Echoes Reborn: Classic Voices Through Elton’s Eyes

Few artists have the versatility and charisma to reinterpret the works of others with as much flair as Elton John. Across his long career, Elton has brought his unique voice, piano mastery, and emotional depth to songs originally written and performed by other iconic musicians. These covers not only pay homage to the originals but also infuse them with fresh energy, demonstrating Elton’s ability to make any song his own. From rock anthems to poignant ballads, each performance captures the essence of the song while highlighting Elton’s distinctive artistry.

Among the countless songs Elton has reimagined, some stand out not only for their artistry but also for the way they reveal different facets of his musical identity. Below is a selection of ten of his most notable covers, each one a reminder of how Elton can bridge respect for the original with his own unmistakable flair:

1. 
   “Pinball Wizard” (The Who) – Elton’s version comes from the 1975 film adaptation of Tommy, where he appears as the flamboyant “Pinball Wizard,” performing with a small piano keyboard built into a giant pinball machine; he recorded the track with his own band and longtime producer Gus Dudgeon, giving the song a brighter, piano-driven edge that blends rock power with his trademark showmanship; live, Elton first performed it on 21 June 1975 at Wembley Stadium, where it became a standout moment of the day; he later revived it by opening his Final UK Show at Glastonbury 2023, proving how enduring and explosive his interpretation remains.

2. 
   “Lucy in the Sky with Diamonds” (The Beatles) – The Beatles, arguably the most influential band of all time, shaped modern music across genres. Elton recorded this psychedelic classic in 1974 with John Lennon contributing guitar and backing vocals under the playful pseudonym “Dr. Winston O’Boogie”; the single became a US No. 1 hit and stands as one of Elton’s most successful covers; although the studio recording is exceptionally well documented, reliable evidence of frequent live performances is limited and it was never a regular feature in his tour setlists, making the cover more of a studio triumph than a live staple.

3. 
   “Great Balls of Fire” (Jerry Lee Lewis) – Jerry Lee Lewis, a pioneer of rock ‘n’ roll, was known for his flamboyant piano performances and wild energy. Elton has performed this rock ’n’ roll staple on various occasions, channeling the wild, frenetic style of Jerry Lee Lewis but adding his own polished piano technique and vocal confidence; notable footage shows him playing it solo at Avery Fisher Hall in New York in 1998, where his virtuosic energy ignites the crowd; according to concert-set data, he sometimes used it as a high-octane encore, underlining his lifelong admiration for the pioneers of piano-driven rock.

4. 
   “Streets of Philadelphia” (Bruce Springsteen) – Bruce Springsteen, “The Boss,” is renowned for his evocative storytelling and heartland rock style. Elton’s version highlights the song’s vulnerability, turning its cinematic melancholy into a heartfelt piano ballad; he performed it at the 2013 MusiCares Person of the Year gala in Los Angeles in tribute to Springsteen, accompanying himself on piano in a touching, stripped-back rendition, along with Jay Bellerose on drums and Raphael Saadiq on bass guitar.

5. 
   “A Song for You” (Leon Russell) – Leon Russell was a prolific singer-songwriter and pianist, blending rock, gospel, and soul influences, and Elton’s interpretation of this emotive ballad highlights his expressive voice and deep connection to the song’s emotional layers, honoring one of his greatest musical heroes while making the piece uniquely his own; during his World Tour 1985–86, Elton performed it live in a medley with his hits Blue Eyes and I Guess That’s Why They Call It the Blues, showcasing both his versatility and his ability to weave Russell’s heartfelt ballad seamlessly into his own iconic repertoire.

6. 
   “Honky Tonk Women” (The Rolling Stones) – The Rolling Stones, known as the “World’s Greatest Rock and Roll Band,” have been shaping rock music since the 1960s, and Elton’s playful rendition brings fresh energy to their classic, with piano riffs that maintain the song’s rebellious spirit. He performed it at his very first Troubadour show in Los Angeles in 1970, shortly after the song had been a major hit, and he also featured it during his U.S. tour the same year. A version recorded at A&R Studios in New York on 17 November 1970 was later included on his first live album 11‑17‑70 (also known as 17‑11‑70).

