Threads of Brilliance: Liz Rosenthal Re-weaves the Story of Elton’s Most Explosive Era

Elizabeth J. Rosenthal is an American writer and historian. Her alma maters include Syracuse University (1982, journalism) and Rutgers University (1985, Juris Doctor). She spent 28 years as legal liaison for the New Jersey Civil Service Commission and is now a Trustee of the Historical Society of Moorestown in New Jersey. Rosenthal’s first book, His Song: The Musical Journey of Elton John (Billboard Books, 2001), remains one of the most comprehensive studies of Elton’s life and work. Her next biography, Birdwatcher: The Life of Roger Tory Peterson (Lyons Press, 2008), told the story of the groundbreaking 20^th-century naturalist, writer, and artist. Her newest book is The Master of Drums: Gene Krupa and the Music He Gave the World (Citadel Press, 2025), the definitive biography of the Swing Era drummer who became the most influential jazz drummer of his time and the chief inspiration for nearly every rock drummer from the 1950s onward. See https://www.elizabethjrosenthal.com for more information. Rosenthal has also written about the Swing Era for The Wall Street Journal and is the author of a piece about Roger Tory Peterson in the commemorative Art Students League volume, 150 Stories: Lives of the Artists at the League.

Today we celebrate one of the most pivotal moments in Elton John’s career: the extraordinary creative stretch of 1975, the year that gave us two albums as different as they are essential — Captain Fantastic and the Brown Dirt Cowboy and Rock of the Westies. To help us explore this fascinating moment in Elton’s musical journey, we are truly honored to welcome Liz Rosenthal.

Hello Liz, welcome to the 50th anniversary of these two majestic albums, let's start: Captain Fantastic is often seen as Elton and Bernie’s most autobiographical work. What do you think made it so cohesive and personal compared to their previous albums? 

It was cohesive and personal because Elton and Bernie set out to make an autobiographical album. They wanted their fans to know what it was like for them before they achieved fame and fortune. As Bernie wrote in “Curtains”: “Just like us, you must have had a once upon a time.”

What do you think motivated Elton and Bernie to tell their story with Captain Fantastic at that particular moment in their lives? 

The summer of 1974 saw EJ and BT seemingly at the top of the world. They didn’t realize that they had not actually reached the summit yet. Nevertheless, it was the perfect time to reflect on the period of their lives when they were stuck trying to get somewhere in a late 1960s industry that embraced the status quo.

How has the critical and public perception of this album evolved over the years (between 1975 and now)? Are there aspects that were once undervalued but are now seen as more relevant or influential? 

Reviews were mixed at the time the album was released. Even Robert Hilburn, Elton’s biggest booster, wasn’t quite sure what to make of it. Over the years, the album’s artistic reputation grew to the point where it’s now considered possibly the high point of the EJ/BT phenomenon. In the 1980s and 90s, critics were especially fond of praising its near-perfection while derogating whatever album Elton had just released. Elton’s 21^st century albums have been mostly celebrated by rock writers and it’s been suggested that some of them come close to, or match, the quality of Captain Fantastic.

Captain Fantastic marked the end of Elton’s classic band era, and just months later he completely changed his lineup for Rock of the Westies. What do you think motivated that shift, and how did it impact the sound and chemistry of his music during that transition? 

Elton has often said that he fired Nigel and Dee because he wanted a different-sounding band, one that he thought would rock more. I’m not sure he got the result he wanted (see more about that below). His new band, with Caleb Quaye dominating the guitar sound, was dramatically different, but whether it was better is another story.

True! How do you think the album artwork and visual imagery of Captain Fantastic complement the music and the overall message of the record? 

The booklets are a treasure trove for fans. “Scraps” must have been a special thrill in 1975, with bits of Elton’s diaries and so many never-before-seen pictures of EJ and BT from when they lived like ordinary blokes. Since then, fans have been deluged (for better or worse) with books, documentaries, musical compilations, and memorabilia that make Captain Fantastic’s evocation of EJ and BT’s early days a bit less exciting. The Captain Fantastic album cover is effective in depicting the dejected feelings of our favorite duo during their travails and the nightmarish situations in which they often found themselves. But the cover is maybe too in-your-face for me. My favorite EJ album cover remains the one for Goodbye Yellow Brick Road. It speaks to Elton’s spirit and musicality in a way no other album cover has.

How did Elton and Bernie’s collaboration evolve between Captain Fantastic and Rock of the Westies? 

Their collaborative efforts didn’t so much evolve from Captain to Westies as make a radical shift in the wrong direction. Thank goodness they didn’t stick with the Westies approach.

