by combination of the simple, which remains discrete and unchanged in the complex unity...If those critics who maintain the greater complexity of classical music specified that they had in mind this extensional development, they would be quite correct...Rock however follows, like many non-European musics, the path of intensional development. In this mode of construction, the basic musical units (played/sung notes) are not combined through space and time as simple elements into complex structures. The simple entity is that constituted by the parameters of melody, harmony, and beat, while the complex is built up by modulation of the basic notes, and by inflexion of the basic beat. All existing genres and sub-types of the Afro-American tradition show various forms of combined intensional and extensional development.

—Chester 1970, p.78-9

Similarly, Middleton maintains that "syntactic music" is centered on notation and "the hierarchic organization of quasilinguistic elements and their putting together (com-position) in line with systems of norms, expectations, surprises, tensions and resolutions. The resulting aesthetic is one of 'embodied meaning.'" on the other hand, non-notated music and performance "foreground process and are concerned with gesture, physical feel, the immediate moment, improvisation; the resulting aesthetic is one of 'engendered feeling' and is unsuited to the application of 'syntactic' criteria."

Connection and contrast may be achieved in new ways. Procedures of connection include: gradation, amalgamation, and dissolution. Procedures of contrast include: stratification, juxtaposition, and interpolation.

Especially recently,^[when?] more segmented approaches have been taken through the use of stratification, superimposition, juxtaposition, interpolation, and other interruptions and simultaneities. Examples include the postmodern "block" technique used by composers such as John Zorn, where rather than organic development, one follows separate units in various combinations. These techniques may be used to create contrast to the point of disjointed chaotic textures, or, through repetition and return and transitional procedures such as dissolution, amalgamation, and gradation, may create connectedness and unity. Composers have also made more use of open forms such as produced by aleatoric devices and other chance procedures, improvisation, and some processes.

See also[link]

• Developing variation
• List of musical forms by era
• Song structure (popular music)

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Musical form

• Lessons in Music Form by Percy Goetschius, 1904
• Study Guide for Musical Form: A Complete Outline of Standardized Formal Categories and Concepts by Robert T. Kelley
• A Practical Guide to Musical Composition by Alan Belkin
• Morphopoiesis: A General Procedure for Structuring Form by Panayiotis Kokoras

Sir Elton John CBE
Elton John attending the premiere of The Union at the 2011 Tribeca Film Festival
Background information
Birth name	Reginald Kenneth Dwight
Born	(1947-03-25) 25 March 1947 (age 65) Pinner, Middlesex, England
Genres	Rock, R&B, pop rock, glam rock, soft rock
Occupations	Musician, singer-songwriter, record producer, composer
Instruments	Vocals, piano, keyboards, guitar
Years active	1964–68 (Bluesology) 1969–present (Solo)
Labels	DJM, Uni, MCA, Geffen, Rocket/Island, Universal, Interscope, Mercury, UMG
Associated acts	Bernie Taupin, Tim Rice, John Lennon, Yoko Ono, Kiki Dee, Billy Joel, George Michael, Eminem, Gladys Knight, Stevie Wonder, Dionne Warwick, Neil Sedaka
Website	eltonjohn.com

Sir Elton Hercules John, CBE (born Reginald Kenneth Dwight on 25 March 1947) is an English rock singer-songwriter, composer, pianist and occasional actor. He has worked with lyricist Bernie Taupin as his songwriter partner since 1967; they have collaborated on more than 30 albums to date.

In his four-decade career John has sold more than 250 million records, making him one of the most successful artists of all time.^[1] His single "Candle in the Wind 1997" has sold over 33 million copies worldwide, and is the best selling single in Billboard history.^[2] He has more than 50 Top 40 hits, including seven consecutive No. 1 US albums, 56 Top 40 singles, 16 Top 10, four No. 2 hits, and nine No. 1 hits. He has won six Grammy Awards, four Brit Awards, an Academy Award, a Golden Globe Award and a Tony Award. In 2004, Rolling Stone ranked him Number 49 on its list of the 100 greatest artists of all time.^[3]

John was inducted into the Rock and Roll Hall of Fame in 1994.^[4] Having been named a Commander of the Order of the British Empire in 1996, John received a knighthood from Queen Elizabeth II for "services to music and charitable services" in 1998.^[5]

He has been heavily involved in the fight against AIDS since the late 1980s.^[6] In 1992, he established the Elton John AIDS Foundation and a year later began hosting the annual Academy Award Party, which has since become one of the most high-profile Oscar parties in the Hollywood film industry. Since its inception, the foundation has raised over $200 million.^[7]

John entered into a civil partnership with David Furnish^[8] on 21 December 2005 and continues to be a champion for LGBT social movements. In 2008, Billboard magazine ranked him as the most successful male solo artist on "The Billboard Hot 100 Top All-Time Artists" (third overall, behind only The Beatles and Madonna).^[9]

Life and career[link]

Early life[link]

John was born Reginald Kenneth Dwight on 25 March 1947, the eldest child of Stanley and only child of Sheila Eileen Dwight (née Harris)^[10][11][12] and was raised in Pinner, Middlesex in a council house of his maternal grandparents. His parents did not marry until he was 6 years old, when the family moved to a nearby semi-detached house.^[13][14][15] He was educated at Pinner Wood Junior School, Reddiford School and Pinner County Grammar School, until age 17, when he left just prior to his A Level examinations to pursue a career in the music industry.^[16][17][18]

