Disco Elton? Yes, it happened. Dive into the untold story of Elton John’s forgotten disco album Victim of Love

The Twelve Inch 147 : Victim Of Love (Elton John)

The Disco Album Elton John Doesn’t Talk About

When I began writing this newsletter, I had a list of songs I was absolutely eager to explore—tracks that have long held a special place in my heart. Near the top of that list is Elton John’s Victim of Love. Many Elton John fans may not even recognize the name Victim of Love. Released in 1979, this disco album has become a hidden chapter in Elton’s prolific career. The record received little to no promotion, was never performed live, and has largely been shunned by the artist himself. I absolutely adore the album. I would even go so far as to say it’s one of my favorite albums ever (yep I am that weird🤓).

How did this album come to life? Why does Elton seem to disown it? And how does it fit into the broader story of dance music’s golden age? Let’s dive into the untold story of Victim of Love.

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Welcome, I’m Pe Dupre and this is “The Twelve Inch”, a newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.

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Disco Fever Meets Elton John

Two years ago, Rolling Stone published a list of the 50 worst decisions in music history, and at number 50 was the entry: “Elton John goes disco.” They outlined the context—Elton was coming off a string of underwhelming albums in the late ’70s, such as A Single Man and Blue Moves, while watching contemporaries like The Rolling Stones, Kiss, and Rod Stewart achieve success with disco-inspired tracks. The allure of jumping on the disco bandwagon was undeniable. However, his timing was unfortunate; by the time Victim of Love was released, the disco backlash was already in full swing, leaving Elton caught in the crossfire. While Rolling Stone labeled the album a commercial flop (a claim that’s not entirely accurate), they claim that it wrapped up “the most extraordinary decade of John’s career on a very sour note”. They quote Elton himself “It didn’t do my career a lot of good,” “but I don’t regret it”.

Victim of Love was produced by Pete Bellotte, whose connection to Elton John dates back to 1966 when Elton was still a member of Bluesology. At the time, Bluesology shared a stage with Bellotte’s band, marking the beginning of their acquaintance. Reflecting on that time, Bellotte recalls: We became friends immediately. We had a female singer at the time and he fell head over heels with her, he was besotted. That was before he found out what he wanted. So for many years we were close friends and I saw a lot of him. Since Pete Bellotte began collaborating with Giorgio Moroder in Munich in 1972, the duo established their own studio, Musicland, and produced a string of groundbreaking disco hits. Elton first realized his friend was part of this innovative production team when he picked up a copy of I Feel Love. Many accounts suggest that Bellotte initiated the collaboration for Victim of Love, but according to Bellotte himself, the story unfolded differently: I didn’t work with him really. He just came and sang. It wasn’t my idea. I was at [Elton’s manager] John Reid’s house and he said we want to make a disco album; you write the songs and Elton will come in and sing them.

Giorgio Moroder (left) and Pete Bellote (right)

A Rush Job in Munich

The recording process for Victim of Love was a whirlwind. Pete Bellotte handled the songwriting and production, assembling a team of top-tier musicians, including Steve Lukather from Toto and Michael McDonald and Patrick Simmons of The Doobie Brothers. Elton flew to Munich and recorded all his vocals in just eight hours. Two months later, the album was on store shelves. Pete Belotte explains : I’d been in New York and there was this graffiti everywhere ‘Disco Sucks’ and I knew it was the end of disco at that point. I had the honour of using some great musicians, Elton came and sang it all but they didn’t do anything with the album. No publicity or anything. It was the wrong moment and I was the wrong guy. He shouldn’t have been disco-ing it, and I shouldn’t have been recording it.The album, while polished and expertly produced, was dead on arrival in the marketplace.

There are no pictures of Elton recording at Musicland but a few months before someone else recorded there. You might know him 😃

Unlike Elton’s usual projects, he didn’t write any of the songs or play piano on the record. Bellotte described the album as a “nonstop dance medley,” similar to Donna Summer’s disco epics. Yet the rushed process and lack of Elton’s signature involvement gave the record an impersonal feel that alienated fans and critics alike.

This is the complete side 2 of the album

Why Did Elton Go Disco?

Elton leaving Studio 54. What’s with the different shoes ?