So the contrast between the two albums is striking — one introspective and refined, the other raw, funky, and full of energy. Focusing specifically on sound and overall musical energy, was this shift a deliberate artistic move or a natural reaction to success and pressure, distinct from the band lineup changes? 

The album is full of energy, but is mostly the polar opposite of Captain Fantastic. Captain Fantastic is full of gorgeous melodies evoking the most personal emotions, as well as some of Taupin’s greatest lyrics. By contrast, Rock of the Westies, with some exceptions, falls down badly on the melodic front and Bernie’s lyrics are often juvenile and/or incomprehensible.

How did the recording location at Caribou Ranch influence the energy, sound, or creative process compared to previous studios like Honky Château? 

I don’t think the Caribou Ranch affected the album’s sound one way or the other. Elton also recorded Caribou and Captain Fantastic there, and the LPs couldn’t be more different.

Rock of the Westies was commercially successful, entering the Billboard 200 at number one. How do you interpret this achievement in relation to its more experimental or raw sound? 

I don’t think that Rock of the Westies debuting at number one in the U.S. had anything to do with whether it was “experimental” or featured a “raw sound.” It debuted at number one because Elton was on a roll. He was the most popular rock musician in America; kids were falling all over themselves to obtain tickets to his concerts and buy anything else that had his face or name on it.

Critics at the time were divided — some dismissed it as “synthetic boogie”, while others praised Bernie Taupin’s lyrics and the band’s energy. How do you interpret this split today? 

During Elton’s commercial heyday, critics were always split on the quality of his albums. Sometimes the critics themselves were split between a desire to praise him and condemn him.

Certain tracks have been compared to the Rolling Stones’ style, but critics felt Elton’s performances lacked subtlety. How do you see the role of influence versus originality in Rock of the Westies? 

A Stones influence is audible on Westies, especially because of the guitar-dominant sound and Elton’s raw vocals. But I don’t think the album lacks originality; it just (mostly) lacks what his albums are known for – melodies, melodies, melodies!

Although critics noted the lyrics weren’t always strong, Elton’s piano and vocals provide a through-line across the album. How do you evaluate the balance between his musical performance, vocal interpretation, and songwriting, focusing on their role in shaping the album’s character rather than comparisons to other artists? 

If it’s one thing Westies has going for it is the musicianship. All of the band members brought their respective strengths to the record. Elton’s vocals continued to develop technically, and his piano playing was, as always, topnotch and sometimes spine-tingling. His vocal interpretations were as gripping as one would have expected from him despite the album’s melodic and lyrical deficiencies.

Are there particular tracks on Rock of the Westies that you think best capture the album’s spirit or Elton’s musical intent, and why? 

I’d rather refer to the better parts of the album than speculate about which songs best represent Elton and Bernie’s artistic intent. “I Feel Like a Bullet (in the Gun of Robert Ford)” is an obvious example of a typical Elton John ballad which would be at home on any good EJ album. “Feed Me,” in which Elton sings but doesn’t play, is a jazzy hint at what was to come on Blue Moves. “Island Girl,” which maybe hasn’t aged well given its racial overtones, is the catchiest tune on the whole album. No one should be surprised that the song went to Number One on Billboard’s Hot 100.

Thank you so much, Liz, for sharing your insight, depth, and passion with us. Your reflections bring new light to two albums that continue to captivate listeners fifty years later — one for its emotional truth, the other for its wild energy and fearless experimentation.

All Aboard: Experiencing the Elton John Connection

Apotheosic!!! With British punctuality — never more fitting — a well-known piano melody opens the concert. The Vesta by La Fulanita venue is an intimate, close space that allows the audience to be almost touching the musicians. “The Show Must Go On,” proclaims the room in bright neon. The musicians are set up beautifully and right at the front. And those chords we mentioned earlier are from Your Song, that unmistakable ballad by its author.

Elton John Connection was not a tribute act in the usual sense: it goes far beyond that. It is a musical journey through Elton’s career. Like any train Bernie Taupin describes in his songs, each ride is a song, and each stop is a spoken image of Elton John’s life. This makes the show very different from other proposals, and it helps those who are not die-hard Elton fans to situate themselves and discover aspects of Elton’s life that help them understand the myth — the living legend — of such an unrepeatable musician, always alongside his Two Rooms partner: Bernie Taupin.

But what is needed for this train to run with precision and offer a pleasant journey? Well, a good engineer and good energy. And this is made possible by its author, creator, and fan to the absolute core: Marta Coloma. Marta is an outburst of energy, with a subtle and deep voice, tender in texture, and with that warm and sweet narrative style that ensures nothing she explains — whether singing or narrating — ever loses its meaning. And it is not easy to summarize the important aspects of Elton’s life in an hour and a half without the show losing its punch.