When John began to seriously consider a career in music, his father, who served as a Flight Lieutenant in the Royal Air Force, tried to steer him toward a more conventional career, such as banking.^[16] John has stated that his wild stage costumes and performances were his way of letting go after such a restrictive childhood.^[18] Both of John's parents were musically inclined, his father having been a trumpet player with the Bob Millar Band, a semi-professional big band that played at military dances.^[18] The Dwights were keen record buyers, exposing John to the popular singers and musicians of the day, and John remembers being immediately hooked on rock and roll when his mother brought home records by Elvis Presley and Bill Haley & His Comets in 1956.^[16][17]

John started playing the piano at the age of 3, and within a year, his mother heard him picking out Winifred Atwell's "The Skater's Waltz" by ear.^[16][17] After performing at parties and family gatherings, at the age of 7 he took up formal piano lessons. He showed musical aptitude at school, including the ability to compose melodies, and gained some notoriety by playing like Jerry Lee Lewis at school functions. At the age of 11, he won a junior scholarship to the Royal Academy of Music. According to one of his instructors, John promptly played back, like a "gramophone record", a four-page piece by Handel that he heard for the first time.^[17]

For the next five years he attended Saturday classes at the Academy in central London, and has stated that he enjoyed playing Chopin and Bach and singing in the choir during Saturday classes, but that he was not otherwise a diligent classical student.^[17] "I kind of resented going to the Academy", he says. "I was one of those children who could just about get away without practising and still pass, scrape through the grades."^[17] He even claims that he would sometimes skip classes and just ride around on the Tube.^[17] However, several instructors have testified that he was a "model student", and during the last few years he was taking lessons from a private tutor in addition to his classes at the Academy.^[17]

John's mother, though also strict with her son, was more vivacious than her husband, and something of a free spirit. With Stanley Dwight uninterested in his son and often physically absent, John was raised primarily by his mother and maternal grandmother. When his father was home, the Dwights would have terrible arguments that greatly distressed their son.^[17] When John was 14, they divorced.^[19] His mother then married a local painter, Fred Farebrother, a caring and supportive stepfather whom John affectionately referred to as "Derf", his first name in reverse.^[17] They moved into flat No. 1A in an eight-unit apartment building called Frome Court, not far from both previous homes. It was there that John would write the songs that would launch his career as a rock star; he would live there until he had four albums simultaneously in the American Top 40.^[20]

Pub pianist to staff songwriter (1962–1969)[link]

At the age of 15, with the help of his mother and stepfather, Reginald Dwight became a weekend pianist at a nearby pub, the Northwood Hills Hotel, playing Thursday to Sunday nights for £35 a week and tips.^[21][22] Known simply as "Reggie", he played a range of popular standards, including songs by Jim Reeves and Ray Charles, as well as songs he had written himself.^[23][24] A stint with a short-lived group called the Corvettes rounded out his time.^[17]

In 1964, Dwight and his friends formed a band called Bluesology. By day, he ran errands for a music publishing company; he divided his nights between solo gigs at a London hotel bar and working with Bluesology. By the mid-1960s, Bluesology was backing touring American soul and R&B musicians like The Isley Brothers, Major Lance, Billy Stewart, Doris Troy and Patti LaBelle and The Bluebelles. In 1966, the band became musician Long John Baldry's supporting band and played 16 times at The Marquee Club.^[25]

After failing lead vocalist auditions for King Crimson and Gentle Giant, Dwight answered an advertisement in the New Musical Express placed by Ray Williams, then the A&R manager for Liberty Records.^[26] At their first meeting, Williams gave Dwight a stack of lyrics written by Bernie Taupin, who had answered the same ad. Dwight wrote music for the lyrics, and then mailed it to Taupin, beginning a partnership that still continues^[update]. When the two first met in 1967 they recorded what would become the first Elton John/Bernie Taupin song: "Scarecrow". Six months later Dwight was going by the name "Elton John" in homage to Bluesology saxophonist Elton Dean and Long John Baldry.^[23]

The team of John and Taupin joined Dick James's DJM Records as staff songwriters in 1968, and over the next two years wrote material for various artists, like Roger Cook and Lulu.^[27] Taupin would write a batch of lyrics in under an hour and give it to John, who would write music for them in half an hour, disposing of the lyrics if he couldn't come up with anything quickly.^[27] For two years, they wrote easy-listening tunes for James to peddle to singers. Their early output included a contender for the British entry for the Eurovision Song Contest in 1969, for Lulu, called "Can't Go On (Living Without You)". It came sixth of six songs. In 1969, John provided piano for Roger Hodgson on his first released recording, the single "Mr. Boyd" by Argosy, a quartet that was completed by Caleb Quaye and Nigel Olsson.^[28][29]

During this period, John was also a session musician for other artists including playing piano on The Hollies' "He Ain't Heavy, He's My Brother" and singing backing vocals for The Scaffold.^[30]

[edit] Debut album to Goodbye Yellow Brick Road (1969–1973)

When John transitioned to solo performance, he started wearing increasingly flamboyant clothing onstage, including this hat and domino mask

On the advice of music publisher Steve Brown, John and Taupin started writing more complex songs for John to record for DJM. The first was the single "I've Been Loving You" (1968), produced by Caleb Quaye, former Bluesology guitarist. In 1969, with Quaye, drummer Roger Pope, and bassist Tony Murray, John recorded another single, "Lady Samantha", and an album, Empty Sky.

