10 Best Elton John Songs Of The 1970s

Feature Photo: Los Angeles Times, CC BY 4.0 <https://creativecommons.org/licenses/by/4.0>, via Wikimedia Commons

Elton John is one of the most written-about artists on this website. How could he not be? Anyone who grew up in the 1970s, loved rock and roll, or just appreciated music in general was likely an Elton John fan. While not every single person adored his music, it’s safe to say that most who loved music in the ’70s had a deep appreciation for Elton. For those of us who went to high school during that time, Elton John was our Beatles. It was hit after hit, song after song, album after album, almost nonstop from 1970 to about 1977. Very few other artists, aside from a select few, were anticipated with the same excitement every six months when a new album dropped.

Elton John had countless hits, but it was often the deep album tracks that resonated most with his true fans. Naturally, songs that receive heavy radio play, like “Bennie and the Jets” or “Rocket Man,” are easier to grow tired of, no matter how excellent they are. When those songs play nonstop on AM radio, fans often start yearning for the album tracks. That’s largely why this list looks as it does. You won’t find “Bennie and the Jets,” “Saturday Night’s Alright for Fighting,” “Rocket Man,” or “Honky Cat” here. It’s easy to forget just how thrilling those songs were the first time we heard them because they’ve become so familiar. But the magic of listening to an album and falling in love with the deeper, less obvious cuts is unforgettable.

This list highlights 10 of our favorites. You’ll see a few big hits, but also several tracks that mainstream fans may not know as well. Of course, hardcore Elton John fans know these songs, cherish them, and connect deeply with them. We hope this list captures the spirit of those dedicated fans who love Elton’s music, adore his album tracks, and, even now in 2024, remain his biggest supporters.

# 10 – Take Me To The Pilot (Live)

Opening the list of the 10 Best Elton John Songs from the 1970s, “Take Me to the Pilot (Live)” is a remarkable performance that captures Elton John’s musical prowess and the intensity of his early years. Recorded live for a radio broadcast on November 17, 1970, this version of “Take Me to the Pilot” was released on 11-17-70, John’s first live album. This performance highlights not only John’s talents but also the raw energy and unique synergy between him, bassist Dee Murray, and drummer Nigel Olsson. Although the album was not initially intended for release, its popularity as a bootleg and its legendary live quality eventually led producer Gus Dudgeon to push for an official release, cementing its place in Elton John’s discography and rock history.

“Take Me to the Pilot” originally appeared on Elton John’s self-titled album in 1970 and was recorded at Trident Studios in London with producer Gus Dudgeon. Written in collaboration with Bernie Taupin, the song combines gospel-inspired melodies and ambiguous lyrics, creating a complex and slightly mysterious track that immediately captivated listeners. Its single release paired it with “Your Song” as the B-side, though radio stations overwhelmingly preferred “Your Song.” The song still found a loyal following, especially in live performances like this, where John’s intense piano playing and powerful vocals infuse the song with new layers of emotion and dynamism.

Lyrically, “Take Me to the Pilot” stands out for its enigmatic, almost surreal quality. Phrases like “If you feel that it’s real, I’m on trial” and “Take me to the pilot of your soul” suggest themes of control, trial, and self-exploration, resonating with listeners despite—or perhaps because of—their ambiguity. In the live version, John’s emotive delivery emphasizes these themes, making it feel as if he’s experiencing the song’s mysterious journey firsthand. The “pilot” here remains undefined, leaving listeners to interpret its meaning, possibly as a guide, a lover, or even a spiritual reference. This open-ended nature of the lyrics helped the song resonate with fans who found their own meanings in its verses, making it a quintessential example of the evocative songwriting that defines much of John and Taupin’s work.

This live rendition from 11-17-70 shows why John considered this one of his finest performances. It captures not just the song’s original complexity but the raw, unfiltered energy of a live setting that brought out the best in John and his band. “Take Me to the Pilot” on 11-17-70 serves as a bold beginning for our list, showcasing the unique artistry and emotive power that would make Elton John a defining artist of the 1970s.

