ELTON JOHN: Glitter Queen Grows Up. Glitter King Breaks Vow Of Silence

ELTON JOHN: Glitter Queen Grows Up. Glitter King Breaks Vow Of Silence.

by

Roy Carr

"...suddenly I really felt old..."

Just after the release of Tumbleweed Connection, Elton John was approached in the Speakeasy Club one evening by Jeff Beck, who asked to join Elton's band.

For the next week, they rehearsed solidly.

Enter Beck's manager, who suggested that the guitarist should receive 90 per cent of the take and Elton the remaining ten.

Enter Dick James who was then acting on behalf of Elton John and who, to the pianist's chagrin, immediately scuppered such a onesided deal.

"Within nine months," James insisted, "Elton will be earning $15,000 a night". And nine months later his prophesy came true.

As regards visiting the States, our budding megastar was not keen. He was more concerned with establishing himself in Europe—I and his only motivation to play the Troubadour in L.A. was to satisfy his vinyl junkie fixation by visiting the world-famous Tower Records supermarket.

But within 10 days of his opening date, he was known coast-to-coast, returning soon after for a full-scale tour as a headliner.

"My success", admits Elton, "was a freak. I was just the right person in the right place at the right time."

He emerged as the most popular solo recording artist since Elvis Presley, a media personality who became more newsworthy for his extrovert appearance than for his undoubted musical ability.

"When I had a hair transplant it reached such ludicrous proportions that—on the day Bob Dylan played to over 250,000 fans at Blackbushe—The Sun put a photograph of me without a hat on the front page, and only gave Dylan, who'd just played to the biggest ever audience in this country, about four column inches somewhere inside!"

By 1975, Elton John's professional career had turned sour on him and after much soulsearching he announced his retirement from the stage.

But now, having temporarily severed his working relationship with lyricist Bernie Taupin to collaborate with Gary Osborne, Elton John insists that his new album A Single Man once again finds him poised at a crucial crossroad in his career.

"In the past I've often neglected my singing. On this new album, and especially on 'It Ain't Gonna Be Easy', I've sung far better than I've ever sung in my entire life. "

After the comparative commercial failure of his last album (Blue Moves) and an artistically daring single, "Ego", he's optimistic about his new album.

"If it does flop", he states, "I'll be very disappointed, but I won't be destroyed. In the past, if something failed I could put it down to other things, to other people; this time it's really all down to me".

Unlike other megastars, Elton John didn't become a tax exile; he remained in Britain, channelling both his energies and a considerable amount of finance into Watford Football Club. As the club's chairman, he has seen Watford rise to a position where—on their present form —they could be promoted from the Third into the Second Division.

Possibly one of the few genuine Good Guys in the music business, Elton John lives near Windsor surrounded by arguably the most cpmprehensive private record collection in Britain and some beautiful works of art. He keeps open house. He welcomes visitors with genuine hospitality. His home is not a shrine to expensive bad taste.

"I've really had to struggle for what I've got out of life", he reflects, "but when I look back on it now, I honestly enjoyed those early days working for a miserable 15 pounds a week with Bluesology. In retrospect they weren't the bad times I imagined them to be at the time". ,

Undoubtedly the most enthusiastic fan in the business, Elton John champions the cause of' other musicians as vigorously as he approaches his own career.

For the first time in well over two years, he has agreed to give an interview. And for the very first time has spoken openly about both his private and professional life.

Elton John reclines on the leather couch... Roy Carr files a report.

CREEM: Over the last year or so you have made a number of statements that have garnered a great deal of headline press. Like when you received Capital Radio's Award for Best Male Singer you said it should have gone to Elvis Costello. Did you mean that?

EJ: 1 felt guilty afterwards, because those awards come from the fans, but I really hadn't done anything during that year to warrant it...hadn't put out any new product. I honestly felt that of all the people who had emerged Elvis Costello was the most important —by far the best songwriter and the best recordmaker. It seemed a bit farcical for me to pick up the award. I was genuinely shocked. Sure, I knew I must stand a chance in the Best London Concert category, but as far as the Best Male Singer was concerned, me winning it was a bit unfair.