Elton’s flirtation with disco wasn’t entirely out of character. He’d been a regular at Studio 54 and loved the scene and its music. Even before the iconic Studio 54 opened its doors, Elton John was already incorporating disco influences into his music. His 1976 duet with Kiki Dee, Don’t Go Breaking My Heart, became a chart-topping hit and showcased a disco-tinged pop sound. But even earlier, in 1975, Elton released Philadelphia Freedom, an ode to his friend, tennis star Billie Jean King. The track not only topped the Hot 100 but also found success on the R&B charts. Arranged by disco maestro Gene Page, the song paid homage to the lush Gamble & Huff Philadelphia sound and the production style of Thom Bell. Elton, a devoted admirer of Bell’s work with acts like The Delfonics, The Stylistics, and The Spinners, would go on to collaborate with him two years later during the infamous Thom Bell Sessions.

One of the rare promo posters

But why would he dive headfirst into a full disco album at a time when the genre’s popularity was waning? Part of the answer may lie in Elton’s personal struggles. He had only recently come out publicly, and the immense success of the early 1970s was beginning to take its toll. As Elton himself explains: “This is how bleak it was: I’d stay up, I’d smoke joints, I’d drink a bottle of Johnnie Walker and then I’d stay up for three days and then I’d go to sleep for a day and half, get up, and because I was so hungry, because I hadn’t eaten anything, I’d binge and have like three bacon sandwiches, a pot of ice cream and then I’d throw it up, because I became bulimic and then go and do the whole thing all over again,”

While still working in the studio, producer Thom Bell noticed John’s exhaustion when they began working together in 1977. “When I first met Elton, he said, ‘Look man, I’m tired. I want you to do everything… I want you to write, I want you to play. You just tell me when to sing,’” he recalled. When they were working on the track ‘Mama Can’t Buy You Love’, John didn’t want to play the piano”.

Japanese advert for the album

The late 1970s were a turbulent time for him. Overworked and battling addiction, Elton admitted he often ceded control during this period. Perhaps making a disco album felt like a break from the creative pressures of his typical projects.

The Aftermath: A Forgotten Album

Victim of Love wasn’t a total commercial disaster, but it was far from a hit. The title track managed to crack the Billboard Top 40, and the album reached No. 55 on the dance charts. But without any remixes, extended versions, or serious promotional efforts, it faded into obscurity. Even within the disco community, it remains an underappreciated entry.

Elton himself has been candid about the album’s shortcomings, calling it “self-indulgent” but also saying he doesn’t regret making it. For fans of disco and Moroder/Bellotte’s work, the record is a hidden treasure that deserves a second listen.

Prove of the fact that he didn’t hate the album. He signed a number of copies when the album got his cd release. At that moment cd’s were still packaged in longboxes in the US

Why Victim of Love Matters

While Victim of Love isn’t a high point in Elton John’s career, it’s a fascinating snapshot of a music legend experimenting outside his comfort zone. It’s also a window into the twilight of disco, a genre that dominated dance floors but faced an abrupt cultural backlash.

If you’re a disco fan or just curious about Elton’s less-explored work (and open to the dance music of that era), give Victim of Love a spin. You might just find a new favorite—or at least gain a deeper appreciation for the risks Elton was willing to take.

Call to Action

What I wanna know is if you were familiar with this album ? Did you love it, like me, or loathe it like 95% of the world’s population 😁. And if you are new to this blog and enjoy discovering the untold stories behind dancemusic’s hidden gems? Subscribe to The Twelve Inch and join a community of dance music lovers diving deep into the grooves of history. Don’t miss a beat—subscribe today!

Further reading (or should I say watching)

There are a number of interesting video’s/links :

1. The official video : well there isn’t one off course but there’s creativity on YouTube. This one I liked the most

So You Wanna Hear More ?

I thought you would !

It’s fun to write about music but let’s be honest. Music is made to listen to.

Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.

The MIXCLOUD Mix Of The Week

So what’s in this week’s mix ?

The mix kicks off in full 1979 disco mode, featuring Elton John and another Moroder production from the same era that deserves its own spotlight—Suzi Lane’s underrated album, which, despite hitting a commercial wall, is well worth exploring. Also in the lineup are Cerrone and the twelve-inch version of Beat The Clock by Sparks.

This week’s selection dives deep into the vibrant eurodisco sound with tracks like Tantra’s hypnotic rhythms and San Salvador by Azoto. Balancing the mix is a taste of American club staples, including hits from Ashford & Simpson, Sylvester, and Jackie Moore.

A special highlight goes to the incredible Ava Cherry with You Never Loved—a standout track and undeniably one of the finest disco anthems of 1979. Don’t miss song number five!

Enjoy !

Next week, we’re heading into the early ’90s to explore a Swedish band that made waves with a massive club hit in 1991. This group led the charge in what would become an avalanche of chart-topping hits from Sweden.