As Marta rightly says: “(Elton) makes the difficult sound easy,” and she goes through the variety of styles where Elton has left his mark with his talent — country, pop, rock, blues, soul, and whatever else he feels like doing, because Elton, as Marta says, “is open to experimenting and has never stopped experimenting.” The selection of songs in the show’s repertoire is anything but accidental: each piece connects with the railway journey we embark upon, offering a solid overview of the vast and high-quality catalogue that Elton and Bernie have given to pop music through so many decades of unquestionable success. And it is no small thing that songs like Idol, Healing Hands, or Amoreena appear in the concert and are performed with the strength and mastery of this magnificent artist. And the best part is that she makes them her own — she squeezes them, studies them, and gives them a clean, subtle, personal touch that leaves the audience with no choice but to applaud wildly.

But Marta, who is very wise, knows that for her train to have all the energy it needs and to run smoothly, she must surround herself with a great band — and she most certainly does. And replacing Davey Johnstone, Nigel Olsson, and Dee Murray is no easy task. The point is that this band pays homage to them in every single note they play.

Dan Vidal is the master of ceremonies: he has that frenetic, fierce, or sensitive piano touch whenever the melody requires it, those piano solos Elton has spoiled us with, especially in his finest moments. And Bas Kisje and Giancarlo Spirito, on bass and drums respectively, form a true guard of honor to Murray and Olsson.

And how do you honor Davey Johnstone? Don’t worry — Marta brings in Miguel Tarzia, ensuring that Rocket Man or Saturday Night’s Alright never lose steam. And why not give some pieces a jazz twist? Add a saxophone — Freddie Quintero — to Idol or Don’t Let the Sun Go Down on Me, and you’re guaranteed to leave a mark.

But the icing on the cake is the backing vocals: Laura Guardiola and Júlia Tapia. Elton’s songs are famously meticulous on the vocal side — think of Mortonette Jenkins, Marlena Jeter, or Natalie Jackson, for example. Those harmonious voices appear to embellish All the Girls Love Alice or the already mentioned Healing Hands, just to name two.

But Marta had her surprise saved for Can I Put You On, Elton’s most obscure rock song par excellence — delivered masterfully, with an amazing final few minutes that made the entire audience vibrate, completely surrendered to the performance. And, with Judy Tzuke’s permission, Marta claimed Give Me the Love as her own — that brilliant and forgotten gem, one of the few Elton songs written by a woman and sung by him, and one of my favorites from the early ’80s.

I’m writing this Eltonin’ Around The World article on another train, an AVE from Madrid to Barcelona, still echoing the amazing concert from last night, from the E-X-P-E-R-I-E-N-C-I-E we lived, still floating and with the melodies in my head, with Marta’s voice resonating inside me, with the memories of a wonderful evening we never wanted to end — but which has only just begun. Because there will be more trains, more journeys, more versions, more wonderful live Music, because this Elton John Connection has so much to give and so much to offer. There are many hidden treasures that must come back into the light, to remind us of the immense legacy of an Elton who was once “a boy spending his pocket money in record shops,” together with that “brown dirt cowboy living in a farm village in northern England.” They fulfilled their dreams, conquered the world, and became eternal.

Thank you Marta Coloma, thank you girls, thank you guys. Yesterday, when I left your concert, I reaffirmed myself as an eltonite for another 40 years. See you in Barcelona in 2026 — if not before!

From Six Yellow Roses to The Elton John Connection: Marta Coloma’s Journey into Elton’s World

Marta Coloma is a Madrid-based singer who has successfully combined talent, sensitivity, and deep respect for Elton John’s legacy. In October 2024, she released her EP Six Yellow Roses, offering reinterpretations of classics from the 1970s and one track from the 1980s, bringing her own voice and style while preserving the essence of the original compositions. From the emotional subtlety of Goodbye to the intimate strength of Seasons, each song showcased the artistic vision of a performer who loves music and wants to share it with a broad audience.

In this interview, we talk with Marta about her beginnings, her connection with Elton John, the creative process behind her EP, and what fans can expect from her upcoming The Elton John Connection concert in Madrid.

Hola Marta, thank you very much for being here. Could you tell us, first, about your musical journey and what led you to become a performer?