# 9 – Come Down In Time

Opening with a haunting, delicate harp arrangement, “Come Down in Time” reveals Elton John’s reflective side, pairing intricate orchestration with lyrics rich in longing and romantic uncertainty. This track, featured as the second song on Tumbleweed Connection, stands out for its introspective mood amid an album largely influenced by American frontier themes. Recorded at Trident Studios in London in March 1970, this song benefits from Paul Buckmaster’s lush orchestration, featuring strings, oboe, and acoustic guitar that set an atmospheric backdrop for John’s soulful delivery. Buckmaster’s arrangements allow the listener to feel the contemplative mood of Bernie Taupin’s lyrics, creating an immersive experience.

In the lyrics, Taupin paints a picture of a man on the edge of anticipation, uncertain if his lover will meet him as promised. Lines like “Come down in time, and I’ll meet you halfway” convey a sense of yearning, as the protagonist contemplates the depth and reliability of his lover’s commitment. John’s vocal performance imbues these lyrics with vulnerability, complemented by the sparse instrumental interplay that maintains an even tempo throughout, emphasizing the introspective tone. Unlike some of John’s more anthemic ballads, this piece remains subtle and controlled, with a steady rhythm that conveys a deep emotional resonance.

Though not a commercial hit, “Come Down in Time” has become a fan favorite, praised for its refined craftsmanship and the evocative atmosphere that it creates. The song’s haunting refrain has inspired numerous artists, including Sting, Judy Collins, and Al Kooper, all of whom have offered their interpretations over the years. As with other tracks from Tumbleweed Connection, “Come Down in Time” demonstrates Elton John’s versatility, blending complex arrangements with intimate storytelling. This track stands as an early example of his ability to create songs that feel both personal and universally resonant, marking it as a worthy starting point for a list celebrating the best of his 1970s catalog.

# 8 – Mona Lisas and Mad Hatters

“Mona Lisas and Mad Hatters” stands as one of Elton John and Bernie Taupin’s most reflective pieces, presenting a poignant view of New York City through the eyes of a newcomer. Included on Honky Château (1972), this song diverges from the more optimistic pop tones on the album, delving instead into the ambivalence and alienation that can accompany city life. Taupin’s lyrics were partially inspired by the haunting reality of urban violence, which he encountered firsthand during his first visit to New York. Hearing a gunshot near his hotel room profoundly shaped his perception of the city, a place where beauty and danger coexist. Lines like “I thank the Lord there’s people out there like you” express a surprising gratitude for the people who survive and support one another amid the challenges of city life.

Musically, “Mona Lisas and Mad Hatters” is anchored by John’s emotive piano and an acoustic foundation that complements the song’s reflective tone. Davey Johnstone’s intricate guitar work and Dee Murray’s subtle bass play a pivotal role in creating the song’s somber yet hopeful soundscape. The song’s soulful and introspective feel makes it both a personal and universal experience, capturing the essence of New York City in a way that resonates with many listeners. Unlike some of John’s more upbeat tracks, this song is characterized by its restrained composition, allowing the lyrics to take center stage and envelop listeners in a world of introspective solitude and human connection.

The lyrics also echo sentiments of struggle and resilience, especially in lines like “Subway’s no way for a good man to go down,” where Taupin juxtaposes the city’s splendor with its harsh realities. The song thanks “the Lord” for the people who make life bearable in such a gritty environment, reflecting the sense of solidarity that New Yorkers often find amid the city’s intensity. The lyrics’ reference to “Spanish Harlem,” echoing Ben E. King’s song, brings an extra layer of homage to New York’s unique tapestry of culture and hardship. While not released as a single, “Mona Lisas and Mad Hatters” became one of John’s personal favorites, and its impact endures, particularly through his emotional performance at The Concert for New York City in 2001, which was dedicated to the first responders and families affected by the September 11 attacks.

