Talking about his new book Scattershot, lyricist Bernie Taupin reflects on the earliest part of his career
But from day one, the thing I gravitated toward country music for was the fact that they told stories, where contemporary pop when I was growing up really didn’t do that. You know, it was just straightforward, either rock n’ roll, or it was ballads, and they were usually romantic ballads. They didn’t really have a storyline that I connected with. I always wanted to write stories.
AVC: I think country is one of the last places that you have the framework. You have the Nashville songwriting system, you can get in that, get famous enough to just become a pop star, like Taylor Swift did.You’re right. It’s very interesting. It’s an interesting sort of dynamic. Everybody wants to put labels on people. I think maybe everything should be just called pop. But pop has become a dirty word, because people think it means it’s not very serious and it’s cheap.
AVC: It seems like a lot of the pop artists who are taken the most seriously are the ones who go full-steam into being pop artists. Lady Gaga comes to mind—Right, exactly. Whoever’s top 40—I can’t remember people’s names, but these Cardi Bs and somebody the horse—Megan Thee Stallion! [Laughs] But that’s what I’m saying. I guess those are what people refer to as pop stars now.AVC: You mention Frank Sinatra, which was also a cool aside in the book.
AVC: My co-worker Mary Kate is from Philadelphia, so she wanted me to ask you about “Philadelphia Freedom.” You’ve said before you didn’t write it about tennis or patriotism or anything like that, so what did you write it about?Well, I didn’t. [Laughs] We were very good friends—still are—with Billie Jean King, and the Philadelphia Freedoms was a tennis team. Elton wanted to write something for her, but I said, “I ain’t writin’ a song about tennis.
You know, people always ask me, “When you give Elton a lyric, do you have an idea of what it should sound like?” And I say, well sometimes the title alone dictates what kind of song it’s going to be. You know, if you write “Saturday Night’s Alright For Fighting,” it’s not going to be a delicate ballad. And the same way, if you write, “Don’t Let The Sun Go Down On Me,” you know it’s not going to be a full-tilt rocker either. Even with “Philadelphia Freedom.
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