For their follow-up album, Elton John, John and Taupin enlisted Gus Dudgeon as producer and Paul Buckmaster as musical arranger. Elton John was released in April 1970 on DJM Records/Pye Records in the UK and Uni Records in the USA, and established the formula for subsequent albums; gospel-chorded rockers and poignant ballads. The first single from the album, "Border Song", made into the US Top 100, peaking at Number 92. The second single "Your Song" made the US Top Ten, peaking at number eight and becoming John's first hit single as a singer. The album soon became his first hit album, reaching number four on the Billboard 200 album chart.^[31]

Backed by ex-Spencer Davis Group drummer Nigel Olsson and bassist Dee Murray, John's first American concert took place at The Troubadour in Los Angeles in August 1970, and was a success.^[32]

The concept album Tumbleweed Connection was released in October 1970, and reached the Top Ten on the Billboard 200. The live album 17-11-70 (11–17–70 in the US) was recorded at a live show aired from A&R Studios on WABC-FM in New York City. Sales of the live album were heavily hit in the US when an east coast bootlegger released the performance several weeks before the official album, including all 60 minutes of the aircast, not just the 40 minutes selected by Dick James Music.^[33]

Elton John at the Musikhalle, Hamburg in March 1972

John and Taupin then wrote the soundtrack to the obscure film Friends and then the album Madman Across the Water, the latter reaching the Top Ten and producing the hit "Levon", while the soundtrack album produced the hit "Friends". In 1972, Davey Johnstone joined the Elton John Band on guitar and backing vocals. The band released Honky Chateau, which became John's first American number 1 album, spending five weeks at the top of the charts and spawning the hit singles "Rocket Man (I Think It's Going To Be A Long, Long Time)" (which is often compared to David Bowie's "Space Oddity") and "Honky Cat".^[34]

The pop album Don't Shoot Me I'm Only the Piano Player came out at the start of 1973, and produced the hits "Crocodile Rock" and "Daniel"; the former became his first US Billboard Hot 100 number one hit.^[35] Both the album and "Crocodile Rock" were the first album and single, respectively on the consolidated MCA Records label in the USA, replacing MCA's other labels including Uni.

Goodbye Yellow Brick Road gained instant critical acclaim and topped the chart on both sides of the Atlantic, remaining at Number 1 for two months.^[36] It also temporarily established John as a glam rock star. It contained the number 1 hit "Bennie and the Jets", along with the popular and praised "Goodbye Yellow Brick Road", "Candle in the Wind", "Saturday Night's Alright for Fighting", "Funeral For A Friend/Love Lies Bleeding" and "Grey Seal" (originally recorded and released in 1970 as the B-side to the UK-only single, "Rock and Roll Madonna"). There is also a VHS and DVD as part of the Classic Albums series, discussing the making, recording, and popularity of "Goodbye Yellow Brick Road" through concert and home video footage including interviews.

[edit] Rocket Records to 21 at 33 (1974–1979)

Elton John performing live in 1975

John formed his own MCA-distributed label Rocket Records and signed acts to it – notably Neil Sedaka ("Bad Blood", on which he sang background vocals) and Kiki Dee – in which he took a personal interest. Instead of releasing his own records on Rocket, he opted for $8 million offered by MCA. When the contract was signed in 1974, MCA reportedly took out a $25 million insurance policy on John's life.^[37]

In 1974 a collaboration with John Lennon took place, resulting in Elton John covering The Beatles' "Lucy in the Sky with Diamonds" and Lennon's "One Day at a Time", and in return Elton John and band being featured on Lennon's "Whatever Gets You thru the Night". In what would be Lennon's last live performance, the pair performed these two number 1 hits along with the Beatles classic "I Saw Her Standing There" at Madison Square Garden. Lennon made the rare stage appearance to keep the promise he made that he would appear on stage with Elton if "Whatever Gets You Thru The Night" became a number 1 single.^[38]

Caribou was released in 1974, and although it reached number 1, it was widely considered^[39] a lesser quality album. Reportedly recorded in a scant two weeks between live appearances, it featured "The Bitch Is Back"^[39] and the lushly orchestrated "Don't Let the Sun Go Down on Me".^[39]

John performing, 1975.

Pete Townshend of The Who asked John to play a character called the "Local Lad" in the film of the rock opera Tommy, and to perform the song "Pinball Wizard". Drawing on power chords, John's version was recorded and used for the movie release in 1975 and the single came out in 1976 (1975 in the US). The song charted at number 7 in England. Bally subsequently released a "Captain Fantastic" pinball machine featuring an illustration of John in his movie guise.

In the 1975 autobiographical album Captain Fantastic and the Brown Dirt Cowboy, John revealed his previously ambiguous personality, with Taupin's lyrics describing their early days as struggling songwriters and musicians in London. The lyrics and accompanying photo booklet are infused with a specific sense of place and time that is otherwise rare in John's music. "Someone Saved My Life Tonight" was the hit single from this album and captured an early turning point in John's life.

The album's release signalled the end of the Elton John Band, as an unhappy and overworked John dismissed Olsson and Murray, two people who had contributed much of the band's signature sound and who had helped build his live following since the beginning.

According to Circus Magazine^[40] a spokesman for John Reid (Connie Papas) said the decision was reached mutually via phone while Elton was in Australia promoting Tommy. She said there was no way John Reid could have fired them "because the band are not employed by John Reid, they're employed by Elton John."^[40] She went on to say Nigel would be going back to his solo work and Dee would do session work "and possibly cut a solo album".^[40]

Davey Johnstone and Ray Cooper were retained, Quaye and Roger Pope returned, and the new bassist was Kenny Passarelli; this rhythm section provided a heavier-sounding backbeat. James Newton-Howard joined to arrange in the studio and to play keyboards. John introduced the line-up before a crowd of 75,000 in London's Wembley Stadium.

John in 1975.