# 7 – Ticking

“Ticking” is one of the most harrowing and haunting tracks Elton John and Bernie Taupin created, offering a dark narrative that stands apart from the typical glam rock and upbeat pop Elton was known for during the early 1970s. Appearing as the final track on Caribou (1974), “Ticking” tells the tragic story of a young man who suffers a mental breakdown and goes on a deadly rampage. Through Taupin’s vivid, storytelling lyrics, the song unfolds like a novel, detailing the protagonist’s troubled path from an “extremely quiet child” to a man pushed over the edge. Unlike many other tracks on Caribou, “Ticking” addresses heavy social themes, including mental illness, violence, and societal alienation, making it a compelling departure from the album’s more commercial hits like “The Bitch Is Back” and “Don’t Let the Sun Go Down on Me.”

The recording of “Ticking” is stripped down compared to Elton John’s typical 1970s arrangements, highlighting his solo piano and vocals in an unadorned and deeply personal delivery. This minimalistic setup amplifies the song’s impact, as Elton’s vocals become a vessel for Taupin’s somber lyrics. Without the layering of elaborate instrumentation, the haunting melody and sparse piano chords mirror the isolation and inner turmoil of the song’s protagonist, underscoring the lyrics with a sense of inexorable tension. Paul Buckmaster’s absence as an orchestrator allows the piano alone to convey the emotional depth, bringing an unusual stillness to the track, even as it builds toward the tragic conclusion.

Lyrically, Taupin’s narrative reaches an unflinching conclusion as it recounts the protagonist’s violent outburst in a Queens bar, symbolically named “The Kicking Mule.” The lyrics’ rhythmic refrain, “Ticking, ticking,” is like a clock winding down, reflecting the inevitable breakdown and the protagonist’s own demise. Phrases like “crazy boy, you’ll only wind up with strange notions in your head” carry the voices of society’s indifference and misunderstanding. The protagonist’s final moments—a “marionette on the vengeance of the law”—offer a chilling image, solidifying the song as a powerful exploration of societal alienation. The song, though rarely performed live, remains one of Elton John’s most memorable, introspective works from the 1970s.

Read More: Top 10 Elton John Love Songs

# 6 – Blues For Baby And Me

“Blues for Baby and Me,” a standout track from Don’t Shoot Me I’m Only the Piano Player (1973), brings together Elton John’s haunting melody and Bernie Taupin’s poignant narrative, capturing the spirit of youthful escape and the promise of freedom. The song’s central characters, a young couple planning a new life together, are urged westward by the lure of open highways and fresh possibilities, symbolized by the Greyhound bus and the undulating American landscape. Taupin’s lyrics paint a vivid picture of defiance against societal expectations and the thrill of breaking away from parental authority, a theme that resonates with many of Taupin and John’s other works exploring youthful rebellion and self-discovery.

Recorded at Château d’Hérouville in France, Blues for Baby and Me boasts rich instrumentation, including Paul Buckmaster’s evocative string arrangements, which amplify the song’s reflective tone. Buckmaster’s strings, paired with Elton’s piano and Dee Murray’s gentle bass lines, underscore the emotion in Taupin’s story, transforming a simple road trip into a life-changing journey. The band’s rhythm is unhurried yet filled with anticipation, mirroring the steady movement of a Greyhound bus toward the unknown. Notably, the track is one of the album’s few to feature Buckmaster’s orchestration, lending a cinematic scope that enhances the song’s reflective and wistful qualities.

The lyrics reveal Taupin’s talent for narrative, using imagery such as “the highway looks like it never did” and “the Greyhound is swaying” to evoke a sense of freedom and anticipation for a new life. The song’s repetition of “don’t you worry no more” and “it’s all over now” reassures the listener, suggesting that the act of leaving—of embarking westward—carries a sense of finality and peace. Elton’s vocal delivery reflects both the excitement of escape and the melancholy undertone of leaving a familiar world behind, a theme that resonates throughout Don’t Shoot Me I’m Only the Piano Player, which also features hits like “Daniel” that capture similar themes of distance and departure.