Over the last couple of years most established artists have been extremely guarded in voicing their opinions of newcomers like Elvis Costello or the Sex Pistols, and some have been downright patronizing. But you have been most enthusiastic in your support.

Yeah, and I still get all the shit slung at me. Sure, but not as much as, say, the Rolling Stones, the Who and in particular Rod Stewart. I think I have, but generally it doesn't worry me. I think that what has happened over the last year and a half has been one of the best things that's happened to the industry in years. It's very healthy. The first time I saw the Sex Pistols was on the Janet Street-Porter London Weekend Show. I was sifting up in bed watching television and suddenly I really felt old ...fuckin' hell, I thought, what the hell's going on? I wasn't frightened by it, but I was a little perturbed.

"I'd been In bed after dropping 85 ten-strength valiums..."

Why? Because suddenly here was something very new and very exciting. It was a good program. The guy they interviewed from the 100 Club said it was something new that the kids were creating for themselve!s, not something new that the record industry was creating...and I feel very strongly about the industry creating monsters, dictating what people buy.

After listening to Costello and the Stranglers and artists like that, I felt it has proved extremely healthy. I also think some aspects are very comical. Anyone who gets dressed up like so many new bands do—tie both legs together and run for a bus—has my full approval.

Well, there have been persistent rumors that President Carter's administration applied pressures on the American record industry to keep the new wave in check.

It's strange. I'm surprised that the Costello and Stranglers records haven't made more impact in the States than they have.

As far as Costello is concerned, they chose a good single, "Alison", but nothing really happened. It's such a great song that I seriously considered covering it myself.

However, there is a certain amount of prejudice against new British acts at the moment; they're highly suspicious of things that have proved successful outside of America.

I know that Costello and the Stranglers have done U.S. tours but the only way you're gonna break big over there is to tour constantly for three or four years and that's why, after ELO, Thin Lizzy are going to be the next Big British Band and the best of luck to 'em.

Ian Dury has probably got one of the best road bands but I don't feel he stands too much chance Stateside. I've never seen him live, only on TV, and I don't mean this remark to be derogatory to anyone, but I hope Dury doesn't end up being like Joe Brown...a professional cockney.

You spoke about the record industry creating monsters. Did you ever feel that you were in danger of becoming such a monster?I mean, at one time it was said you accounted for two percent of all world record sales?

I think that figure was exaggerated. I don't know who came up with that statistic or where they got it from.

Anyway, things like that go in circles. When I came off the road, it was Fleetwood Mac and Peter Frampton who were the big international record sellers; now it's the Bee Gees. I suppose I should be motivated by that to get back into it, but I'm not. I enjoy making records but I don't particularly want to go back out on the road again.

I was disillusioned with all that. As far as my professional career was concerned, I'd burnt out all my ambition. I'd seemed to have done just about everything in five years and I couldn't do any more...sell any more records...play to bigger audiences, and I'd always said that should that time ever arise...when I no longer had that driving ambition or the burning hunger in my stomach, then I wouldn't do it, I'd quit.

I lost complete interest in my career. And it just so happened that this coincided with my involvement with Watford Football Club.

A strange predicament for such a self-confessed rock 'n' roll enthusiast...! mean, you were the ultimate fan who made it.

I still am the ultimate fan, but I feel the rock industry has become just that —an industry. And I abhor it, especially as I was one of those who started it...becoming the first million dollar plus signing in America complete with full-page advertisements in the New York Times and whatever.

I was knocked out by it all at the time, very flattered, but who wouldn't be...I know that perhaps I shouldn't...but fuck it, why not, I always have a go at the big record companies. I just don't see the point of major record companies spending a lot of money with trade journals like Billboard, Cashbox and Record World, taking double-page adverts congratulating their acts on going platinum.

Let's face facts, they only do it to feed the artist's ego and it's a waste of money. They could use that revenue better by supporting some of their newer signings.

That's one of my biggest disagreements with record companies. Look, a young artist doesn't stand much chance to begin with. They've got to be extremely lucky to succeed. People like, say, Kate Bush only come through once in a while—made a good single and sold lots of albums on the strength. But for every Kate Bush there are a hundred others who could use that money to boost their career in terms of promotion.

