Echoes of Mortality: Death in the Music of Elton John and Bernie Taupin

Death is a recurring and profound theme in the body of work created by Elton John and Bernie Taupin. Their songs often explore mortality not merely as an end, but as a lens through which to reflect on life itself. Through intimate storytelling and powerful melodies, they delve into loss, grief, and the fragility of human existence, inviting listeners to confront and contemplate these universal experiences.

The songs selected for this collection have been carefully chosen to represent the diverse ways Elton and Bernie approach death—from personal struggles and tragic loss to social commentary and existential reflection. The order of the songs is intentional, guiding the listener through a journey that moves from public tributes and historical reflections to intimate confessions and contemplations on mortality.

This progression not only highlights the depth and range of their work but also mirrors the complex emotions and stages we encounter when facing death—grief, remembrance, acceptance, and ultimately, understanding. Through this curated path, the collection reveals how death, in their music, serves as a powerful mirror reflecting the meaning and value of life.

With this framework in mind, we now present the selected songs that exemplify Elton John and Bernie Taupin’s exploration of death and its many facets. Each song is accompanied by its album and year of release, as well as a brief commentary highlighting its unique perspective on mortality.

The journey begins with public and historical tributes, moves through intimate personal reflections, and concludes with meditations on aging and the inevitability of death. This carefully structured sequence allows us to appreciate the depth and nuance of their work, revealing how their music transforms the theme of death into a profound reflection on life itself.

1. “Funeral for a Friend / Love Lies Bleeding” (1973, Goodbye Yellow Brick Road)
The medley opens Goodbye Yellow Brick Road with an instrumental imagining of a funeral, followed by heartfelt lyrics of loss and heartbreak. Elton conceived it as the music he’d want at his own funeral.

2. “Candle in the Wind” (1973, Goodbye Yellow Brick Road)

A tribute originally written for Marilyn Monroe, the song reflects on the tragedy of fame and the price paid by those in the spotlight. The lines:  “Even when you died / Oh, the press still hounded you / All the papers had to say / Was that Marilyn was found in the nude”  highlight the relentless and invasive nature of media attention even after death, emphasizing the vulnerability and objectification faced by the icon. The song mourns not just the loss of a life but also the cruelty that surrounds public figures, making it a poignant meditation on mortality and fame.

3. “Empty Garden (Hey Hey Johnny)” (1982, Jump Up!)
A tribute to John Lennon, reflecting on grief, absence, and the echoing void left behind. The empty garden becomes a powerful symbol of loss and memory. It also expresses Elton’s personal sense of loneliness and disbelief after Lennon’s death, underscoring the deep impact of losing a friend and cultural icon. The song is both a public tribute and a private lament, balancing collective mourning with intimate grief.

4. “The Last Song” (1992, The One)
A poignant narrative of a young man dying from AIDS and seeking reconciliation with his father. Bernie Taupin aimed to "thaw the intolerance of not understanding" through this story, making it a standout in Elton’s catalog. The added line: “Tonight we touched on the things that were never spoken / That kind of understanding sets me free” emphasizes the fragile, precious connection and the release that comes from finally expressing deep, long-suppressed emotions. It reflects the human need for closure and forgiveness, especially in the face of impending death.

5. “Song for Guy” (1978, A Single Man)
A minimalist piano instrumental dedicated to Guy Burchett, a young messenger boy who died tragically. Its understated, contemplative tone serves as a quiet elegy.

6. “American Triangle” (2001, Songs from the West Coast)

Inspired by the hate-driven murder of Matthew Shepard, touching on tragic death and intolerance. The line:  “Looks like a painting, that blue skyline / God hates fags where we come from”  lays bare the harsh realities of homophobia and hatred that led to Shepard’s brutal death. The juxtaposition of a peaceful, beautiful sky with the violent prejudices of society heightens the tragic irony and emphasizes the cruel environment surrounding the event. It’s a stark and painful reminder of the social attitudes that fuel such hate crimes.

7. “Blues Never Fade Away” (2006, The Captain & the Kid)

Reflects on living through tragedy and loss amid life’s hardships, using blues as a metaphor for enduring pain and sorrow. The line: “And how did we get so lucky? / Targets on the rifle range / Who makes the call and who gets to choose?” deepens the sense of chance and fortune amid tragedy, in a life marked by hardship and pain. The imagery of “targets on the rifle range” and the question of who makes the call about life and death highlight the vulnerability and uncertainty that accompany human suffering, offering a meditation on fate and responsibility in an unjust world.

8. “Talking Old Soldiers” (1970, Tumbleweed Connection)

One of the most devastating and lesser-known songs in the catalog. An old soldier talks to a young man in a pub, remembering dead comrades and the life that will never return. Death isn’t explicit, but absence and loneliness permeate everything. The line: “Well, it's time I moved off / But it's been great just listening to you / And I might even see ya next time I'm passing through” adds a layer of poignant farewell and fleeting connection. It captures the bittersweet moment of parting, reflecting the transient nature of relationships formed amidst loss and the hope, however fragile, of reconnecting in the future despite the ever-present shadow of mortality.

