My Favorite Songs by Elton John (Part Three)

I’m a big fan of Bernie Taupin and Elton John’s works. In the first two posts, which I will link at the bottom of this third post, I chose 12 of my all-time favorite Elton songs. I’ll list them for you, and then get started with my next picks!

“My Father’s Gun” is a song by Elton John, written by John and his longtime lyricist Bernie Taupin, and first released on October 30, 1970, on the album Tumbleweed Connection. The song is a cinematic evocation of the American Civil War, told from the perspective of a young Confederate soldier who takes up his late father’s weapon and

returns to battle to defend what he sees as honor and family legacy. Taupin, fascinated by Americana and the mythology of the Old West despite being English, crafted lyrics that blend Southern fatalism with generational loyalty, while John’s piano-driven composition and Paul Buckmaster’s sweeping

orchestral arrangement imbue the song with tragic grandeur. Featuring backing vocals by Nigel Olsson and Dee Murray, it is often cited as one of the standout tracks on Tumbleweed Connection, praised for its emotional intensity and storytelling. Though never released as a single, it became a fan favorite and has been performed live occasionally,

notably during the early 1970s and revisited in later concerts. The song appeared on the soundtrack of Cameron Crowe’s 2000 film Almost Famous, introducing it to a new generation of listeners, and critics often rank it among Elton John’s most underrated works for its blend of historical narrative, gospel undertones, and cinematic scale.

Elton John’s rendition of “Lucy in the Sky with Diamonds” is a 1974 cover of the Beatles classic written by John Lennon and Paul McCartney, originally featured on Sgt. Pepper’s Lonely Hearts Club Band in 1967. Elton recorded his version at Caribou Ranch in Colorado with producer Gus Dudgeon, transforming the psychedelic original into a grand,

shimmering pop-rock anthem marked by rich orchestration and his trademark piano flourishes. John Lennon, under the playful pseudonym “Dr. Winston O’Boogie,” contributed both backing vocals and guitar, lending the track an authentic Beatles connection and personal warmth. Released as a single in November 1974, it topped the

Billboard Hot 100 in January 1975, becoming one of Elton’s biggest early hits and one of the few Beatles covers ever to reach number one. Critics praised Elton’s impassioned vocals and Lennon’s contribution, and the collaboration culminated in their joint performance of the song at Madison Square Garden on November 28, 1974, which would be Lennon’s final major concert appearance.

“Saturday Night’s Alright for Fighting” is a 1973 rock anthem by Elton John, written by John and his lyricist Bernie Taupin, and released as the lead single from the album Goodbye Yellow Brick Road. Inspired by Taupin’s teenage years in rural Lincolnshire, England, the song captures the raw, rebellious energy of youthful weekend escapades, barroom brawls, and

working-class release. Musically, it channels the aggression of early rock ’n’ roll and British pub rock, propelled by Davey Johnstone’s distorted guitar riffs, Nigel Olsson’s driving drums, and Elton’s ferocious piano playing. Recorded at Château d’Hérouville in France and produced by Gus Dudgeon, it stands out as one of the hardest-rocking tracks in Elton’s catalog,

influenced by acts like The Who and Jerry Lee Lewis. Although it peaked at number 12 on the Billboard Hot 100 and number 7 in the U.K., the song became a live staple and a fan favorite, often used to open Elton’s concerts. It has been covered by numerous artists, including Nickelback and Queen with Axl Rose, and featured prominently

in films such as Almost Famous and Rocketman. Lyrically, its defiant spirit and unpolished swagger embody the rowdy, freewheeling side of Elton’s artistry, contrasting sharply with his more introspective ballads, and critics frequently rank it among the greatest rock songs of the 1970s.

“Amoreena” is a song by Elton John, written by John and his longtime lyricist Bernie Taupin, and released in 1970 on the album Tumbleweed Connection. The track opens the album with a burst of optimism, driven by Elton’s buoyant piano and a rhythm evocative of American roots music, blending gospel, country, and rock influences. Lyrically, Taupin crafts a vivid

portrait of pastoral longing and romantic devotion, as the narrator dreams of being reunited with his beloved Amoreena while laboring far from home. The name itself is believed to have been inspired by Taupin’s then-wife Maxine Feibelman, whose middle name was Amoreena, lending the song a personal touch.

Though never issued as a single, “Amoreena” became one of Elton’s most beloved deep cuts, later reaching a wider audience when it appeared in the opening sequence of Al Pacino’s 1975 film Dog Day Afternoon, underscoring a sense of everyday yearning and fleeting peace before the chaos of the story unfolds. The song’s melodic exuberance, tight band interplay featuring Nigel Olsson and Dee Murray, and emotional warmth have made it a critical favorite, often cited as an early example of the storytelling sophistication that would define John and Taupin’s best work.

“All the Girls Love Alice” is a song by Elton John, written by John and Bernie Taupin, and released in 1973 on the landmark double album Goodbye Yellow Brick Road. It is one of the album’s darker and more socially charged tracks, telling the tragic story of a young lesbian girl, Alice, who becomes disillusioned, exploited, and ultimately destroyed by the hypocrisy and cruelty of society. Taupin’s lyrics offer an unusually raw and sympathetic look at alienation, sexuality,

and the loss of innocence, marking one of the earliest openly queer narratives in mainstream rock. Elton’s driving piano and Davey Johnstone’s biting guitar riffs propel the song with a sense of urgency and defiance, while Gus Dudgeon’s production adds a layered, cinematic quality that underscores its emotional power. Though never released as a single, it became a fan favorite and a frequent deep-cut highlight in Elton’s live performances,

praised for its boldness and the empathy it shows toward a marginalized character during a time when such subjects were rarely addressed in pop music. Over the years, the song has gained increasing recognition for its storytelling and social resonance, and critics have hailed it as one of the most underrated tracks in Elton’s catalog, emblematic of the thematic depth that made Goodbye Yellow Brick Road a masterpiece.

“I Guess That’s Why They Call It the Blues” is a 1983 song by Elton John, written by John, Bernie Taupin, and Davey Johnstone, and released as the lead single from the album Too Low for Zero. The song marked a creative and commercial resurgence for Elton, reuniting him with Taupin and his classic 1970s band lineup after several years of experimentation.

Lyrically, Taupin reflects on love, distance, and perseverance, describing the emotional ache of separation with a mature tenderness that resonated deeply with listeners. Musically, the track blends soulful piano balladry with polished pop-rock production, featuring Stevie Wonder on harmonica, whose plaintive solo adds a distinctive bluesy poignancy.

The single became a worldwide hit, reaching number 4 on the Billboard Hot 100 and the top ten in the U.K., and it has remained one of Elton’s most enduring songs, frequently appearing in live sets and greatest hits compilations. Critics praised it for its sincerity and craftsmanship, viewing it as one

of his finest love songs of the 1980s, and its music video, depicting a World War II–era love story, helped reinforce its nostalgic tone. Over the decades, it has been covered by several artists and continues to rank among Elton John’s most beloved ballads, symbolizing his return to lyrical and emotional form.