When did you fully realize that you were bereft of further ambition?

Like I said, when I really became involved with the football club. I suddenly realized I enjoyed going down to the club and,'if you know what I mean, mixing with normal people who led normal lives. And, I thought, I really miss all this, because originally I came from this sort of background and I just couldn't stand the thought of constantly being surrounded by people any more. Sure, I was still surrounded by people, but nothing to what it was like a couple of years ago. I'd get off a plane, into a car, go to a gig, back in a car, back to the hotel...I just became totally disillusioned with the entire life-style. Had you grown to hate what Elton John had become?

"I doh't believe that I'm 100 per cent gay, because I'm attracted to older women"

No. I had no regrets...I'd enjoyed it but towards the end I wasn't living a happy personal life. Everything was geared around my professional existence and—I know it must sound like an awful cliche—I thought, there must be more to life than this. [Laughs].

You realize many people will misconstrue that statement as the old rock 'n' roll sob story. And some artists would rather transform such a situation into a self-pitying concept album.

When you realize the danger signs, you've got to be strong enough to say, that's it. Otherwise you become Elvis Presley. If you're half-hearted when you go on the road, you're cheating the public. Let's own up...half the bands who go out on tour hate each other's guts and channel this aggression into their music; I couldn't exist under such conditions. But unfortunately I was never in that situation because 1 always got on well with my musicians.

All the same, you encounter so many big bands who insist on travelling in separate cars, have separate dressing rooms and stay in separate hotels. What a hypocritical way to earn a living!

But having a working schedule that demanded two albums regularly each year coupled with constantly touring and all the other commitments a successful career entails must have taken its toll?

I got into terrible depressions, but I'm the sort of person who can get out of them very quickly. It was never a case of being depressed because of what I was doing—trying to meet schedules. I got depressed because I felt that I was losing contact with so many things. I wasn't having any time to myself, to enjoy myself.

The most important decisibn I made was to stay here in Britain. I'm so glad I did, because it was pushed into my mind that I could save so much money if I moved out. But there's only so much money you can have and if I had decided to go abroad I'd have ended up in a terrible state, that's for sure.

I've often felt a lot of people have misconstrued the more extrovert part of your image. Basically, you're Jack The Lad who suddenly won the Treble Chance and embarked upon a pretty wild spending spree...

Everything I do is very tongue-in-cheek and I enjoy it and that's why I enjoy the punk thing. It's wonderful. I look at 'em and think, what a fuckin' state they're in and then suddenly remember that when I first went to Watford I was six foot three and had punk hair and now I'm five foot eight and have hardly got any hair at all! Even used to dye my eyebrows pink...and those stupid shoes I used to wear, they were monstrosities.

But it was all fun and that's one of the reasons why I genuinely approve of what's gone down in the last couple of years. Everyone doing what they want while they're young—that's very important. Unfortunately, I really don't think too much genuine quality has come out of it. But, 1977 was a great year for singles...really off the wall things like The Pork Dukes and a few good new bands.

Though a number of new wave bands subsequently copped out and demonstrated their rhetoric was just an empty gesture, there was still a lot of truth in the arguments of the more genuine protagonists. Could you relate to the predicaments that confronted both bands and fans?

Of course I could, but first let me say this. One of the things that disturbs me, and this is true of a lot of big stars, is that their public image is often far better than it should be.

For instance, Bob Dylan and his Rolling Thunder Tour. A great idea, let's go back and play small places, but on the other hand why did they do the Maple Leaf Gardens in Toronto, why did they do a series of big concerts? To pay for the film.

Now you can't tell me that Dylan hasn't got enough money to pay for that film himself, 'cause he has. That was long before all his divorce business started. And that annoys me... hypocrisy annoys me, because kids think their heroes are doing such things for their benefit.