9. “Goodbye” (1971, Madman Across the Water)

 A brief, melancholic song that closes the album with a farewell that could be literal or symbolic. The final chord hangs suspended, like a life cut off mid-phrase. The lyric: “Just turn back a page / I'll waste away” deepens the sense of inevitable decline and resignation. It evokes the slow fading of life, memory, or perhaps a relationship, underscoring the theme of loss with a quiet, haunting sadness.

10. “Ticking” (1974, Caribou)
Based on a real shooting story. The protagonist, an outcast with mental illness, kills several people before dying. A harsh reflection on tragedy, violence, and senseless death. The lyric: “But they pumped you full of rifle shells as you stepped out the door / Oh you danced in death like a marionette on the vengeance of the law” vividly captures the tragic and violent climax, portraying the protagonist’s helplessness and the cold, mechanical nature of death. The image of dancing like a marionette underscores the loss of control and inevitability of fate in this grim scenario.

11. “All the Nasties” (1971, Madman Across the Water)
A melancholic and religious piece with an almost funeral-like choir. It deals with guilt, redemption, and the judgment that may come after death. The lyric: “Help them understand / That a full-blooded city boy / Is now a full-blooded city man” suggests a passage from innocence to experience, possibly hinting at personal growth or societal expectations. It may reflect the internal struggle of coming to terms with oneself amid external judgment and the consequences of past actions, fitting into the song’s themes of redemption and moral reckoning.

12. “Have Mercy on the Criminal” (1973, Don’t Shoot Me I’m Only the Piano Player)
A song with echoes of a death sentence. The fugitive’s flight could be a metaphor for imminent death, with a very cinematic tone. The lyric: “Now have you ever seen the white teeth gleam / While you lie on a cold damp ground / You're taking in the face of a rifle butt / While the wardens hold you down” evokes a vivid, harsh image of violence and captivity, emphasizing the desperation and brutality faced by the fugitive. The tension and sense of impending doom create a powerful narrative of struggle against inevitable punishment.

13. “Lady Samantha” (1969, Single)
The lyrics tell of a mysterious woman who appears suddenly and disappears just as fast, while the community watches but does nothing. Some critics interpret it as an allegory of death or a woman who decides to commit suicide or flee the world. Not explicit but surrounded by mystery, disappearance, and loss. The lyric: “Lady Samantha glides over the hills / In a long satin dress that she wears every day / Her home is the hillside, her bed is the grave” enhances the haunting, ethereal quality of the song. The imagery of gliding over hills in a satin dress suggests an almost spectral presence, while “her bed is the grave” underlines the theme of death or escape from life, reinforcing the song’s somber, enigmatic mood.

14. “I Think I’m Going to Kill Myself” (1972, Honky Château)
Mixes an extremely serious topic—suicide—with an ironic, almost playful presentation. The light, almost circus-like tone contrasts with the gravity of the title and theme. The song seems a critique of adolescent hedonism and narcissism but also talks about a fantasy of death as a reaction to emotional emptiness. The lyric: “I think I'm gonna kill myself / Cause a little suicide / Stick around for a couple of days / What a scandal if I died on” captures this ironic tension perfectly. It conveys a flippant, almost mischievous attitude toward suicide, highlighting the youthful dramatics and the performative aspect of self-destruction fantasies, while also hinting at the seriousness beneath the surface.

15. “Someone’s Final Song” (1976, Blue Moves)
An intimate and compassionate ballad where the narrator sings for someone who has just died—without knowing who they were. It’s a simple, sober tribute, almost like a secular mass for someone forgotten. The lyric: “I've gathered dust / Like the dying flowers / And I've drunk myself sober / After hours and hours” evokes a profound sense of weariness and mourning. It paints a picture of emotional exhaustion and the quiet rituals of grief, deepening the song’s atmosphere of somber reflection and gentle remembrance.

16. “The Man Who Never Died” (1985, B-side of Nikita)
An elegant and serene tribute to John Lennon. Mostly instrumental, the title speaks for itself: death does not erase the presence or impact of someone like Lennon. Unlike “Empty Garden,” which expresses sadness and incomprehension, here Elton seems to offer a moment of calm and transcendence.

17. “Emily” (1992, The One)
A soft, nostalgic ballad about a woman who has died, buried and forgotten by the world but remembered by the narrator. It’s a meditation on oblivion, memory, and the value of those lives that go unnoticed. The lyric: “In a cage sits a gold canary / By a wicker chair and a rosewood loom / As a soul ascends aboard the evening / Canary sings to an empty room” evokes a haunting image of loneliness and quiet departure. The canary’s song to an empty room symbolizes remembrance in solitude, underscoring the theme of isolation after death and the fading echoes of a life once lived.

18. “Someone Saved My Life Tonight” (1975, Captain Fantastic and the Brown Dirt Cowboy)
A deeply personal song about Elton’s struggle with his sexuality and a suicide attempt. It speaks candidly about salvation and survival, reflecting on how someone’s intervention saved him from death. The lyric: “I never realized the passin' hours of evening showers / A slip noose hangin' in my darkest dreams” reveals the depth of Elton’s despair and the lurking presence of suicidal thoughts. The metaphor of a noose “hanging” in his darkest dreams poignantly captures the gravity of his crisis and the fragile line between life and death that he struggled to navigate.