As Kiki Dee would say, I had always had the music in me :) But it took a while for me to develop the belief that I could perform. I went to music school and took piano and choir lessons when I was little, and I had always loved singing, but at some point I started putting all my efforts into school, languages, and becoming a journalist, and just stopped seeing it as an option. I kept loving music and all things related to it — but it was just a hobby. At some point in my late 20s, I realized harnessing my voice and my performance spirit could help me heal. I enrolled in a gospel music school (something I had always dreamed of trying), and then all started to come into place. I joined a disco band, I auditioned for Coro Gospel de Madrid, and this sparked the realization that I could actually do it. I'm really glad I took that leap of faith.

And what does Elton John mean to you, both as an artist and as a person?

It all actually started because of him. Up until 2019, Elton John was just a beloved artist from my childhood soundtrack (my dad used to play his songs along with other artists from the era like Abba, Pink Floyd, Queen, or Stevie Wonder). Hits like I Guess That's Why They Call It The Blues, Crocodile Rock or Your Song were in heavy rotation when I was a child. I also remember being fascinated by the Passengers music video. 😃  But Elton was just another artist from that part of my life. When the Rocketman movie came out, it all changed (yes — I'm one of those who turned into an Eltonite thanks to the movie!). I'd been listening to Elton many times in my life but I never really took interest in his life story... and when I finally dived into it, I honestly felt understood. It moved me in ways that I didn't expect. As the ultra-curious person that I am, this unleashed a whole obsession: I read about his music, about his life, about his personal struggles, about his career path and artistry, and I listened to his discography in loop. I was so surprised to find out he was the whole package of what an artist should be: a rebellious, curious, funny, open to experimentation, gifted musician that also has a knack for supporting, mentoring, and collaborating with others. I found it so inspiring that he had been able to create such monumental work while struggling with his identity, family conflicts, and relationship issues. This led to interactions with other fans and more musical exploration. The world opened before me when I re-discovered Elton.

On your live project: how do you choose which songs to cover? Is there a story behind each selection?

For The Elton John Connection, I've made a point of straying away from the usual collection of hits that Elton himself is tired of playing. Some of them are present in the show, of course, but there are so many Elton tributes out there that I wanted to do something different. I didn't wanna impersonate Elton (not that I even could 🤣) or to play the songs everyone knows. One of the main goals was to uncover the hidden catalogue that most listeners haven't even heard of. There are so many hidden gems in the setlist that illustrate why Elton's work fascinated me for the first time, and I want to share that fascination with the audience. Since I am a storyteller myself, I decided to do this by following his personal story, mostly focusing on his career, which has been incredibly varied and surprising. The story I share in the show is also full of anecdotes and hilarious moments that speak about his character. To make the selection, I just followed the soundtrack that I think was more fitting with the episodes I wanted to highlight. There are hits in there, of course, but also so many deep tracks that fans will love to hear live, like Idol, Tell Me When The Whistle Blows or Healing Hands, since Elton hasn't played them for a long time. I'm incredibly excited to keep performing these songs, and to add more to the roster as the show's script evolves.

What technical or emotional challenges did you encounter while recording Six Yellow Roses?

Woof, that was a rough process! Six Yellow Roses was born because one of Elton's longest-standing fans, Bennett Zimmerman, really believed in me. When we met in LA for EJ's last North American show, he prepared a lovely fan evening with a show where a fantastic band, Flight of Voices, covered some deep favorites for us. He heard me sing and suggested that I select and record some. He thought Elton in a woman's voice that knew his catalogue inside out would be an intriguing project. But I was in Spain, he was in the US, and the American piano player and producer he wanted to enroll for the project, Adam Marsland, was in Cambodia at that time. So the biggest challenge was producing, recording, and mixing it all remotely. Second to that, it was also challenging to find the right key to transpose the songs to and find out what kind of adjustments and stylistic choices would suit my soprano voice more. It took a few months to put it all together, but in the end, we were happy with the result.

Can you tell us more about your band — who the musicians are and how you decide which instruments are part of your arrangements?

This might sound cheesy, but I feel that The Elton John Connection band is truly spectacular. I'm really grateful I could gather these musicians to make the project a reality. It was difficult at first, but through recommendations and references from other musicians in Madrid, I was able to put together a great band. Initially, I was worried about finding the right piano player — I studied piano but I don't have the expertise required to play these songs. The amazing Dan Vidal ended up becoming our lead at the keys and I couldn't be happier. Although I love the original Elton John band with Nigel, Dee, and Elton, I wanted to put together a full production, so apart from the bass (Bas Kisjes) and drums (Giancarlo Spirito), I added guitar (Pedro Chalkho/Miguel Tarzia) and a lovely set of back-up singers (Irene Cobián, Laura Guardiola and Julia Tapia), which also happen to be my dear friends from the gospel choir. That's the core band, but we're also adding other surprises along the way 😉 When I step on stage with them, I feel so lucky.