The rock-oriented Rock of the Westies entered the US albums chart at number 1 like Captain Fantastic, a previously unattained feat. Elton John's stage wardrobe now included ostrich feathers, $5,000 spectacles that spelled his name in lights, and dressing up like the Statue of Liberty, Donald Duck, or Mozart, among others, at his concerts.^[41][42]

To celebrate five years since he first appeared at the venue, in 1975 John played a two-night, four-show stand at The Troubadour. With seating limited to under 500 per show, the chance to purchase tickets was determined by a postcard lottery, with each winner allowed two tickets. Everyone who attended the performances received a hardbound "yearbook" of the band's history. That year he also played piano on Kevin Ayers' Sweet Deceiver, and was among the first and few white artists to appear on the black music series Soul Train on American television.^[36] On 9 August 1975, John was named the outstanding rock personality of the year at the first annual Rock Music Awards at ceremonies held in Santa Monica, California.^[43]

In 1976, the live album Here and There was released in May, followed by the Blue Moves album in October, which contained the single "Sorry Seems to Be the Hardest Word". His biggest success in 1976 was "Don't Go Breaking My Heart", a duet with Kiki Dee that topped both the American and British charts. Finally, in an interview with Rolling Stone that year entitled "Elton's Frank Talk", John stated that he was bisexual.^[44]

John playing in Mannheim, Germany in 1979.

Besides being the most commercially successful period, 1970–1976 is also held in the most regard critically. Within only a three year span, between 1972 and 1975 John saw seven consecutive albums reach Number 1 in the charts, which had not been accomplished before.^[36] Of the six Elton John albums to make the 500 Greatest Albums of All Time in Rolling Stone'in 2003, all are from this period, with Goodbye Yellow Brick Road ranked highest at number 91; similarly, the three Elton John albums given five stars by Allmusic (Tumbleweed Connection, Honky Château, and Captain Fantastic) are all from this period too.

During the same period, John made a guest appearance on the popular Morecambe and Wise Show on the BBC. The two comics spent the episode pointing him in the direction of everywhere except the stage in order to prevent him singing.^[45]

In November 1977 John announced he was retiring from performing; Taupin began collaborating with others. Now only producing one album a year, John issued A Single Man in 1978, employing a new lyricist, Gary Osborne; the album produced no singles that made the Top 20 in the US but the two singles from the album released in the UK, Part-Time Love and Song for Guy, both made the Top 20 in the UK with the latter reaching the Top 5. In 1979, accompanied by Ray Cooper, John became one of the first Western solo artists to tour the Soviet Union (as well as one of the first in Israel), then mounted a two-man comeback tour of the US in small halls. John returned to the singles chart with "Mama Can't Buy You Love" (number 9, 1979), a song originally rejected in 1977 by MCA before being released, recorded in 1977 with Philadelphia soul producer Thom Bell.^[46] Elton reported that Thom Bell was the first person to give him voice lessons; Bell encouraged John to sing in a lower register. A disco-influenced album, Victim of Love, was poorly received. In 1979, John and Taupin reunited, though they did not collaborate on a full album until 1983's Too Low For Zero. 21 at 33, released the following year, was a significant career boost, aided by his biggest hit in four years, "Little Jeannie" (number 3 US), although the lyrics were written by Gary Osborne.

[edit] The 80s: The Fox to Sleeping with the Past (1981–1989)

Elton performing in the 1980s.

His 1981 album, The Fox, was recorded in part during the same sessions as 21 at 33, and also included collaborations with Tom Robinson and Judie Tzuke. On 13 September 1980, John, with Olsson and Murray back in the Elton John Band, performed a free concert to an estimated 400,000 fans on The Great Lawn in Central Park in New York City. His 1982 hit "Empty Garden (Hey Hey Johnny)", came from his Jump Up! album, his second under a new US recording contract with Geffen Records.

He married his close friend and sound engineer, Renate Blauel on Valentine's Day 1984 – the marriage lasted three years.^[47] The Biography Channel Special detailed the loss of Elton's voice in 1986 while on tour in Australia. Shortly thereafter he underwent throat surgery, which permanently altered his voice. Several non-cancerous polyps were removed from his vocal cords, resulting in a change in his singing voice.^[48] In 1987 he won a libel case against The Sun which published allegations of sex with rent boys.^[49]

With original band members Johnstone, Murray and Olsson together again, John was able to return to the charts with the 1983 hit album Too Low for Zero, which included "I'm Still Standing" and "I Guess That's Why They Call It the Blues", the latter of which featured Stevie Wonder on harmonica and reached number 4 in the US, giving John his biggest hit there since "Little Jeannie". He placed hits in the US Top Ten throughout the 1980s – "Little Jeannie" (number 3, 1980), "Sad Songs (Say So Much)" (number 5, 1984), "Nikita" boosted by a mini-movie pop video directed by Ken Russell (number 7, 1986), a live orchestral version of "Candle in the Wind" (number 6, 1987), and "I Don't Wanna Go On With You Like That" (number 2, 1988). His highest-charting single was a collaboration with Dionne Warwick, Gladys Knight, and Stevie Wonder on "That's What Friends Are For" (number 1, 1985); credited as Dionne and Friends, the song raised funds for AIDS research. His albums continued to sell, but of the six released in the latter half of the 1980s, only Reg Strikes Back (number 16, 1988) placed in the Top 20 in the United States.

In 1985, Elton John was one of the many performers at Live Aid held at Wembley Stadium.^[50] John played "Bennie and the Jets" and "Rocket Man"; then "Don't Go Breaking My Heart" with Kiki Dee for the first time in years; and introduced his friend George Michael, still then of Wham!, to sing "Don't Let the Sun Go Down on Me".^[50] He enlisted Michael to sing backing vocals on his single "Wrap Her Up", and also recruited teen idol Nik Kershaw as an instrumentalist on "Nikita". John also recorded material with Millie Jackson in 1985. In 1986, he played the piano on two tracks on the heavy metal band Saxon's album Rock the Nations.