19. “When this Old World Is Done With Me” (2021, Who Believes in Angels?)
From his latest album, written with Bernie Taupin and Brandi Carlile. Elton revealed the song deeply moved him, and he broke down for about 45 minutes during writing. The chorus speaks candidly about his own mortality: “To be broken up in pieces / Scatter me among the stars / When this old world is done with me / When I close my eyes / Release me like an ocean wave / Return me to the tide” These lines express a profound surrender to the inevitable cycle of life and death, asking for a peaceful return to nature and the cosmos. It reflects a tender acceptance of mortality, embracing dissolution as a form of liberation and continuation beyond the self.

20. “Sixty Years On” (1970, Elton John)
A haunting reflection on aging, loss, and the passage of time. It contemplates the inevitable approach of death and the loneliness of looking back on life. “And the future you're giving me holds nothing for a gun / I've no wish to be living sixty years on” These lines convey a profound sense of despair and resignation toward a future that feels bleak and threatening. The lyric expresses a wish to escape prolonged suffering or stagnation, highlighting the emotional weight of confronting mortality and the loss of hope.

In conclusion, studying Elton John and Bernie Taupin’s treatment of death has shown how deeply and thoughtfully they explore this universal theme. Their songs transform death from an end into a reflection on life, grief, memory, and acceptance.

This collection reveals a journey through diverse emotions—from public tribute to intimate confession—offering insight and compassion. Ultimately, their music teaches us that facing death helps us understand and value life more deeply. Specially when it comes from Bernie’s lyrics…

Picture Created and Courtesy of Júlia, 11 years old

An Interview with the Interviewer

As someone who usually tells stories and shares perspectives through my own space, it felt both strange and exciting to suddenly find myself on the other side of the conversation. This time, I was the one being interviewed by Robson Vianna for Elton John’s Pics—a blog that has become an essential stop for anyone interested in Elton John’s career.

Robson Vianna is a passionate music journalist and curator, known for his insightful coverage of Elton John’s career on Elton John’s Pics. A devoted fan since 1973, Robson has dedicated decades to exploring Elton’s music, performances, and legacy. He shares digital recordings, photographs, and historical documents, often highlighting rare or little-known moments from Elton’s career. Beyond collecting and archiving, Robson is committed to preserving musical history, restoring rare interviews and live performances, and making them accessible to fans worldwide. He collaborates with other enthusiasts through various projects on platforms like YouTube and AllMyLinks, creating spaces where memories, stories, and perspectives converge.

Currently, Robson is working on “The Illustrated Elton John Timeline”, a project that provides a chronological and illustrated overview of Elton’s career, covering tours, albums, media appearances, and significant events. He also continues to animate and share iconic photographs of Elton, bringing legendary images to life and preserving the artist’s rich history for fans around the world.

His deep knowledge of Elton’s work, combined with his dedication to the fan community, has made him a respected figure among collectors, historians, and devoted fans alike.

During our conversation, Robson and I explored the Eltonjohnallsongslist blog’s journey, from its beginnings as a simple passion project to its growth into a central hub for fans worldwide. We discussed some of the most memorable and rare songs and recordings featured on the site, the stories behind their discovery, and the personal significance they hold. I reflected on the incredible fan community, sharing moments when people connected over memories, rare collectibles, and personal anecdotes related to Elton’s career. One of the most fascinating aspects we discussed was how collaborations with other fans often uncover unexpected stories and deepen connections within the community. We also touched on the joys and challenges of maintaining the blog while keeping it a trusted and engaging space for everyone involved.

That's on:

Elton John Pictures: An Essential Blog on Elton John’s Career: A Conversation with Miguel Sala of Elton John All Songs List

One of the most emotional parts of our discussion was remembering those we have lost: Bob Birch, Guy Babylon, and Paul Buckmaster—musicians and collaborators whose work and friendship left a lasting mark on Elton’s music and on my blog itself. There was a section on called “Interview with the Idols” where I had the chance to do interviews with various people related to Elton, and I have so many memories from those conversations. The last one was an unfinished interview with Paul Buckmaster—his passing shocked me deeply. He was a great person and always so kind to me. We went through his origins, his influences… Other painful and heartfelt losses were those of Bob Birch and Guy Babylon, both of whom had contributed to my blog. Birch, for instance, once told me how much he admired the work of the late Dee Murray.

Looking ahead, I shared with Robson my excitement about the Eltonjohnallsongslist blog’s future. Plans include new segments, more interaction with the Eltonites, and a stronger focus on collecting and preserving rare Elton-related items in the Re-collecting section. The blog will also continue to highlight talented musicians who have worked with Elton and Bernie, through the Interview with the Idols section, and follow the Adventures of Jack Rabbit series to explore and share unique stories. Beyond these, I have a feeling that something significant is emerging with Elton John, and while I’m taking it step by step, I’m confident that exciting surprises are yet to come. Above all, I remain deeply grateful for the connections, stories, and trust of all those who have collaborated with the blog—without them, none of this would be possible.

