My Favorite Songs by Elton John (Part Two)

“Grey Seal” is a song by Elton John, with lyrics by his longtime collaborator Bernie Taupin, first recorded in 1970 as the B-side to the single “Rock and Roll Madonna,” and later re-recorded in 1973 for John’s seminal double album Goodbye Yellow Brick Road, where it became the definitive version, featuring fuller production,

richer instrumentation, and Davey Johnstone’s soaring guitar work; the lyrics are abstract and somewhat surreal, in keeping with Taupin’s early style, with interpretations ranging from themes of wisdom gained through age and experience to the search for meaning amid confusion, while the “grey seal”

itself has been read as a metaphor for eccentricity, mystery, or a person out of step with the world; though never released as a single, the 1973 version has long been considered a fan favorite and a deep cut highlight of the album, often cited by critics as one of John’s most dynamic rock performances of the era,

with AllMusic calling it one of his “finest album tracks,” and Rolling Stone praising the track’s mix of mysticism and driving energy; it was occasionally included in John’s live sets in the 1970s and revived in later years, underscoring its lasting resonance despite not charting in its own right.

“Honky Cat” is a song by Elton John, written with lyrics by Bernie Taupin, released in July 1972 as the opening track of John’s fifth studio album Honky Château and later issued as a single that peaked at No. 8 on the Billboard Hot 100, marking his first U.S. Top 10 hit; musically it blends New Orleans–style boogie-woogie piano,

brass arrangements, and funk-inflected rhythms, reflecting John’s increasing stylistic range at the time, while Taupin’s lyrics tell the story of a country boy lured by city life but later realizing the wisdom of staying true to his rural roots, a theme that resonated with audiences in the early 1970s during a cultural divide between urban and rural identities;

though the original studio version remains the most well-known, the song has appeared in various live recordings, including Here and There (1976) and Live in Australia with the Melbourne Symphony Orchestra (1987, in a dramatically reorchestrated form), and it has been covered by other artists, most notably Miley Cyrus for the 2018 Elton John tribute album Restoration;

critics have generally praised its playful energy and brass-driven sound, and it has remained a staple of John’s live repertoire, ranking among his early signature hits and often cited as a standout track from Honky Château, the album that solidified his superstar status.

“The Bitch Is Back” is a rock song by Elton John, written with lyrics by Bernie Taupin, released in September 1974 as the second single from the album Caribou, and it quickly became one of John’s signature hits, reaching No. 4 on the Billboard Hot 100 in the U.S. and No. 15 on the U.K. Singles Chart; inspired by Taupin’s wife,

Maxine Feibelman, who would often describe John’s moody behavior with the phrase “the bitch is back,” the song is a defiant, tongue-in-cheek anthem of self-assertion that John has embraced as a personal statement of flamboyance and resilience, with its horn-driven arrangement, gritty guitar riffs, and energetic vocals

underscoring its attitude; though somewhat controversial at the time for its provocative title, it became a staple of his concerts and was later covered by Tina Turner for the 1991 tribute album Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin, while also appearing in live releases such as Here and There (1976)

and Live in Australia with the Melbourne Symphony Orchestra (1987); critics have hailed it as one of John’s most powerful rock performances, and it regularly features in rankings of his best songs, praised for its swagger and humor that epitomize his 1970s peak.

“Pinball Wizard” is Elton John’s high-energy cover of The Who’s classic song, written by Pete Townshend for the 1969 rock opera Tommy, and John recorded his version for the 1975 film adaptation directed by Ken Russell, in which he also appeared in a memorable sequence performing the song while wearing enormous Doc Martens boots;

musically, John’s version accelerates the tempo, emphasizes his piano in place of much of the guitar work, and features a horn section, giving it a funkier, more theatrical edge, while lyrically the song retains Townshend’s original narrative about the “deaf, dumb, and blind kid” who becomes a pinball champion, serving as a satirical exploration of hero worship and

celebrity culture; released as a single in 1976, it reached No. 7 on the UK Singles Chart and became a staple of John’s live shows, often included in medleys, though it was never a major hit in the U.S.; critics praised the cover as one of the few to rival the original, with AllMusic noting its exuberance and Rolling Stone highlighting John’s ability to make the song his own, and it has since ranked among his most celebrated covers, demonstrating his skill at reinterpreting rock standards through his distinctive style.

“Elderberry Wine” is an Elton John rocker written by John and Bernie Taupin and produced by Gus Dudgeon; it appears on Don’t Shoot Me I’m Only the Piano Player (1973) and was first issued a few weeks earlier as the B-side to “Crocodile Rock” (U.K. Oct. 27, 1972; U.S. Nov. 20, 1972). Its narrator misses a departed lover—

and, wryly, the homemade wine she made—setting lonely lyrics against a brisk, piano-pounding arrangement with punchy horns (Davey Johnstone/Dee Murray/Nigel Olsson in the core band), a contrast noted by critics. Though never an A-side, it became a fan-favorite album cut and AOR staple. Official releases beyond the studio take include a

1973 Hammersmith Odeon performance (issued on the Goodbye Yellow Brick Road 40th-anniversary set) and a “Session Demo” on the 2023 Record Store Day 50th-anniversary edition of Don’t Shoot Me…; it also turns up on compilations such as Your Songs (1985/86).

The song has been covered, notably by Mae McKenna (1975). Critical rankings vary: The Guardian placed it #34 in a top-50 Elton list, while Vulture slotted it #246 of 388, reflecting its status as a deep cut rather than a chart single.

“Madman Across the Water” is the title track of Elton John’s 1971 album, written by John with lyrics by Bernie Taupin, and is known for its dark, brooding atmosphere built around John’s haunting piano chords, Paul Buckmaster’s dramatic string arrangements, and contributions from guitarist Davey Johnstone and drummer Nigel Olsson;

the song’s meaning has often been debated, with Taupin suggesting it was more impressionistic than literal, though many listeners interpreted it in the context of U.S. politics during the Vietnam era, taking the “madman” as a metaphor for Richard Nixon or America itself, while others see it as a personal exploration of alienation and instability;

an earlier version was recorded in 1970 during the Tumbleweed Connection sessions with guitarist Mick Ronson, later released as a bonus track, but the definitive 1971 version became one of John’s most powerful album cuts, despite not being issued as a single; though never charting, it has earned critical acclaim over the decades,

with AllMusic citing it as one of the highlights of Madman Across the Water, and it has been performed live on several occasions, notably during John’s orchestral tours, standing as one of his most atmospheric and ambitious deep tracks.