In 1988, he performed five sold-out shows at New York's Madison Square Garden,^[51] giving him 26 for his career. Netting over $20 million, 2,000 items of John's memorabilia were auctioned off at Sotheby's in London.^[52]

[edit] The 90s: "Sacrifice" to Aida (1990–1999)

In 1990, John finally achieved his first UK number one hit on his own, with "Sacrifice" (coupled with "Healing Hands") from the previous year's album Sleeping with the Past; it would stay at the top spot for six weeks.^[53] The following year, John's "Basque" won the Grammy for Best Instrumental, and a guest concert appearance he had made on George Michael's cover of "Don't Let the Sun Go Down on Me" was released as a single and topped the charts in both the US and UK.^[54] At the 1991 Brit Awards in London, Elton John won the award for Best British Male.^[55]

In 1992 he released the US number 8 album The One, featuring the hit song "The One".^[56][57] John and Taupin then signed a music publishing deal with Warner/Chappell Music for an estimated $39 million over 12 years, giving them the largest cash advance in music publishing history.^[58] In April 1992, John appeared at the Freddie Mercury Tribute Concert at Wembley Stadium, performing "The Show Must Go On" with the remaining members of Queen, and "Bohemian Rhapsody" with Axl Rose of Guns N' Roses and Queen.^[59] In September, John performed "The One" at the 1992 MTV Video Music Awards, and also closed the ceremony performing "November Rain" with Guns N' Roses.^[60] The following year, he released Duets, a collaboration with 15 artists including Tammy Wynette and RuPaul. This also included a new collaboration with Kiki Dee, entitled "True Love", which reached the Top 10 of the UK charts.^[61]

Along with Tim Rice, Elton John wrote the songs for the 1994 Disney animated film The Lion King, which became the 3rd highest-grossing animated feature of all time.^[62] At the 67th Academy Awards ceremony, The Lion King provided three of the five nominees for the Academy Award for Best Song, which John won with "Can You Feel the Love Tonight".^[63] Both that and "Circle of Life" became hit songs for John.^[64][65] "Can You Feel the Love Tonight" would also win Elton John the Grammy Award for Best Male Pop Vocal Performance at the 37th Grammy Awards.^[63] After the release of the The Lion King soundtrack, the album remained at the top of Billboard's charts for nine weeks. On 10 November 1999, the RIAA certified The Lion King "Diamond" for selling 15 million copies.^[2]

In 1995 John released Made in England (number 3, 1995), which featured the single "Believe".^[66] John performed "Believe" at the 1995 Brit Awards, and picked up the prize for Outstanding Contribution to Music.^[67] A compilation called Love Songs was released in 1996.^[68]

Early in 1997 John held a 50th birthday party, costumed as Louis XIV, for 500 friends. John also performed with the surviving members of Queen in Paris at the opening night (17 January 1997) of Le Presbytère N'a Rien Perdu De Son Charme Ni Le Jardin De Son Éclat, a work by French ballet legend Maurice Béjart which draws upon AIDS and the deaths of Freddie Mercury and the company's principal dancer Jorge Donn. Later in 1997, two close friends died: designer Gianni Versace was murdered; Diana, Princess of Wales died in a Paris car crash on 31 August.^[69]

	"Candle in the Wind 1997" noicon Most of the lyrics of "Candle in the Wind 1997" were written to suit the circumstances of Diana, Princess of Wales' life and death
Problems listening to this file? See media help.

In early September, John contacted his writing partner Bernie Taupin, asking him to revise the lyrics of his 1973 song "Candle in the Wind" to honour Diana, and Taupin rewrote the song accordingly.^[70] On 6 September 1997, John performed "Candle in the Wind 1997" at the funeral of Diana, Princess of Wales in Westminster Abbey.^[71] The song became the fastest, and biggest-selling single of all time, eventually selling over 33 million copies worldwide.^[2][72][73] The best-selling single in UK Chart history, it sold 4.86 million copies in the UK.^[74] The best-selling single in Billboard history, and the only single ever certified Diamond in the United States, the single sold over 11 million copies in the U.S.^[75][76] The song proceeds of approximately £55 million were donated to the Diana, Princess of Wales Memorial Fund. It would win John the Grammy Award for Best Male Pop Vocal Performance at the 40th Grammy Awards ceremony in 1998.^[73] John has publicly performed "Candle in the Wind 1997" only once, at Diana's funeral, vowing never to perform it again unless asked by Diana's sons.^[77]

In the musical theatre world, in addition to a 1998 adaptation of The Lion King for Broadway, John also composed music for a Disney production of Aida in 1999 with lyricist Tim Rice, for which they received the Tony Award for Best Original Score at the 54th Tony Awards,^[78] and the Grammy Award for Best Musical Show Album at the 43rd Grammy Awards.^[79][80] The musical was given its world premiere in the Alliance Theatre in Atlanta. It went on to Chicago and eventually Broadway. He also released a live compilation album called Elton John One Night Only – The Greatest Hits from the show he did at Madison Square Garden in New York City that same year.