# 5 – Harmony

“Harmony,” the closing track on Goodbye Yellow Brick Road, captures Elton John and Bernie Taupin at the height of their collaborative powers, delivering a poignant farewell that rounds out the album’s eclectic journey. Recorded in May 1973 at Château d’Hérouville in France, the song presents a soulful and reflective meditation on the idea of connection and constancy in relationships. Taupin’s lyrics explore the complexities of reunion and reconciliation, invoking a protagonist who reaches out to a lover or friend, seeking the solace of harmony amid the turbulence of life.

The song’s arrangement is deceptively simple but deeply evocative. John’s vocal delivery is tender, conveying both a yearning and an acceptance, while the sparse instrumentation, led by his piano, allows the lyrics to resonate. This closing track does not feature an elaborate production but instead relies on its vocal harmonies and the subtle interplay between John’s voice and the background vocals, creating an atmosphere that feels both intimate and grand. In this way, Harmony functions as a soothing epilogue to the album’s high-energy tracks like “Bennie and the Jets” and “Saturday Night’s Alright for Fighting.”

Lyrically, “Harmony” reveals a theme of steadfast loyalty, with lines like “Harmony and me, we’re pretty good company” capturing the solace of companionship, even amid life’s disappointments. The protagonist reflects on the connection shared with someone who may not be perfect but remains a source of comfort and stability. The metaphor of “looking for an island in our boat upon the sea” speaks to the desire for a place of peace amid the chaos of life—a theme that gives the track an enduring appeal, echoing Taupin’s frequent exploration of emotional refuge.

Though not released as a standalone single in the U.S. at the time, “Harmony” gained recognition as the B-side to “Bennie and the Jets” and later as an A-side single in the U.K., with “Mona Lisas and Mad Hatters” as its B-side in 1980. Over the years, artists like Diana Ross and Zac Brown Band have offered their own renditions, further attesting to the song’s enduring resonance and versatility. Ending Goodbye Yellow Brick Road with “Harmony” is a fitting choice, leaving listeners with a sense of calm and reflection after a journey through one of John and Taupin’s most dynamic albums.

# 4 – Cage the Songbird

“Cage the Songbird,” from Blue Moves, Elton John’s ambitious 1976 double album, is a somber, evocative tribute to legendary French chanteuse Édith Piaf, capturing both the allure and tragedy of the celebrated singer’s life. With lyrics by Bernie Taupin, this track embodies the emotional depth that defines much of Blue Moves. Recorded at multiple studios, including EMI in London and Sunset Sound in Los Angeles, the song was produced by longtime collaborator Gus Dudgeon. The song’s mournful melody, supported by rich instrumental textures, features Elton John’s piano and a string arrangement that adds a haunting resonance, highlighting the sorrowful themes of freedom and captivity within fame.

The lyrics convey a haunting image of a life lived in the limelight but tinged with sadness. Phrases like “You can cage the songbird, but you can’t make her sing” serve as metaphors for Piaf’s battle with personal struggles amidst public adoration. The verses describe poignant scenes, including references to the stage and flowers left in tribute, alluding to the ephemeral nature of her success and the loneliness that often accompanied it. The line “she’ll soar like a hawk when she flies, but she’ll dive like an eagle when she dies” reflects the duality of her life — intense highs and inevitable lows — which parallels the fragility of a career in the spotlight, something Taupin captures with understated yet powerful imagery.

Musically, the song stands out in John’s catalog, incorporating orchestral elements that reflect his willingness to experiment on Blue Moves. With contributions from renowned session musicians and lush backing harmonies, “Cage the Songbird” underscores John’s desire to push the boundaries of his usual sound palette. This track also resonates with other songs on Blue Moves, including “Sorry Seems to Be the Hardest Word” in its melancholy tone, and “Tonight,” both sharing themes of introspection and loss. Despite the album’s mixed critical reception, “Cage the Songbird” has been retrospectively acknowledged as one of its most moving and memorable pieces, underscoring John and Taupin’s capacity for depth in songwriting.