One thing Ian Dury did really pissed me off. He had a go at me in one of the rock papers and stated, I don't wanna live in a big house like Elton John, I'm quite happy in catshit mansions. Then the very next day in The Daily Mirror it read, 'we went to interview Ian Dury in his new luxury hotel suite and he said he couldn't live in his place any more because he needed a good rest after his tour.' I thought, Ian, you hypocrite. And some people don't see that.

...I'm sure that some of these new wave bands...I know it, I know it, it's only human nature, they want their money. I know for a fact that when the Stranglers made it, the first thing they did was to contact my accountant. I only know this because he phoned me and enquired if they were alright. He said they seemed very weird, but I assured him they were OK.

Tom Robinson...I think he's very genuine in his beliefs, but on the other hand, I don't believe that Johnny Rotten isn't interested in money. I don't believe it.

In some instances that's debatable. It did appear that some of the Pistols were content to be popular with just their own crowd. I mean, a lot of musicians don't want to become Rod Stewart or Elton John.

Well Johnny Rotten has had as much press as me.

Granted, but much of it was forced upon him ' because the Sex Pistols suddenly became newsworthy. Most of it had absolutely nothing to do with the music.

I don't know the way he lives, but I think some of the things he's said have been incredibly stupid—although there's something about him that you can't help but like. I just get annoyed when they have a go at me for living in a big house. I know that Rotten may have been screwed rotten and on that score I feel sorry for him.

I've always had an honest operation behind me, whereas most of the kids coming up now are gonna get screwed out of their money simply because their movement has suddenly been transformed into Big Business.

When you get Zandra Rhodes designing expensive punk clothes, it's fashion—there's money to be made.

I picked up a paper and read something about the Rezillos stating that they're getting something like 30 or 40 pounds a week...

That's fine as a wage, if the rest of the money is being banked in their name.

Johnny Rotten has claimed in the press that he was robbed, but on the other hand he's not supposed to be interested in money and it's the money I'm speaking about.

Well, you haven't been taken to the cleaners, and you haven't run to the nearest tax haven. But you've ploughed considerable amounts of your income into improving Watford Football Club.

Right, and I've paid for the privilege of remaining in Britain.

Last year I handed the tax man a check for 1,800,000 pounds. I'm not complaining, but should a situation arise when those bands who

went abroad to escape paying tax are free to return, they'd be given a hero's welcome.

The thing I'm suspicious of is the way record companies structure their prices. As soon as an artist becomes a big money-spinner his albums are hiked to the deluxe retail price.

I'm all for maxi singles and the publicgetting value for money. It's no big secret that I get a high record royalty, and as I've just negotiated a new deal I've found out what other artists get and I'm shocked at just how little some of the very big stars earn. And, if they're only getting that, then what the hell are the smaller bands copping.

Look, I know they're all very enthusiastic about putting out their records on colored vinyl or in a picture bag, but whose bill does that come off—theirs, not the record company's. I really like the Stiff, Chiswick and Andrew Lauder's Radar labels—I think they're doing something very worthwhile and I just hope that they're giving their acts a fair deal.

But I've seen artists like David Bowie get screwed and apart from the petty jealousies and bitchiness, you don't like to see someone who's worked hard and who's got a lot of talent come out of it with nothing.

I think that in five years time it'll be artists like Elvis Costello and, hopefully, Ian Dury and the Blockheads who'll still be around. But I can foresee that many of these new bands will break up because of ego problems and all the same old things that plague bands. At the moment everyone wants to clean up while the going's still good, but they don't realizq that in the past people who only played for the sake of playing and didn't look after their money—people like Graham Bond, Zoot Money and Brian Auger— all suffered in the long run.

"I'd also like to write obscene songs..."

They've ended up not earning what they should have done.

When a group makes a record they want it to be popular with the public and they want as many people as possible to go out and buy it, otherwise what are they making records for in the first place, unless they're like John Coltrane or John Fahey: dedicated artists and who, in my opinion, are above other musicians, but even they wanted or want to reach as many people as possible through their art.

I suppose everyone is idealistic, but it just doesn't work 100 per cent because you have the facts of life to contend with. So when people like Generation X or Sham 69 have a go at me, they don't stop to think that maybe I've bought their records, enjoyed them and have gone around telling other people how good they are.