The conversation allowed me to revisit my blog’s milestones, consider its future direction, and appreciate the generosity and passion of the Elton fan family—how connections grow naturally, and how stories gain depth when shared. Being in conversation with Robson reminded me that interviews are never just about questions and answers—they are about connection, perspective, and the chance to see your own work through someone else’s eyes. That’s what made this moment truly special: an interview with the interviewer, and an opportunity to tell my story in a new light.

Unforgettable People (LII): Martin Tillman

"On the show, a very special guest. From Zurich, Switzerland. On cello, an incredible musician... Mr. Martin Tillman!!!" Elton proudly said on the 60th Anniversary special concert. Davey Johnstone explained he met Tillman "working on a movie score (An Everlasting Piece movie, by Barry Levinson) with Hans Zimmer in 2000, I used him (Martin) on Elton's 60th at MSG, on Nigel Olsson's solo japanese album that I produced with Guy Babylon" while adding "He is a dear friend and amazing musician". No discussion. In fact, this talented musician is considered the creator of a revolutionary sound by extending the traditional boundaries of the cello. He has also established himself in the motion picture and recording world as one of the most sought after talents of experimental acoustic and electric cello. Tillman, also has credits on "Peachtree Road", Elton's 2004 self produced album.

"To be asked to be a special musical guest for his 60ties birthday was incredible. Madison gardens was an unforgettable moment" reminds Tillman. Sure it was. Since arriving in US in 1988, he developed his studies with the internationally celebrated cellist, Lynn Harrell, receiving his Masters Degree in Performance from the University of Southern California, in 1989. Harrell, for the ones doesn't know, is one of the world's finest cellists, a live legend at the Aspen Music Festival, where he has spent his summers performing and teaching for nearly 50 years. He is also the recipient of numerous awards including the Piatigorsky Award, and the Ford Foundation Concert Artists' Award. "He was the best teacher with the the most amazing sound!" added Tillman.

In his career, Tillman has collaborated with other rellevant and well known musicians related to Elton: James Newton-Howard and Hans Zimmer. Precisely, about his skills, Zimmer explained the challenge, for the soundtrack "The Dark Knight", to represent The Joker character by an only single note played on the cello: "You know within one note that it’s him. I really wanted to do the whole thing just with one note". Only one could get it: Martin Tillman, the one "who’s studied his whole life to make a gorgeous sound out of the cello". This is one of the most fruitful collaborations started when he recorded with Hans Zimmer on the Tony Scott movie The Fan. Since then, Tillman has been given the chance to compose and perform for scores such as the last three Batman movies, Total Recall, Bullet to the Head, The Oscars 2012, Life in a Day, Cowboys and Aliens, Angels and Demons, Prince of Persia, Pirates of the Caribbean 1-4, Black Hawk Down, Da Vinci code, The Pledge, Everlasting Piece, Mission Impossible 2, Hannibal, The Ring parts one and two… the list is endless.

"Martin Tillman is quite simply the most gifted musician I have ever had the privileged to record with. In our recordings his extraordinary performances elevated my music I only heard in my dreams..." explained to AllSongsList the greatest Michael Hoppe when he was asked to collaborate on the Weekend.  Tillman performed cello solos on The Poet, composed by Michael Hoppe, and Afterglow composed and performed by Michael Hoppe, Tim Wheater, plus Tillman. "Martin is in a class by himself" concludes. Also Adam Chester agreed to collaborate on the weekend, explaining: "He's a joy to work with. We've done some composing in the studio for a movie that didn't come to be. But the music we wrote is very special and I hope to find a home for it one day", and adds near this: "Well, If I may paraphrase a lyric from a song by America, "No Oz never did give nothing to Mar-tin man, that he didn't, didn't already have." Martin is a not only a whiz at playing cello. He's a beautiful soul who's cello merely manifests what he feels inside. Does that make sense? Corny, I'm sure, but I love that guy. I love Eva too!" The wonderful Eva Tillman, apart from being Martin's wife, helps on the website and social networks.

Tillman has been invited to perform with many renowned recording artists including, apart from Elton John, Sting, T Bone Burnett, Alison Krauss, Elvis Costello, Beck, BB King, Air Supply and Tracy Chapman, among many others. Asking about Elton, he says: "I had several chances to meet him (Elton). In the studio recording strings .... I believe it was in Hollywood. I am surprised at his incredible power on stage ..... unstoppable". Oh, and if you had to choose one of Elton's songs, what do you said? My favourite Elton's track? "Levon".

Davey Johnstone, Elton's guitarrist and musical director, remarks "Martin is a phenomenal player and a very spiritual guy" while explaining they met each other "We had lunch in Malibu a few weeks ago and he gave me a few CDs of Superhuman. It's rocking!". Tillman has been focusing his creative energy on his own compositions and recording projects, and the result is his last cd, Superhuman, dedicated to Eva "to the love of my life". Previous albums by Martin Tillman were Eastern Twin (Rounders) and Cinematic Volunteer composed and produced by Martin Tillman and Tom Vedvik. His previous solo Cd was a very well received solo cello/piano album “A Year in Zurich” in where he both performs cello and piano.

Currently, he is planning some fun shows next year, in Europe, with the Superhuman Band, 30 cellos, and a multimedia show with a ballerina and a breakdancer. Other formats of the show are available with just a five piece rock band, with the inclusion of beautiful soul voices and dancers or solo with a DJ, for all kind of venues. Entertainment is guaranteed.