Elton John’s recordings are often associated with the legendary producer Gus Dudgeon and lyricists like Bernie Taupin, Tim Rice, and Gary Osborne. How do you connect with their contributions when interpreting Elton’s music?

It's so difficult to get close to the greatness of Elton's records. People are so used to hearing the studio tracks and live versions, so I've tried to give the songs my own flavor. Bernie's lyrical prowess is always highlighted in the renditions themselves and in the script. He's always telling magnificent stories and that itself creates a special atmosphere. Some of the earlier albums arranged by Paul Buckmaster are masterpieces, but I wasn't able to put together a string orchestra (yet 😆), so we've tried to make those more intimate and laid-back. In summary: you can't really replicate that sound, so my idea is to give it a twist while we honor the era and make people travel in time with us.

Great, precisely, do you have a favorite Elton John album, era, or band lineup that inspires you the most?

This is a hard one! Many fans will dispute this, but it's obvious that the 70s albums are the peak of the classic Elton sound. Tumbleweed Connection and Honky Chateâu are among my favorites. I'm also a huge advocate of albums that don't get as much attention, like Rock of The Westies or The Fox. I have to say though that, as much as Elton's early production was undoubtedly amazing, the 80s and 90s have so many hidden gems and some fans tend to be very harsh with their feedback. Regarding band lineups, the answer is easy: the original Elton John Band (as in 11-17-70 or Madman Shakes Tokyo! 1971) and the Elton+Ray duo from the A Single Man tour (that '79 Moscow concert is just hauntingly beautiful and includes my favorite version of Rocket Man ever).

From your perspective, what makes Elton John’s sound unique and enduring after all these years?

It's a combination of his natural ability at crafting impossibly catchy tunes and his rich musical references. Most Elton John songs sound like classics because they are: he appreciates music history and other trailblazers that came before him, and he isn't afraid of exploring different genres when he's writing songs. After all, he's a music fanatic. Pair that with his prodigious technical ability and perfect pitch, and add Bernie's evocative stories on top, and you've got a winning formula. He makes the difficult seem easy. I also appreciate that he's always trying new things and is open to experimenting. Other artists his age don't, and that's what really keeps creativity alive.

Do you have plans for more covers, collaborations, or upcoming projects related or not to Elton John?

With this project, I want to keep exploring Elton's catalogue and uncovering more deep tracks to the audience if there's an interest. I have a long list of songs I'd like to talk about and perform! And of course, I'd love to collaborate with other artists that revere his music as much as me. It's always fun to perform with other musicians that appreciate his catalogue. Apart from this, I'm gonna continue performing other genres I love, like 70s disco and gospel, and I'm opening up to the possibility of writing my own songs. I didn't imagine I'd be doing this four years ago, so who knows! But I definitely think there's more to explore moving forward.

Looking forward, what kind of music would you most like to explore and develop in the future?

As you can probably tell, I adore the music and artists from the 70s. I think it's such an inspiring era — one of the best decades in popular music so far. The rock, pop, disco, punk, soul, folk... artists were absolutely incredible back then, and the songwriting was really high quality. However, I enjoy and take inspiration from tons of contemporary musicians (Florence Welch and Rufus Wainwright are two of my absolute favorites), so I'm looking forward to open my horizons and get inspired to write my own music. For now, in terms of performance, I get such a kick from combining storytelling with live music, and I'd like to explore that formula further.

Speaking with Marta Coloma is a reminder of why Elton John’s music continues to inspire — because within his catalog, artists like her find space for discovery, reinvention, and sincere connection. Her approach is thoughtful and passionate, honoring the past while bringing her own voice to the forefront.

With Six Yellow Roses and The Elton John Connection, Marta shows that Elton’s repertoire still holds countless stories waiting to be told. Stories she delivers with honesty, warmth, and a genuine love for the music. It will be exciting to follow where her artistic journey leads next, and what new surprises she has in store for fans.

As our conversation comes to an end, it feels only fitting to close with the words of someone whose artistry Marta deeply admires. Shortly after hearing her interpretation of Grow Some Funk of Your Own, former Elton John band member Cidny Bullens sent her this heartfelt message — a note that reflects not only Marta’s talent, but the musical thread that connects artists across generations:

Marta: It is great to hear "Grow Some Funk..." revitalized by you. I wish you all the best in your career and life. Keep singing! We both know it is one thing that keeps us all connected. All the best. Cidny Bullens