I'm also sure that deep down many of them don't believe in some of the attitudes they've adopted. For instance, I'd love to meet Steve Jones and Paul Cook and if they want to send me up I can take it.

Trouble is, most musicians aren't fans; they don't respect other musicians for what they might have done, what they might have pioneered and that's so wrong. I couldn't be disrespectful to another artist even if I didn't like his music. As it happens, all that most musicians are interested in is the money, getting a screw and getting out of it.

They don't realize you can't get any higher than if you've played a great gig, but they seem to forget that. They don't look after themselves and try to sustain that high with drugs and booze.

You've often been termed "The Liberace Of Rock 'n'Roll", but how do you feel when someone like Bowie states you're rock's "Token Queen"?

I try not to be bitchy, even though at times we're all bitchy in conversation. But saying it in print is another thing. The only time 1 ever really got on my high horse was when Rod Stewart said I shouldn't be in pop music 'cause I am a soccer club chairman. And I had a go at Rod in the Evening Standard.

That statement about me being a token queen really upset me because I've never done anything to upset him. Basically, I think he's a bit jealous because he doesn't sell so many records worldwide. But on the other hand, Mick Jagger saying in the paper the other week "I don't wish to be associated with the likes of Rod Stewart or Elton John"...I thought, what the fuck is he talking about? What does he mean saying terrible things like that...come on, Michael?

Honestly, I try and avoid such things because if you get involved in public bitching, then it's a sign of immaturity.

I don't always retaliate when someone has a go, I didn't retaliate when Bowie said 1 was a token queen, even though he's had a couple of go's since. Because I know what's happened to him. I'll always remember going out for dinner with him and Angie when he was Ziggy Stardust. It was a fabulous evening and over dinner he admitted to me that he always wanted to be Judy Garland and that's the God's honest truth.

No matter what he ever says about me, I genuinely feel sorry for him because he's been screwed rotten by a lot of people.

First of all what prompted you to reveal such a personal subject like your sexuality in an interview, and secondly, were there any unpleasant repercussions?

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The only reason I made that statement about being gay was because nobody had actually asked me before. But I don't think it was some startling revelation—a lot of people already knew. I felt that I'd rather be totally honest about it than try to cover it up ...get married for the sake of appearances and lash it to a toothbrush.

Really, I didn't encounter any trouble once I'd made that statement. Sure, I get some stick up North..."Don't sit down while Elton's around, or you'll get a penis up your arse" [laughs]...Very nice, when that's sung by 1,500 Halifax supporters and it echoes around the stadium. And I get people I'm with asking what they're singing and I reply oh, nothing...nothing. I can take all that until the cows come home.

But after it appeared in print did you perhaps worry that it might put a strain on certain relationships? The Watford directors' wives?

Possibly, but I've not had one bitter thing aimed against me. No hate mail except from some guy in Sussex who wrote me two really evil letters. I've never encountered any hostility from the people of Watford. I don't feel that they really care because, hopefully, I'm doing a good job for the club. Anyway, most people don't believe it.

Don't you feel that the public expect gay stereotypes?

Absolutely, because television produces comedy stereotypes and that's disgusting.

As far as my own life is concerned, I really don't think people care, especially moreso in Britain where people are much more broadminded.

In America, it's slightly different. I've had more people insult me in the streets in America ...you know, calling me a "faggot". And yet America's supposed to be the great liberated free-minded society—-which of course it isn't. It's just fucked up. I couldn't ever live there, it would drive me crazy.

On the other hand, I've got a lot to thank America for and I can't help being fascinated by it. They do go from one extreme to another. Texas Chainsaw Massacre—you sit and watch that movie and don't think of it as fantasy, you think, oh yeah, that's America. But to be truthful, making that statement did effect my record sales in America and I won't deny it. Everyone goes peace and love man, but it'll never happen because hatred is rammed into kids by their parents and hate makes much more money. When did you first realize you had gay tendencies?

Sexually, I was very naive, but then I was naive anyway right up until I was 21 or 22...I think I was a virgin until I was 22 and that was only because I was living with this girl at the time.

