I then discovered with horror that the plug connecting the headphones to the amplifier was only half inserted into the latter : as my body followed the rhythm of the music in my sofa bed, the headphones' cable had followed every movement and had thus partially disconnected. Without my being able to realize it, the sound from then on was distributed as well on the baffles as through the headphones, and everyone in the middle of the night had thus benefited from Madman Across The Water in the house -and elsewhere…

The album being confiscated, I was deprived of Elton John’s music for a while, so I only could go back at Johan's to listen with him to the albums he had (this compensated for that... From any disadvantage always a benefit is born, as life teaches us quite quickly).

From that time between my fifteen and twenty-something, Empty Sky, Elton John, Tumbleweed Connection, Madman Across The Water, Honky Château, Don't Shoot Me I'm Only The Piano Player, Goodbye Yellow Brick Road, Caribou, then in the second part of the Seventies, Captain Fantastic & The Brown Dirt Cowboy, Rock of the Westies and finally Blue Moves fed my passion for the music of Elton John, encouraging me to create a whole series of small paintings inspired by what I perceived of the artist, and everything that I truly loved : his voice, his piano playing, his composer’s talents like no other, his extraordinary sensitivity and his so endearing personality  -at least from what the Anglo-Saxon press that I bought at the time could let me judge.
And, of course, Elton John’s exponential creativity was sublimated by this flamboyant eccentricity which only the British people hold the secret of. From the start, the "Elton John myth" was fueled by the Piano Man’s legendary bespectacles and stage outfits (all being more extravagant than the others), and by a "way of life" freed from all good morals’ certificates, cheerfully dynamited by the Seventies and their questioning of standards.