2000 to present[link]

Elton John performs at the Keepmoat Stadium in Doncaster, July 2008

In 2000, John and Tim Rice teamed again to create songs for DreamWorks' animated film The Road to El Dorado. In August 2003, John scored his fifth UK number one single when "Are You Ready for Love" topped the UK Charts.^[81] Returning again to musical theatre, John composed music for a West End Theatre production of Billy Elliot the Musical in 2005 with playwright Lee Hall. John's only theatrical project with Bernie Taupin so far is Lestat: The Musical, based on the Anne Rice vampire novels. However it was slammed by the critics and closed in May 2006 after 39 performances.^[82]

John was named a Disney Legend for his numerous outstanding contributions to Disney's films and theatrical works on 9 October 2006, by The Walt Disney Company.^[83] In 2006 he told Rolling Stone magazine that he plans for his next record to be in the R&B/hip-hop genre. "I want to work with Pharrell {Williams}, Timbaland, Snoop {Dogg}, Kanye {West}, Eminem and just see what happens."^[84]

In March 2007 he performed at Madison Square Garden for a record breaking 60th time for his 60th birthday, the concert was broadcast live and a DVD recording was released as Elton 60 - Live at Madison Square Garden;^[85] a greatest-hits compilation CD, Rocket Man – Number Ones, was released in 17 different versions worldwide, including a CD/DVD combo; and his back catalogue – almost 500 songs from 32 albums – became available for legal download.^[86]

Elton John on stage at the Concert for Diana at Wembley Stadium, London, 1 July 2007

On 1 July 2007, Elton John appeared at the Concert for Diana held at Wembley Stadium in London, in honour of Diana, Princess of Wales, on what would have been her 46th birthday.^[87] John opened the concert with "Your Song", and then closed the concert with his second performance, with "Saturday Night's Alright For Fighting", "Tiny Dancer", and "Are You Ready For Love".^[87]

In a September 2008 interview with GQ magazine, John said: "I’m going on the road again with Billy Joel again next year," referring to "Face to Face," a series of concerts featuring both musicians. The tour began in March and will continue for at least two more years.^[88]

In October 2003, John announced that he had signed an exclusive agreement to perform 75 shows over three years at Caesars Palace on the Las Vegas Strip. The show, entitled The Red Piano, was a multimedia concert featuring massive props and video montages created by David LaChapelle. Effectively, he and Celine Dion share performances at Caesars Palace throughout the year – while one performs, one rests. The first of these shows took place on 13 February 2004.^[89] On 21 June 2008, he performed his 200th show in Caesars Palace. A DVD/CD package of The Red Piano was released through Best Buy in November 2008. A two year global tour was sandwiched between commitments in Las Vegas, Nevada, some of the venues of which were new to John. The Red Piano Tour closed in Las Vegas in April 2009.

Elton John performed a piano duet with Lady Gaga at the 52nd Grammy Awards.^[90] On 6 June 2010, John performed at the fourth wedding of conservative commentator Rush Limbaugh for a reported US$1 million fee.^[91] Eleven days later, and 17 years to the day after his last previous performance in Israel, he performed at the Ramat Gan Stadium; this was significant because of other then-recent cancellations by other performers in the fallout surrounding an Israeli raid on Gaza Flotilla the month before. In his introduction to that concert, Elton John noted he and other musicians should not "cherry-pick our conscience", in reference to Elvis Costello, who was to have performed in Israel two weeks after Elton did, but cancelled in the wake of the aforementioned raid, citing his [Costello's] conscience.^[92][93]

John's latest studio album is entitled The Union and was released on 19 October 2010. John says his collaboration with American singer-songwriter and sideman Leon Russell marks a new chapter in his recording career, saying: "I don't have to make pop records any more."^[94]

Elton John began his new show "The Million Dollar Piano" at The Colosseum at Caesars Palace, Las Vegas on 28 September 2011.^[95] John will be performing the show at Caesars for the next three years. John performed his 3000th concert on Saturday 8 October 2011 at Caesars.^[96][97] In 2011, John performed vocals on Snowed in at Wheeler Street with Kate Bush for her 50 Words for Snow album.^[98]

It was announced in March 2012 that Elton had recently completed work on his thirty-first album entitled The Diving Board. The album was produced by T-Bone Burnett and is set for release in the fall of 2012.^[99][100] The album's release will be delayed until February 2013 for promotional reasons.^[101]

Artistry[link]

Songwriting[link]

Elton John with Bernie Taupin (left) in 1971.

John has written with his songwriting partner Bernie Taupin since 1967 when he answered an advertisement for talent placed in the popular UK music publication, New Musical Express, by Liberty records A&R man Ray Williams.^[102] The pair have collaborated on more than 30 albums to date.^[103]

The 1991 film documentary Two Rooms described the writing style that John and Taupin use, which involves Taupin writing the lyrics on his own, and John then putting them to music, with the two never in the same room during the process. Taupin would write a set of lyrics, then mail them to John, wherever he was in the world, who would then lay down the music, arrange it, and record.^[104] John is a fellow of the British Academy of Songwriters, Composers and Authors (BASCA).^[105]

Music style[link]

John's voice was once classed as tenor; it is now baritone.^[17] His piano playing is influenced by classical and gospel music.^[106] He used Paul Buckmaster to arrange the music on his studio albums during the 1970s.^[107]

Personal life[link]

Family[link]

In the late 1960s, John was engaged to be married to his first lover, secretary Linda Woodrow, who is mentioned in the song "Someone Saved My Life Tonight".^[108][109] He married German recording engineer Renate Blauel on 14 February 1984, in Darling Point, Sydney, with speculation that the marriage was a cover for his homosexuality. John had come out as bisexual in a 1976 interview with Rolling Stone,^[108][109] but after his divorce from Blauel in 1988 he told the magazine that he was "comfortable" being gay.^[110]