# 3 – Levon

“Levon,” from Elton John’s 1971 album Madman Across the Water, is a complex character study that stands as one of the most hauntingly beautiful songs of the 1970s. Written by Elton John and Bernie Taupin, the track is elevated by Paul Buckmaster’s evocative orchestral arrangements, which add a somber and reflective dimension to Taupin’s vivid narrative. Recorded on February 27, 1971, and featuring backing vocals from Tony Burrows, “Levon” encapsulates John’s early 1970s era—an era when his work consistently achieved both artistic and commercial acclaim. Charting at number twenty-four on the US Billboard Hot 100 and reaching number six in Canada, “Levon” became a fan favorite, though it was surprisingly omitted from Greatest Hits in 1974, only to appear later on Elton John’s Greatest Hits Volume II in the U.S.

The song is a rich tapestry of themes like generational legacy, personal ambition, and existential resignation. Levon, the central character, is depicted as a man burdened by societal expectations and family tradition. The line “He calls his child Jesus, ’cause he likes the name” illustrates Levon’s whimsy and detachment, as well as the weight of his own father’s legacy—the fictional Alvin Tostig, who proclaimed his son would be a “good man.” Taupin’s lyrics offer a glimpse into Levon’s daily life: a man counting his money in a garage by the motorway, while his son, Jesus, dreams of escaping and “sailing” to another world. This contrast between Levon’s entrapment and Jesus’s yearning for freedom reflects a tension between duty and desire, a universal struggle that resonates deeply with listeners.

Musically, the song is driven by Elton John’s piano, accompanied by Buckmaster’s sweeping strings that underscore the song’s melancholic and introspective tone. Compared to other tracks on Madman Across the Water, “Levon” is one of the album’s more contemplative moments, blending elements of rock and orchestral music to create a mood that complements Taupin’s introspective storytelling. The lyrics contain religious and cultural references, such as Levon’s birth on “a Christmas day when the New York Times said, ‘God is dead and the war’s begun’,” which deepen the song’s exploration of identity and tradition. Elton himself revisited this narrative theme in other songs, but “Levon” remains one of his most profound and enduring character portraits, cherished by fans for its blend of storytelling and musical depth.

# 2 – Captain Fantastic & The Brown Dirt Cowboy

Captain Fantastic And The Brown Dirt Cowboy

“Captain Fantastic & The Brown Dirt Cowboy” is an introspective and autobiographical song that narrates Elton John and Bernie Taupin’s challenging journey through the music industry. This title track, from Elton John’s 1975 album Captain Fantastic and the Brown Dirt Cowboy, is a cornerstone of his discography, capturing the duo’s struggles and ambitions. The song’s lyrics, penned by Taupin, reflect both artists’ early years—Elton as “Captain Fantastic,” the city-savvy performer, and Bernie as the “Brown Dirt Cowboy,” the rural lyricist. The track presents a powerful exploration of two contrasting personalities united by their shared love for music.

Recorded in the spring of 1975, the song showcases Elton’s introspective piano work, with lush orchestration by Paul Buckmaster that underscores the narrative’s drama and emotional depth. Produced by longtime collaborator Gus Dudgeon, the track combines storytelling with musical sophistication, blending rock with orchestrated elements to evoke a sense of epic struggle and triumph. The song’s introspective lyrics delve into John and Taupin’s early years, encapsulated in lines like “Captain Fantastic, raised and regimented, hardly a hero” and “Brown Dirt Cowboy, still green and growing,” which detail both John’s disciplined life as a performer and Taupin’s unpolished, dream-chasing persona.

In “Captain Fantastic & The Brown Dirt Cowboy,” Elton John and Bernie Taupin’s autobiographical themes illustrate their respective paths from humble beginnings to music industry challenges, embodying their contrasting personalities. John is cast as “Captain Fantastic,” a figure struggling to balance the intensity of fame with his individuality, while Taupin takes on the “Brown Dirt Cowboy” persona, rooted in his pastoral, poetic origins. The song paints a vivid picture of two young artists navigating the complexities of fame and personal identity in an industry fraught with uncertainty.