More info:

official website www.martintillmanmusic.com
on twitter @martincello
on instagram martin_tillman
on facebook martintillmanmusic

Special agreement to Adam Chester and Michael Hoppe who agreed to collaborate on the weekend. Yours are very touchful words for a genious we all love. Thanks for being here (Miquel)

Credits:
Photo by Dennis Mukai
Also:http://www.kcrw.com/music/shows/morning-becomes-eclectic/hans-zimmer-and-james-newton-howard

"Its like Elton John songs are not something we discovered, it is music we have always known". The Katy Rose Day

When I was thinking about this interview, I was looking for someone who knew so much Kim Bullard, including from a personal point of view, and also someone who could excited my honored guest. So I thought about the fabulous Katy Rose, his daughter. She is someone who could be so interesting for you, eltonites. Born on 27th January, 1987, Kathryn Rosemary Bullard was born to a night club and back-up singer, Cecelia Gisiger, and, as I said, musician father, Kim Bullard. The music has been always present in her life: "My grandmother, his (Kim's) mother, was always very musically inclined. She was a harp dealer and made sure each one of her kids made music a top priority", said Katy to allsongslist in 2009.

Katy is one of those singers who doesn't leave you indifferent. Her music styles vary from indie rock, electro pop, grunge, pop, lounge music and even techno, and also, she's an actress. Kim Bullard was precisely the producer and engineer of Katy's debut 2004 album "Because I can", a collection of songs about a teenage wasteland. Sometimes funny, sometimes sarcastic, "I am such an open book" she explained. The album was a huge success not only in the States, but the rest of the world, entering in music charts from France, South Africa, Japan and New Zealand. We find there treasures like "Lemon", "Overdrive" of course; but also "Catch my fall", with lines like: "I'll cry just a little bit longer / And I'll stay two seconds more / And I'll try to be stronger / And I'll see if you catch my fall or " or "I keep on dreamin because I can even though my eyes don't close / I keep on trippin because its free to a place I only know", from "Because I Can". Eltonites, Billy Trudel was backing vocalist there, along with Timothy B. Schmit. Her second album, "Candy Eyed", 2007, it was released more than three years after her debut album, and on an independent record label River Jones Music. Katy also appeared on two successful movie soundtracks: Mean Girls ("Overdrive") and Thirteen ("Lemon").  "My career has been crazy and he has been with me every step of the way" argumented Katy. Some tried to compare with Avril Lavigne, but she's Katy Rose in big letters, without comparison.So, today is dedicated to her, to the greatest Katy Rose.

Katy, welcome to the week of Kim Bullard. And also welcome to the Katy Rose Day, your day. Well, let's start. I've always love to began asking for my guest childhood. Everybody likes to explain a bit about their childhood and it's nice to do. In your case, how it was to grow up in California and how hard was the experience of being always on the road, for your parents jobs?

Hello, Miguel! Oh, wow, good question…where do i begin? Well, when you’re a child, you really don’t know anything is different about your life or family because you haven’t yet had the chance to cultivate that point of reference. I don’t think it’s really until you become a young teenager that you start to compare yourself to others. I definitely never felt cooler or more special than my friends and classmates.  I missed my parents tremendously when they were on the road and I was in school, but I did get to travel extensively because of their jobs, and because they believed in travel as education.  Growing up in Los Angeles,  a family like mine was completely normal.  To me, because of the way I grew up and where, celebrities and artists were just normal people. For example, my best friends growing up were best friends with the Olsen Twins.  I used to come home from school and find people like Alanis Morissette, Eddie Money, Olivia Newton John and Weird Al Yankovik in my kitchen. I mean, I didn’t have the experience of growing up anywhere but Los Angeles, or with a different family… so it was very normal to me! I feel very lucky to have grown up around creative people and to have had parents that nurtured us in an artistic environment. Many creative people don’t give themselves permission to be artists because they never had the kind of support my sister and I have had.  

Since you brought it up,  looking back with a more rounded perspective, I can see that my childhood was unusual. While most kids in America were going to the lake or the beach on vacation, I was going on the road with The Grateful Dead and Crosby, Stills, and Nash on their stadium tour.  One of the ways I got to play as a kid was to get on stage and sing “Teach Your Children” with Graham Nash and sing “Feeling Groovy” with Art Garfunkel.  If I had to sum it up, I would say we had a normal childhood… but  with some very different experiences!

I read one of your childhood dreams was being a ballerina and because of an accident, you injured your leg in three parts, you had to quit. That led you into depression. Some dark lyrics of "Because I Can" shows that experience. "I Like", from the album, demonstrates this point, as the simplistic opening line of "I wanna live before I die". Where do you found the energy to go ahead?

Yes. That’s true. My dream always was to be a ballerina. Now my sister is actually a beautiful dancer, though! I don’t think the fact that I have absolutely struggled with depression should be a secret. Far too many people suffer in silence and are ashamed. I’ve been fortunate in that I have always had music as an outlet for the darker times. Even so, I still had to go through them. I do hope, though, that in taking risks with honesty through my lyric writing, I have become the type of artist people can relate to. The only thing that makes art ART is the action of evoking emotion in someone else. Even if through my lyrics I have helped one person be honest with themselves and not be ashamed by their dark parts, then I have done my job. We all have light and dark. I don’t think that it’s healthy to deny that. After all, you cannot appreciate the light times without acknowledging the dark. As far dancing is concerned, I do still dance! I dance every chance I can get, and I’ve also channeled that drive to move emotion through my body in my yoga practice. 