In 1993, John began a relationship with David Furnish, a former advertising executive and now filmmaker. John and Furnish entered a civil partnership on 21 December 2005. They held a low-key ceremony at the Windsor Guildhall, followed by a lavish party at their Berkshire mansion,^[111] thought to have cost £1 million.^[112] Their son, Zachary Jackson Levon Furnish-John, was born to a surrogate mother on 25 December 2010 in California.^[113][114] John and Furnish chose Lady Gaga, magazine editor Ingrid Sischy, and Sichy's partner Sandy Brant as Zachary's godmothers.^[115]

In September 2009, John announced his intention to adopt a 14-month-old boy, Lev, from an AIDS orphanage in Ukraine, but he was denied due to his age and marital status.^[116] Furnish stated they would continue to financially support Lev and his brother and would campaign for a change in Ukrainian law.^[117] John has ten known godchildren, including Sean Lennon, David and Victoria Beckham's sons Brooklyn and Romeo, Elizabeth Hurley's son Damian Charles, and the daughter of Seymour Stein.^{[118][119][120]}

Wealth[link]

John on stage in July 2008

In April 2009, the Sunday Times Rich List estimated John's wealth to be £175 million (US$265 million), and ranked him as the 322nd richest person in Britain.^[121] John was estimated to have a fortune of £195 million in the Sunday Times Rich List of 2011, making him one of the 10 richest people in the British music industry.^[122] Aside from his main home "Woodside" in Old Windsor, Berkshire, John owns residences in Atlanta, Nice, London's Holland Park, and Venice. John is an art collector, and is believed to have one of the largest private photography collections in the world.^[123]

In 2000, John admitted to spending £30 million in just under two years—an average of £1.5 million a month. Between January 1996 and September 1997, he spent more than £9.6m on property and £293,000 on flowers.^[124] In June 2001 John sold 20 of his cars at Christie's, saying he didn't get the chance to drive them because he was out of the country so often.^[125] The sale, which included a 1993 Jaguar XJ220, the most expensive at £234,750, and several Ferraris, Rolls-Royces, and Bentleys, raised nearly £2 million.^[126] In 2003, John sold the contents of his Holland Park home—expected to fetch £800,000 at Sotheby's—in a bid to create more room for his collection of contemporary art which includes many works of art by Young British Artists such as Sam Taylor-Wood and Tracy Emin.^[127] Every year since 2004, John has opened a shop called "Elton's Closet" in which he sells his second-hand clothes.^[128]

Other[link]

Throughout his career, John has battled addictions to alcohol and cocaine. By 1975, the pressures of stardom had begun to take a serious toll on him. During "Elton Week" in Los Angeles that year, John suffered a drug overdose.^[129] He also battled the eating disorder bulimia. In a CNN interview with Larry King in 2002, King asked if John knew of Diana, Princess of Wales' eating disorder. John replied, "Yes, I did. We were both bulimic."^[130]

A longtime tennis enthusiast, John wrote the song "Philadelphia Freedom" in tribute to long-time friend Billie Jean King and her World Team Tennis franchise of the same name. John and King also co-host an annual pro-am event to benefit AIDS charities, most notably John's own Elton John AIDS Foundation, for which King is a chairwoman. John was coached by Donald Watt, who often toured with him during the 1980s & early 90's. Watt was a coach at David Lloyd Leisure and then operations director for it, then Next Generation Clubs^[131] (now merged with David Lloyd). Watt was also close friends with Tim Henman,^[132] and also David and John Lloyd. John, who maintains a part-time residence in Atlanta, Georgia, became a fan of the Atlanta Braves baseball team when he moved there in 1991.^[133]

Watford Football Club[link]

John became chairman and director of Watford Football Club in 1976, appointing Graham Taylor as manager and investing large sums of money as the club rose three divisions into the First Division.^[134] The pinnacle of the club's success was finishing runners up in the First Division in 1983 and reaching the FA Cup Final a year later. He sold the club to Jack Petchey in 1987, but remained their life-long president.^[135] In 1997 he re-purchased the club from Petchey and once again became chairman. He stepped down in 2002 when the club needed a full-time chairman although he continued as president of the club.^[135] Although no longer the majority shareholder, he still holds a significant financial interest. In June 2005 he held a concert at Watford's Vicarage Road ground, donating the funds to the club, and another concert in May 2010.^[135] For a time^[when?] he was also a part-owner of the Los Angeles Aztecs of the North American Soccer League.

AIDS Foundation[link]

John has been associated with AIDS charities since the deaths of his friends Ryan White and Freddie Mercury, raising large amounts of money and using his public profile to raise awareness of the disease. For example, in 1986 he joined with Dionne Warwick, Gladys Knight, and Stevie Wonder to record the single "That's What Friends Are For", with all profits being donated to the American Foundation for AIDS Research. The song won John and the others the Grammy Award for Best Pop Performance by a Duo or Group with Vocal (as well as Song of the Year for its writers, Burt Bacharach and Carole Bayer Sager). In April 1990, John performed "Skyline Pigeon" at the funeral of White, a teenage haemophiliac he had befriended.

John founded the Elton John AIDS Foundation in 1992 as a charity to fund programmes for HIV/AIDS prevention, for the elimination of prejudice and discrimination against HIV/AIDS-affected individuals, and for providing services to people living with or at risk of contracting HIV/AIDS. This cause continues to be one of his personal passions. In early 2006, John donated the smaller of two bright-red Yamaha pianos from his Las Vegas, Nevada show to auction on eBay to raise public awareness and funds for the foundation.