The lyrics resonate with a sense of resilience despite hardship. The opening line, “Captain Fantastic, raised and regimented, hardly a hero,” captures the tension between John’s public image and his private self. Taupin’s metaphor of John as “regimented” suggests a discipline that belies the flamboyant showman’s stage persona. For Taupin, “Brown Dirt Cowboy” reflects the rural, down-to-earth beginnings that often grounded his lyrics in personal authenticity. Lines like “Are there chances in life for little dirt cowboys?” explore Taupin’s early uncertainty about achieving success and suggest his initial feeling of being an outsider in the industry.

I always loved how the song’s lyrics shifted to themes of vulnerability and support, especially in the lines, “Hand in hand went music and the rhyme / The Captain and the Kid stepping in the ring,” portraying their partnership as one of shared creative ambition, each relying on the other to navigate their rise. The song, closing the Captain Fantastic and the Brown Dirt Cowboy album, not only celebrates their triumphs but also acknowledges the sacrifices made to reach them, providing fans with a profound reflection on the duo’s enduring artistic journey.

# 1 – Funeral For A Friend / Love Lies Bleeding

“Funeral For a Friend/Love Lies Bleeding” stands as one of Elton John’s most ambitious and emotionally resonant compositions from the 1970s. Opening Goodbye Yellow Brick Road, this nearly 12-minute epic immediately establishes the album’s expansive artistic scope, merging two songs into a seamless piece that captivates with its instrumental grandeur and lyrical depth. Written by Elton John and Bernie Taupin, this medley was recorded in May 1973 at Château d’Hérouville in France, under the direction of longtime producer Gus Dudgeon. Each segment of this track—”Funeral For a Friend/Love Lies Bleeding”carries its own thematic weight, making this track a remarkable journey through John and Taupin’s shared musical vision.

The first half, Funeral for a Friend, is an instrumental conceived by Elton John as he imagined the type of music he would want played at his own funeral. Its orchestral atmosphere is built around a sweeping ARP 2500 synthesizer, played by engineer David Hentschel. The track is a masterclass in atmospheric tension, blending synthesized sounds and piano with layers of strings and other orchestration, which Hentschel meticulously overdubbed to create a piece both haunting and contemplative. It serves as an introduction not only to the song’s second half but to the emotional tone of the entire Goodbye Yellow Brick Road album.

“Love Lies Bleeding” shifts the medley’s tone dramatically from introspective instrumental to a high-energy, rock-infused heartbreak anthem. With lyrics such as “And love lies bleeding in my hand / Oh, it kills me to think of you with another man,” Taupin captures the bitterness of a fractured relationship. The story centers around a jaded musician dealing with the realization that his former lover has moved on. Lines like “I was playin’ rock and roll, and you were just a fan” emphasize the conflict between the musician’s world and the inability to maintain the relationship amid his rock-and-roll lifestyle. Here, Taupin’s writing vividly depicts the sacrifices and painful choices that come with a life in the spotlight.

Musically, the piece showcases John’s band at their peak, with Davey Johnstone’s guitar riffing complementing the driving rhythms of Dee Murray’s bass and Nigel Olsson’s drums. Their instrumental prowess adds an intense energy to the song’s reflection on disillusionment and loss. “Funeral For a Friend/Love Lies Bleeding” not only embodies the expansive sound that John explored during this era but also highlights the depth and complexity of his collaborations with Taupin, marking a high point in John’s 1970s work. Closing this article with “Funeral For a Friend/Love Lies Bleeding” Bleeding feels appropriate, as it captures both the sweeping emotional highs and the darker introspective moments that made Elton John and Bernie Taupin’s music from this decade so unforgettable.

Read More: 10 Best Rocking Elton John Songs