When was the moment you finally felt like you'd really made it as a singer?

I don't know that I’ve had that moment yet!! I mean, the music business (especially today) is so hard. We are all it because we love it, so even getting the smallest amount of recognition is “making it as a singer” to me.  What I think you are referring to was the time period where I was on MTV a lot, and was hearing myself on the radio quite a bit. I’ll never forget how uncomfortable I was seeing a huge building in Roppongi, Japan that had my picture plastered to the side of it.  It was exciting and nauseating at the same time, but seeing it gave me a feeling that maybe I had made some kind of mark.  

The simple fact that after 11 years people are still listening to my music and following my career is a sign to me that I am making it. I hope to still “make it” for many more years. 

Katy, how your songwriting process works?

My songwriting process differs every time.  Generally speaking, I seem to always have a plethora of lyrics lying around. I write some things 100% on my own (on guitar or keyboard), but I do prefer to collaborate with people. It’s just more fun that way! It’s nice to have an extra perspective when creating something. I love the collaborative process. I learn so much from other writers. Everyone has their own process. Most people make their friends at school or work. You could say that about songwriting for me… that’s my work, and most of my friends have come this way.  For example, after my first record was released, a sweet and amazingly talented girl named Skylar Grey approached me to do a co-write. She became a close friend and we made a lot of great songs together that I should release one day. It’s been an enormous pleasure for me to watch her career explode as a writer.  This business is so insane. Just a few years ago, she was couch surfing in my living room and then one month later she had a number one hit with Eminem.  I mean, that’s really a perfect example of how volatile this business is.

About like you to ask about your music influences and inspiration when it came to mind an interview you did with Kiya on rockpulse website when you said "I am the biggest music snob you will ever meet" what makes me smile. You was explaining you captured everything since music to films. Is that so?

I suppose I am music snob. I definitely do not mean that in bad way! I just have never been someone who likes a song just because a radio station is telling me I’m supposed to. I am and always have been a true music fan. Music drives my life. I am always on the hunt for new music and interesting new artists. I used to spend  hours at used record stores, searching for new artists to inspire me. I think a lot of people either don’t care that much or are just lazy when it comes to listening to music. They’ll just listen to whatever is on the radio, and they’ll like it because it’s catchy or has a driving kick drum. I’m not saying that’s wrong, and I totally get that. I’m just saying that there’s so much more out there. It’s so much easier today to listen to and find good music, so there is no excuse.  Also, it blows my mind when younger producers or artists I’ve worked with don’t have any idea about “older” music.  To me, we are creating art. Even if you aren’t a fan of neoclassical painting, you should still be well versed on some of the driving pioneers in the older styles of painting if you are trying to be a visual artist. The same should be for music too. In regards to my influences, mine are vast! I am influenced and inspired by every bit of life… the broken and the glorious! My musical influences run the spectrum from DeBussy to The Velvet Underground and Nico to Leonard Cohen to Kate Bush to Patti Smith to PJ Harvey and even Robyn. A huge influence to me in my early days of writing was Fiona Apple. When she was already a huge star and I was just getting signed, she used to sit in and sing at Largo in Hollywood. I met her there and we became fast friends, having a lot in common. She seemed to intuitively know me, as we were cut from the same cloth in many ways.  One night I was totally melting down and called her, feeling that she was the only one who would probably understand. Within moments, she had left her own recording session, drove out to my house, sat with me in my studio, and just listened to music with me. I was so moved by that gesture, how she really showed up and was there for me. I’ll never forget that. She’ll always be one of my greatest influences and favorite people. 

So, you have two albums out, the celebrated "Because I Can" (2004) and "Candy Eyed" (2007). It was said to release an album in 2009 titled "Tangled But True". Both albums came in such difficult moments of your life, as we explained before. How do you value the experience on the recording of those albums, it was a kind of therapy for you?

Yes. Of course. I have a lot of existential anxiety, and music certainly soothes that. Music is therapy! Writing has always been the most healing  action I take. Artists generally feel things very intensely and use their work to bring those heavy emotions and aching sensations into something tangible and relatable. All that makes art art is the triggering of some kind of emotion in another person. Therefore, you need a hefty amount of emotion back-logged to create said art in the first place. I’ve never been wanting for intense feelings!! haha. Most of the time (fortunately or unfortunately... however you look at it) the work I'm most proud of comes from what I've felt were my greatest tragedies. 

I saw pictures that showed you on the red carpet at the movie premier for Mean Girls, and that you and your band performed at the party while Lindsay Lohan, Rachel McAdams, Amanda Seyfried, and Lizzie Caplan were all dancing.  There was probably a lot of things happening at this time for you.. but did you know that it was a special night? or was this just another show for you?