To raise money for his AIDS charity, John hosts annually a glamorous White Tie & Tiara Ball, to which many famous celebrities are invited. On 28 June 2007, the 9th annual White Tie & Tiara Ball took place. The menu consisted of a truffle soufflé followed by Surf and Turf (filet mignon with Maine lobster tail) and a giant Knickerbocker glory ice cream. An auction followed the dinner held by Stephen Fry. A Rolls Royce ‘Phantom’ drophead coupe and a piece of Tracey Emin's artwork both raised £800,000 for the charity fund, with the total amount raised reaching £3.5 million.^[136] Later on in the event, John sang "Delilah" with Tom Jones and "Big Spender" with Shirley Bassey.^[137] Tickets for the Ball cost £1,000 a head. The event raised £4.6 million for his AIDS Foundation in 2006.^[138]

Activism[link]

On 1 April 2010, John joined Cyndi Lauper in the launch of her Give a Damn campaign to bring a wider awareness of discrimination of the LGBT community as part of her True Colors Fund.^[139] In the advertisement, John states: "Imagine walking down the street and wondering if this is the day you'll get beaten up, or even killed, simply because of who you are".^[139] The campaign is to bring straight people to stand up with the gay, lesbian, bisexual, transgendered community and stop the discrimination. Other names included in the campaign are Whoopi Goldberg, Jason Mraz, Judith Light, Cynthia Nixon, Kim Kardashian, Clay Aiken, Sharon Osbourne, Kelly Osbourne, and Anna Paquin.^[139]

He is an occasional columnist in The Guardian.^[140]

Honours and awards[link]

John was inducted into the Rock and Roll Hall of Fame in his first year of eligibility in 1994. He and Bernie Taupin had previously been inducted into the Songwriters Hall of Fame in 1992. John was made a Commander of the Order of the British Empire (CBE) in 1995.^[141] For his charitable work, John was knighted by Queen Elizabeth II on 24 February 1998. In October 1975, John became the 1,662nd person to receive a star on the Hollywood Walk of Fame.^[142]

He became a recipient of a Kennedy Center Honor in 2004, and a Disney Legends Award in 2006. In 2010, Elton John was awarded with the PRS for Music Heritage Award, which was erected, on The Namaste Lounge Pub in Watford, where Elton performed his first ever gig.^[143]

Music awards include the Academy Award for Best Original Song for "Can You Feel The Love Tonight" from The Lion King (award shared with Tim Rice); the Golden Globe Award for Best Original Song in 1994 for "Can You Feel The Love Tonight" from The Lion King (award shared with Tim Rice); and the Tony Award for Best Original Score in 2000 for Elton John and Tim Rice's Aida (award shared with Tim Rice).

John has six Grammy Awards:

• 1987: Best Pop Performance by a Duo or Group with Vocal for "That's What Friends Are For", performed by Dionne Warwick & Friends (award shared with Dionne Warwick, Gladys Knight & Stevie Wonder)
• 1991: Best Instrumental Composition for "Basque", performed by James Galway
• 1994: Best Male Pop Vocal Performance for "Can You Feel The Love Tonight"
• 1997: Best Male Pop Vocal Performance for "Candle In The Wind" 1997
• 1999: Grammy Legend Award
• 2001: Best Musical Show Album for Elton John & Tim Rice's Aida (award shared with Guy Babylon, Paul Bogaev & Chris Montan (producers), Tim Rice (lyricist) and the original Broadway cast with Heather Headley, Adam Pascal, and Sherie Rene Scott)

Elton John Band[link]

Since 1970, John's band, of which he is the pianist and lead singer, has been known as the Elton John Band.^[144][145] The band has had multiple line-up changes, but Nigel Olsson, Davey Johnstone, and Ray Cooper have been members (albeit non-consecutively) since 1970 (Olsson) and 1972 (Johnstone and Cooper). Ray Cooper is on and off with the Elton John Band because he works with other musicians as a session and road-tour percussionist. Furthermore, John has also used a number of session musicians in the time of his career.

Discography[link]

Studio albums

• Empty Sky (1969)
• Elton John (1970)
• Tumbleweed Connection (1970)
• Madman Across the Water (1971)
• Honky Château (1972)
• Don't Shoot Me I'm Only the Piano Player (1973)
• Goodbye Yellow Brick Road (1973)
• Caribou (1974)
• Captain Fantastic and the Brown Dirt Cowboy (1975)
• Rock of the Westies (1975)
• Blue Moves (1976)
• A Single Man (1978)
• Victim of Love (1979)
• 21 at 33 (1980)
• The Fox (1981)
• Jump Up! (1982)
• Too Low for Zero (1983)
• Breaking Hearts (1984)
• Ice on Fire (1985)
• Leather Jackets (1986)
• Reg Strikes Back (1988)
• Sleeping with the Past (1989)
• The One (1992)
• Duets (1993)
• Made in England (1995)
• The Big Picture (1997)
• Songs from the West Coast (2001)
• Peachtree Road (2004)
• The Captain & the Kid (2006)
• The Union (with Leon Russell) (2010)
• The Diving Board (2013)

Soundtracks, scores & theatre albums

• Friends (1971)
• The Lion King (1994)
• Aida (1998)
• The Muse (1999)
• The Road to El Dorado (2000)
• Billy Elliot (2005)
• Lestat (2005)
• Gnomeo & Juliet (2011)

Films

• Elton John: Me, Myself & I (2007) autobiography as himself
• The Country Bears, US (2002) as himself
• Spice World, UK (1997) as himself
• Tommy, UK (1975) as Pinball Wizard
• Born to Boogie, US playing as himself with Marc Bolan and Ringo Starr

References[link]