I didn't accept the fact that I was gay and didn't come out of my shell until I was about 24. But that wasn't only sexually, that was all 'round. I was so naive it was pitiful.

Was accepting the inevitable a traumatic personal experience?

No, it was wonderful.

For so many people, "coming out"often proves to be a traumatic, sometimes disastrous experience. It's only quite recently that people have shown sufficient confidence and courage to reveal their true selves.

Well, it's much harder for someone in a normal walk of life than for people in the theatrical profession. If you work in an office or a shop and are continually surrounded by straight people it must make things that much more difficult. Because many people honestly believe that gays or bisexuals are not only sexually motivated every hour of the day but both depraved and a threat?

Correct. They feel that gays are promiscuous, when in fact, straights are much more promiscuous than gay people. But that never comes across. A gay person is invariably regarded as a child molester...someone who hangs around in public toilets and is a filthy and utterly depraved human being. Well, that's not the case at all, because when you check out the number of sexual assaults in the courts the majority involve heterosexuals.

A few years ago we couldn't have discussed this subject in the press, because it would have destroyed your career. For instance, Jerry Lee Lewis's career was smashed for much less.

I agree. Thankfully, things are gradually getting better. More people are becoming broadminded in their attitudes to gays.

OK, I get some stick when I go to football matches, but that's only from a handful of people.

Returning momentarily to the subject of your "confession," didn't you think rock W roll has always been regarded as one of the ultimate heterosexual macho poses?

Yes. And still is. The only artists who have openly ever said anything concrete about being either gay or bisexual have been David Bowie, Marc Bolan, Tom Robinson and myself—and Robinson has been the only one who has come out and admitted to being 100 per cent homosexual, which is a very brave step.

But then he's got nothing to lose. I'm in a very responsible position and we'll get around to that very shortly. To be honest, I don't believe that I'm 100 per cent gay, because I'm attracted to older women and therefore I can't dismiss that side of my character.

Would you like to have children?

I love children...other people's. But I don't know if at this time in my life I could tolerate children of my own. To be brutally honest, I'm terribly like my father which really depresses me...don't touch this, don't touch that. I don't think I'm mature enough to cope with kids. Basically, I think I'm a loner and I always will be. See, I'm not the kind of person who's gonna get married, get tied down. But then I can't predict anything. In ten years time I could be married to Shirley McLaine and we could have six dwarfs. Do you feel that being a loner has something to do with the fact that you were an only child?

Definitely. I was terribly upset that I was an only child...especially when my father, who didn't want any more children, re-married and had four kids in four years. That completely destroyed me. To be honest, I think my childhood has had a terrible influence on what I am, on what I think, on what I do and what I'm trying to fight my way out of.

Just how important to your peace of mind is your professional career now?

Still very important, because I'm a musician and a good one at that, and therefore I feel I still have a lot more to give. It's just a matter of reevaluating my life. Music is still important, but selling oneself at a price isn't. Once you've attained success you reach a crossroad and you have to be totally honest, and I feel that's what "Ego" was all about. Re-evaluating one's career may happen three or four times in an artist's professional lifetime. And you have to accept that certain things haven't sold as well as others and that other artists have come up in your place, and that's the kind of healthy attidute that you've got to take.

Part of your initial success was your visual appeal. You represented the fans who went to all the gigs. You were the first megastar that made it acceptable not to be snake-hipped and emaciated.

Of all the people who made it in the last decade, I was the least expected because I've never represented what a typical rock star is supposed to be. Furthermore, I got away with it because there were so many kids who could identify with me. Sure, they would have all loved to have looked like Keith Richard and live the life he leads, but I gave them some kinda hope.

I'd like to take your career back a few years to that time when you and John Lennon had a mutual admiration society going. Did you ever collaborate on any original material?

Actually, it never entered my mind —though I was responsible for getting John and Yoko back together again. I've hardly seen them since the baby was born, even though I was the godfather. But I'd love to work with John again because it was such a fabulous experience...he's such a nice person.

With regard to your songwriting, haven't you ever wanted to write both words and music?

I've done quite a few things on the new album...thought up the titles and contributed four or five lines hefe and there.