That question brings up a lot of thoughts… When things are heated up around your career, and you are really young, it's a lot to handle. There are a lot of things pulling at you. It is intoxicating, and you rely on people around you to not be intoxicated with it so you can have balance. It’s a big problem if the parent who is looking after you is also very intoxicated with the whole thing. It can easily spin out-of-control. I don’t really know what happened on the inside world of Lindsay Lohan, but it seems like that’s what happened. Her parents were as intoxicated as Lindsay was with her career. Then, they forgot to be parents. Maybe that sounds harsh, but you see that scenario happen in LA all the time.

When you have a song on the charts and you're on MTV and so on, there are a lot of hangers on that want a piece of it too. I never cared too much at all about going to the hip places, but other people certainly did. The way that they got in would be to bring me along as their entree into cool clubs. I thought it was all really boring and vapid, but I was also really young and naive and was maybe desperate for friends ( having lived a slightly different life that left me feeling sort of isolated).  I would see Lindsey out and about and we would say hello to each other. She was going in a million different directions, so we did not really develop a tight friendship.   I have not thought of that night in a long time… lets see, Amanda Seigfried was also at the "Mean Girls" premiere, of course. She is good friends with my friend Nikki Reed.  She was there with her mother and is a super nice girl. I've really enjoyed watching her career take off because she's a good person. Rachel McAdams was, naturally, also there. She is probably about 5 years older than me, and I remember being in awe of her beauty. I love her work! Jason Mraz was randomly there, and since we were friends from doing TRL together, we both went out with some people afterwards and did karaoke. Talk about the best karaoke singer ever! seriously… he is amazing.  I didn't hang with Lizzie Kaplan much that night, but she was a kid from LA as well. I love watching her on "Masters of Sex" now.  She is such a good actress. These kids were a little bit older than I was, but I kind of felt like it was just a bunch of LA kids making a movie and having fun. I don't think any of us expected it to be such a cult classic! That whole event was fun, and we all laughed until we cried watching the movie for the first time.  It’s hard not to love Tina Fey! I think we all wanted to be a part of "Mean Girls" just so we could be a part of something Tina Fey touched.  Yeah, looking back it was a special night… thanks for reminding me of that!

"I've been a Katy Rose fan since I was a kid, it is kinda surreal that I'm playing music with her now. I'm always interested in how Katy Rose sees the world. She is and will forever be one of the fresh voices of music". Those words are from my first guest on the interview,  Fiona Grey, who's second EP "Belladonna" impressed me so much for its quality. She became an ASCAP member at age seven and joined you on some recent shows. So next question is from her to you, Katy:

How your music has evolved in the past 10 years? And how your growing up has inspired your music?

I definitely feel more fulfilled by the music I’m making now. I think that comes from growing up, doing work, and understanding who am much more than I did ten years ago. I am much more secure and feel so much stronger in who I am spiritually and emotionally, that I think i can put a lot more of myself into my music and feel proud of it. With age, too, comes a myriad of experience that you can’t buy or make up. It makes my songwriting more authentic. I do think young people sometimes make some of the most raw art because they haven’t yet gotten a grip on managing their impulsivity and intense emotion. I think with getting older, too, we start to get less fearless with that expression. We start to understand our own mortality and get stuck on how much there is to lose. I know when I was a teenager, I felt like I had nothing to lose and could do or say whatever I wanted.  There is something kind of strangely beautiful in that youthful, reckless abandon. I am a different person than I was ten years ago, but i am also the same person… if that makes any sense. I’d like to think there’s still pieces of my teenage self with a bit more depth and polish in my music today.

Thanks Fiona, I appreciated so much your collaboration. Fiona Grey, a nineteen year old indie pop artist currently living in Los Angeles. She has been performing and writing music for over 10 years. In March, 2013, she released her first EP,“Striped Heart," a six song set of original songs which reflects both the edgy modern rock side of her music as well as her introspective lyrics and playful melodies. She also worked with a band “KITTEN” and toured on their North American tour for 6 weeks. Performing with artists such as Charli XCX, Foals and Liz. 

Well, Jack Rabbit, go on with your interview: Yes, music industry changes so much today. Radio doesn't play rock songs so much, it seems all is very pop and dance. Digital age changes everything. That's so difficult to move in this world and to get your products out. What's your experience? How do you manage to do that?

Yes. The music industry has changed so much, but- honestly- it’s always been really hard to get your music out. I’m examining ways right now to get my new music out. I don’t necessarily think it's any harder, I think it’s more about understanding this new format. Music continually evolves. That is why it is always so interesting. I mean, the Beatles evolved from what was essentially a boy band, into arguably the most influential band in history, and they did in about 5 years.  Its mind-blowing to think about the evolution of pop music during that time period. Yes, it is too bad that radio is still so powerful, and that to get the widest audience, you need to be on the radio. No matter what any artist says, they want to reach as many people as possible. But there are a lot of smaller niche artists that do well outside of radio. They find their audience somehow.  Like I said before,  success to me is just reaching one person. 

Kim Bullard was so important in composing and producing your albums. And he's my guest on the Week Of... Kim Bullard. "Being his daughter has definetly molded me into the artist I am today". So no one like you to explain us how's Kim Bullard as a musician and his importance in your music career?

