Book excerpt: Elton John's early music resonated with LGBTQ audiences

Barry Walters' new book, "Mighty Real: A History of LGBTQ Music, 1969-2000," delves into the profound influence of LGBTQ individuals on the reshaping of late 20th-century pop culture. The work, published by Viking, examines how songwriters, musicians, executives, and fans within the community moved queer messages from the coded to the explicit.

An excerpt focusing on Elton John highlights his early career, where a deliberate avoidance of personal disclosure and a muted visual presentation contrasted with his later flamboyant persona. While his initial music, often described as "earth-toned," rarely delved into autobiography, lyricist Bernie Taupin's rich narratives and producer Gus Dudgeon's symphonic arrangements created immersive worlds. These compositions, delivered with "surreal levels of feeling," made the imagined realities compellingly real for listeners.

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It's a little bit funny, this feeling inside/I'm not one of those who can easily hide

Despite the lack of explicit queerness in his earliest records, with the exception of "Razor Face," Elton John's music began to connect with LGBTQ audiences. Songs like "Rocket Man," with its line "I'm not the man that they think I am at home," served as a proxy for hidden lives. "Honky Cat" offered a narrative of finding freedom in the city, a common theme for those seeking acceptance. The album "Goodbye Yellow Brick Road" is noted as a pivotal moment, shifting the artist's presentation from subtle to vibrant and Technicolor.

Walters, a writer for publications like Rolling Stone and Spin, explores how even seemingly apolitical songs could carry profound meaning for a community navigating societal constraints. The book suggests that Elton John's journey, from hiding his identity to embracing his public persona, mirrors the broader evolution of LGBTQ visibility in music and culture.

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I'm not the man that they think I am at home