Before, it was always Bernie Taupin putting the words in your mouth.

...Words first, the music later. This time around the music came first and Gary Osborne wrote the lyrics around the melodies after we'd discussed precisely what we wanted each song to be about.

But surely you would like to express yourself through the lyrics of your songs?

If I wrote the lyrics for an album—which I'm sure I will eventually do—it might come out very raw and very crude when I'd want it to sound intelligent. Also I'm quite positive it would be extremely bitter.

Why?

Well, I'm in a funny position professionally. The things I'd say in my lyrics would probably shock a lot of people and they'd probably assume that I'd gone mental. Just things like discrimination, censorship...I'd love to write songs attacking people like Mary Whitehouse. I'd also like to write obscene songs, like using swear words which, in many instances, are essential to put across certain attitudes.

Are you then excited and stimulated by the everyday street vocabulary that bands like Sham 69 and the Sex Pistols use in many of their songs?

Very much so...but the record that I did like was Wayne County's "If You Don't Want To Fuck Me, Fuck Off".

That really made me laugh. But I've got myself into a position where I've got to be very careful about what I do. I'm responsible to a great many people, especially in my job as chairman of Watford Football Club. One has to be aware that if I recorded that kind of material I would upset a great many people in the town of Watford. On the other hand, as an artist I don't want to be forced to make such compromises.

Do you think if you'd written a song like "Glad To Be Gay," it would have been accepted?

You mean, I'm a poof, troll-de-roll! I don't know. Returning to the question of writing my own lyrics...there's a lot of things I want to say, but it's just a questioh of gaining momentum and collecting my thoughts. I'm just disgusted that people build up preconceived ideas about things and it's their parents' faults, because from a very early age they're inbred with a bias or a hatred against something or somebody. Is this partnership with Gary Osborne a one-off?

I intend to work with Gary and, depending on his reaction to this album, to collaborate again with Taupin, but he might be dreadfully upset because theress not one track of his on the new album. He'll probably feel extremely hurt but it'll give him a much-needed kick up the arse. When success almost gives you a license to print you own money, and you can perform to crowds like those who came to the L.A. Dodgers Stadium, it must turn your head.

I was ecstatic about the Dodgers shows, because only two weeks prior to that event I'd been in bed after dropping 85 ten-strength valiums and I didn't think that I'd ever perform again. Yet, it was the most magical gig I've ever done.

Funnily, I can remember things from five or six years back but can't distinguish or identify with what I did from year to year. Of late the only year I can recognize is 1975: though it was a great year on stage, personally it was one great disaster.

What caused that?

I was in love with someone who didn't love me and, being very foolish, attempted to pursue it for a year. As a result I caused that person a great deal of misery, caused myself a great deal of misery and in retrospect was terribly immature about the whole situation.

That's why I swallowed 85 valiums in my hotel room, went up to the pool where my mother and grandmother were sitting and said, "Well, that's it. I've ended it all. I've taken 85 valiums."

And my Mom replied, I better get my case and fuck off home! Not one "ounce of sympathy, which was the right attitude for her to take, because I wanted someone to show concern. I replied: "You're not syposed to say that, you're supposed to take me in your arms!"

But my parents were great. It was the best thing that she could have said. I was so full of self-pity that I don't know how I ever got through that "Rock Of The Westies" tour. I was the thinnest I've ever been in my life and practically on my death-bed.

So the press reports that you had made suicide attempts were correct?

I'm talking about the second occasion. The first time was when I tried to gas myself a few years back. That's what "Someone Saved My Life" was all about.

So what would you have done if, after swallowing the valiums, nobody had taken any notice?

I'd have called the doctor. I'm too much of a coward to take it through to the end. As it is, I was in a coma for three days and I regret what I did. Because, even though she took it very lightly, it did hurt my mother. It was a very selfish thing to do and I'd never attempt it again. I was an immature little schoolboy craving attention on a totally different level than what I was getting as Elton John.

Is it a self-destruction streak?

Must be...but I'm not self-destructive in many other aspects. Like with Watford. I want to get positive things done. My only self-destructive streak concerns my personal life.