Making music together was a way that we hung out as father and daughter when I was growing up… he would play stuff on the keyboard, and I would be on a mic in the studio making up songs.  Therefore, us “working’ together as we do now, is just an extension of what we have always done.  Of course things got more serious when a tape of some of my songs ended up getting passed around, and there was a couple of record deals on the table. As much as he tried to keep it fun and playful, things definitely heated up.
You asked me to specifically talk about KB as a musician. Well, he definitely works hard… maybe too hard.  He spreads himself thin, and really puts a lot into whatever project he is working on.  He does too many jobs, but I kind of think that's admirable at the same time. He gets really obsessive and kind of lost in his work when he is producing something. If you walk in while he is working he jumps like he saw a ghost! It’s pretty funny, actually. We all laugh about it. 

What could you share about Kim Bullard's work being an Elton John band member, now?

You probably know more about my dad’s work with Elton than I do! I never see him because he’s on the road with Elton all the time!

Have you ever been an Elton fan? Remember the first time you heard Elton’s music and what moves you to buy his music, in that case?

Well, I used to be obsessed with the film, “Almost Famous.” In high school, people called me Penny Lane ( probably because of my hair. haha. ). “Tiny Dancer” was basically the theme song of that movie, so - like every other girl ever- I felt like “Tiny Dancer” was my song. I don’t think kids of my generation are even aware of the FIRST time they hear Elton’s songs because they have heard them their whole life..  His songs are woven into the fabric of their very being. Even though we didn’t even know it was Elton John, you know the songs, because they are played everywhere… in restaurants, in TV shows, on oldies stations.  Its like Elton John songs are not something we discovered, it is music we have always known. 

Apart from music, which are your interests? What do you like to do in your free time?

As a former dancer, i love to move my body. I love to go out dancing, and I love a good spin class. I am also 500 hour certified in yoga, so I’m obviously very interested in yoga and the healing arts. I love health food and raw juicing. I am a huge history nerd, so I am never without a historical fiction book in hand. I like supporting my musician friends in Los Angeles and seeing their shows. I enjoy hiking in the California canyons. I love photography and visual art and want to take more classes. Mostly, I love traveling. If I could just play live shows, make music, and travel every day for the rest of my life, I would be so happy! 

Could you explain a little bit about your future projects, please, Katy? And what would you like the future to have in store for you? So excited to see a new album by you out very soon.

I am so excited about releasing a new album this year. I’ve been back and forth from LA to Scandinavia for a  couple years now, and cannot wait to share what I’ve been up to! This is an exciting time!

Would you want to add some observation or suggestion, or something you want to say to the eltonites?

I hear from all the guys in the Elton band that the Elton fans are just the sweetest and kindest people. If any of you Elton fans see my dad out there, tell him to call me! haha. 

Hahahaha I will, sure!!! Well Katy, I am absolutely delighted to have you here on the Katy Rose Day, and on the Kim Bullard Week. I am sure eltonites and your father enjoyed your touching and amazing interview you delivered. You are a very interesting artist and a wonderful and marvellous person. Coulndt wait to buy you cd when comes out. Thanks so much for being there. You are one of a kind. Oh, before you go, please, there's some other people you know that want to tell you something:

"Well first of all I have known and been friends with Kim way longer then anyone else in the band. And I have known Katy since she was a little girl bouncing on her daddies knee while we were in the studio recording. I was so excited to see her grow from a young little girl to this amazing songwriter and singer. It made me very happy, when I was asked to sing the backing vocals on her record. It felt like passing the torch from one generation to the next. I have a lot of love for the Bullard's, Kim Cece, Maddy and Katy!!!! Big hugs to all of you". (Bill Trudel, singer, songwriter, producer. He was part of the Elton John Band as his primary backup vocalist in 1997 until 2000.Writer and producer of new talents, he co-owns a few on-line companies e-appointcards.com and Smaktones.com.  )

"When I first met Katy Rose, she caught me off guard. Through the warmth of her smile and her sweet Aquarian eyes, I got an immediate sense of her strength. The same is true of her music. It may look, sound and act like pop, but there is a beautiful jeering quality about it, a kind of clever sincerity. You can hear this in her voice and lyrics, that unavoidable finger-pointing clarity. She's so immediate and personal with her delivery that it transcends all the hallmarks of popular music, it even cracks open the imagery she uses in her songs. When she says she's "California," you absolutely believe her. I am so blessed to know her as a friend and performer and I can hardly wait to hear what she's got in store for us next". (MRK, Madison René Knapp is MRK, an experimental alternative dream pop rock band. Her tunes use electronic palates to create indie-rock influenced, bombastic theatrical anthems that sing with levity and creativity while always keeping sinister undertones simmering in the undertow. Her debut video, for "River of Blood," captures what she's all about - The ugly and the beautiful all in one, harmonizing in a cacophony that will not be ignored.)

Thanks to all of you, Bill, MRK. I really appreciate you have been here to Katy Rose Day. 

Pictures courtesy of Katy Rose

Videos by Katy Rose:

Overdrive
I Like
Because I Can

Videos by Fiona Grey:

Beauty Queen

Videos by Bill Trudel:

Crimes Of Passion

Videos by MRK:

River Of Blood