Elton John Live at A&R Studios: A Star Is Born
On November 17, 1970, Elton John — then just 23 years old — stepped into A&R Studios in New York City for a live radio broadcast that would change the course of his career. The performance, recorded before a small studio audience for WABC-FM, was a stripped-down showcase of raw talent and unfiltered energy.
At the time, Elton was beginning to gain traction in the U.S. following the release of his self-titled breakthrough album earlier that year, which featured the haunting “Your Song.” But 17-11-70 (released in April 1971) revealed another side of him — the fiery, improvisational showman who could command a stage with just piano, bass, and drums.
The trio — Elton John on piano and vocals, Dee Murray on bass, and Nigel Olsson on drums — delivered a blistering set that mixed originals and covers with gospel fire and rock intensity. Highlights included “Take Me to the Pilot,” “Burn Down the Mission,” and a thunderous medley of “Get Back” and “Honky Tonk Women.” Without the lush orchestration of his studio work, Elton’s raw power as both vocalist and pianist shone through.
The recording quickly gained legendary status among fans and critics. Reviewers hailed it as one of the finest live albums of the 1970s, capturing the passion, humor, and virtuosity that defined Elton’s early performances. More importantly, it marked his arrival as a live force — not just a songwriter but a performer who could transform a room into a revival.
Decades later, 17-11-70 remains one of the most beloved live recordings in rock history — a reminder that even before the glitter, feathers, and stadium tours, Elton John was already pure dynamite behind a piano.
Faces Find Their Groove: A Nod Is As Good As a Wink... to a Blind Horse
On November 17, 1971, Faces released their third album, A Nod Is As Good As a Wink… to a Blind Horse, the record that captured their raucous spirit and cemented their place among rock’s great bands of the early 1970s.
By this point, Faces — formed from the remnants of the Small Faces after Steve Marriott’s departure — had found their identity. With Rod Stewart fronting the group and guitarist Ronnie Wood delivering swagger and slide, their sound was equal parts blues, boogie, and barroom charm. While Stewart’s solo career was simultaneously exploding with Every Picture Tells a Story, Faces embodied the loose, joyous side of rock ’n’ roll that critics and fans alike adored.
The album’s lead single, “Stay with Me,” became an instant classic — a rollicking anthem of flirtation and bravado built on Wood’s razor-sharp riff and Stewart’s raspy growl. The track climbed to No. 6 in the UK and No. 17 in the U.S., turning the band into household names.
But A Nod Is As Good As a Wink… offered much more than its hit single. Songs like “You’re So Rude” and “Too Bad” dripped with humor and attitude, while “Debris” — written and sung by Ronnie Lane — provided a tender, reflective counterpoint to the rowdy energy elsewhere. Lane’s influence gave the band heart, grounding their wild charm in working-class sincerity.
The album was Faces at their peak — a band that could sound both tight and effortlessly spontaneous. Critics praised it as a masterpiece of rock’s golden age, capturing the warmth and camaraderie that defined their live shows. Within a few years, Stewart’s solo fame and Wood’s move to The Rolling Stones would mark the end of the group, but A Nod Is As Good As a Wink… endures as their defining statement — the sound of friendship, mischief, and pure rock and roll joy.
Diana Ross & The Supremes Dethrone The Beatles
On November 17, 1968, Diana Ross & The Supremes hit No. 1 on the Billboard Hot 100 with “Love Child,” ending The Beatles’ nine-week reign at the top with “Hey Jude.” The song was more than a hit — it was a cultural statement that reflected a changing America.
“Love Child” was a bold departure for Motown. Written by a collective of producers known as The Clan (which included R. Dean Taylor and Frank Wilson), it addressed the stigma faced by children born outside of marriage — a taboo subject for pop music at the time. Delivered with urgency and grace by Diana Ross, the song’s message of defiance and dignity resonated deeply with listeners during a period of social upheaval.
Musically, “Love Child” was built on a driving rhythm and lush orchestration, balancing the sophistication of Motown with a newfound sense of grit. It reflected a label — and a nation — evolving toward greater honesty and realism. The song’s success also revitalized The Supremes’ career, reasserting their dominance at a moment when the pop landscape was rapidly shifting.
For Ross, “Love Child” foreshadowed her transition from pop star to cultural icon. Her emotive delivery conveyed not just heartbreak but empowerment — a reflection of the growing independence of both women and artists in the late 1960s.
The single’s triumph over The Beatles was symbolic: Motown had matched, and in some ways surpassed, British pop’s global reach. “Love Child” topped charts worldwide, becoming one of The Supremes’ most powerful and enduring hits.
In retrospect, November 17, 1968, was a reminder that pop music could carry both melody and meaning — that soul could speak truth to power while still moving your feet.
Final Note
November 17 highlights rock and soul’s boundless range. Elton John brought intimacy and intensity to the stage, proving that live music could be as transformative as any studio masterpiece. Faces celebrated the messy, joyous camaraderie of rock and roll at its most human. And Diana Ross & The Supremes reminded the world that popular music could uplift and enlighten in equal measure.
Together, these milestones showcase what makes rock history endlessly fascinating — its ability to evolve, surprise, and connect us across generations.