The trouble is that the music business has become just that—a business. It's become the domain of the lawyer and the accountant, and in most cases artistic integrity is all down to moving as many units as possible.

Absolutely and it's disgusting. Lawyers were never needed in the old days. The major record companies really upset me. And, one of the most upsetting things was Bruce Springsteen... that was the ultimate act of record hyping...it was so blatant. He writes good songs, but in my opinion he was no more than average.

I thought that, but having seen him recently he's made that giant step. His show was unbelievably good.

I still find his recordings disappointing...

I disagree...

But he's got such a great band—same with Ian Dury. I also like Wreckless Eric's first couple of singles. At one time I was going to produce a couple of things with Wreckless, but I felt a little out of touch?..unsure which musicians to use. I almost used the Blockheads...a magnificent band and that's why Dury's records are of such high quality. The backing tracks alone would make a great album. Tom Robinson is another example of someone who made a great record, "2—4—6—8 Motorway," but failed to follow it up. I just wish he'd make another good record. He did, the "Rising Free" EP.

I know he's politically motivated...I don't know the man. I think he's great, but I can't take most of the stuff on his album. But "Glad To Be Gay" was a fine record, which brings me right back to the big record companies. Tom Robinson's "2—4—6—8 Motorway" was an example of Capitol Records being inefficient and losing that record in America along with the Kate Bush single and even Steve Harley's "Come Up And See Me." They don't seem to be able to break British records in America to save their life.

To return to your career again. Apart from becoming typecast, do you feel that you ever got over-exposed to the point where you got sick of reading about the exploits of Elton John?

I probably did get over-exposed, but it never really bothered me up until 1975. Problem is, people judge me on my outward image.

I haven't done any interview like this for well over two years but there's some bullshit printed in the papers about me almost every day...about me going to Brazil, getting off a plane, realizing there was a football match back home and catching the Concorde to Paris and then on to London—utter bullshit. Same about me spending 250 pounds in a New York restaurant, also completely untrue.

Have you ever considered doing something like a Rock Against Racism gig?

No I haven't, but don't get me wrong. I believe in the same things they champion—equal rights, the abolition of censorship—but at this time in my life it would be dishonest of me to do such gigs because my heart and soul isn't in it. And that's not meant to be a convenient copout.

But even if you only made a non-performing appearance or jammed on a number?

I'd probably get bags of flour and beer cans thrown at me.

Why do you say that? You'd probably reach more people than the Clash and Tom Robinson because you're such a public figure.

I think I'm a bit afraid. Sure I'd be willing, but how would some of the New Wave bands react? I support all these new bands and I'd go along with my arms wide open, but they might not accept me.

If they believed you were honest in your convictions why should there be problems?

I often underestimate myself. Musicians have got this terrible thing, they never phone each other up because they assume everyone is far too busy. I love playing on other musicians' sessions, but hardly anyone invites me because they think it's a waste of time in the first place to ask. I'd love to play with some of the New Wavers, like Cook and Jones.

But to return to the subject of rock as a political weapon. Music can only do so much. If you want to fight racist organizations then you've got to do it on a more political level. This I've learned through my experiences with Watford and various councils. It's no use jumping up on stage and screaming, we hate this and that and that's the end of it. You have to get actively involved outside of music.

Let's be realistic, it's power that runs and changes any country and you can't change things overnight with a hit song. The idea of rock singers getting into politics is rather stupid because most of them can't even organize their own lives, what with getting ripped-off.

Having said all that, there's nothing wrong with being idealistic if you're sensible about it. But those people who scream and rant about unemployment and whatever in their songs... will they go out and vote at the next election? Probably not. Trouble is that the British have always been so apathetic about things.

I genuinely believe I'm physically doing something worthwhile with Watford. Furthermore, I'm trying to get a better deal for sport which, I've come to realize, is more important than music. So nowadays, my values and political motivations are with Watford Football Club. Because, if I created an indoor music center and stocked it with thousands of pounds worth of gear, it would get ripped off. Because, underneath it all, that's what the music business is really all about.

Reprint courtesy of New Musical Express.