7. 
   “Oh My Sweet Carolina” (Ryan Adams) – Ryan Adams is an American singer-songwriter known for his alternative country and rock ballads, and Elton’s sensitive cover highlights his ability to convey subtle emotion, drawing attention to the storytelling and melodic nuances of Adams’ song, and he included it in the setlist of his Songs From The West Coast Tour in 2001 and 2002, demonstrating how he could seamlessly blend contemporary singer-songwriter material into his own performances.

8. 
   “Blueberry Hill” (Fats Domino) – Fats Domino, a pioneer of rock ‘n’ roll and rhythm & blues, created timeless hits with his piano-driven style, and Elton’s interpretation respects the cheerful swing of the original while adding his own expressive piano flourishes, bridging classic rock ‘n’ roll and his unique style; his admiration for early rock and R&B artists makes his interest in this Domino classic unsurprising, and he performed it live on 12 April 1995 at Carnegie Hall in New York during the Rainforest Benefit, a performance that captured both his technical skill and affectionate homage to Domino’s influence, and the recording was later included in the tribute compilation Goin’ Home: A Tribute to Fats Domino.

9. 
   “The Long and Winding Road” (The Beatles, with Prince) – A virtuoso musician and performer, Prince was known for blending rock, pop, funk, and R&B in revolutionary ways. This Elton’s duet with Prince stands as a rare and electrifying meeting between two musical giants. The most widely documented performance took place on 13 September 2007 during Prince’s O2 residency in London. Elton later recalled, “He wanted me to sing (that song). I told him I didn't know the words. He said that he didn't either, and that he had them written out on the floor of the stage. Midway through the song, I looked around. No Prince: he'd just walked off.”

10. 
    “Uptown Girl” (Billy Joel, live) – Billy Joel, the “Piano Man,” is celebrated for his catchy pop-rock melodies and storytelling lyrics. During the celebrated “Face to Face” tours, Elton turned “Uptown Girl” into one of their most joyful collaborative moments. The song appeared in several setlists, giving the two piano icons a chance to showcase their mutual admiration playing each other songs, their camaraderie, humor, and musical chemistry. Elton’s lively piano riffs and harmonies added a fresh sparkle to Billy Joel’s hit, transforming each performance into a playful celebration of their long-standing friendship.

These ten performances remind us that Elton John is not only a legendary songwriter and performer but also a gifted interpreter of the music of others. Whether reimagining rock anthems, paying tribute to his heroes, or sharing the stage with fellow icons, Elton has always brought sincerity, artistry, and a touch of magic to every cover. His versions serve as both homage and reinvention — proof of his ability to honor the past while making each song unmistakably his own.

“Different Is Good”: The Elton World of Matt Thomas

Among the many voices that keep Elton’s legacy alive online, Matt Thomas stands out as one of the most active members of the official fan community. His posts, insights, and enthusiasm have made him a familiar presence for Eltonites around the world. A lifelong admirer of Elton John, Matt has combined passion and curiosity through collecting — turning small pieces of music history into lasting memories. As part of our Recollecting series, we invited Matt to look back on his journey as a fan and collector — a story that begins, as most do, with a single song.

Matt, could you introduce yourself to our Eltonites? When and how did you first become an Elton John fan? 

I grew up in suburban Chicago and still live in the area with my wife and three kids. I first became fan of Elton John around the time of the “Sleeping with the Past” release. My parents had recently gotten cable TV for the first time: I discovered VH1 and saw several music videos I loved from the SWTP album and bought the cassette tape. Then that Christmas got Greatest Hits Volume One and Volume Two as gifts and it grew from there. Prior to this I really only recognized Crocodile Rock on the local Oldies station 104.3FM in Chicago. I believe it was my freshman year of High School and didn’t have much in the way of friends then and I clinged on to this and dove deep. I remember my neighbor had a record collection with a bunch of Elton John lps that I recorded onto cassette.  I had become more fascinated and really liked Tumbleweed Connection.  Some where in there I discovered East End Lights, Hercules and the 22 Row clubs and even attended several events where I made great friends. One of which I meet a girl my age that happened to be visiting from New Zealand. We became pen pals (before email and Facebook) and would write each other and share Elton stories. We are still long distance friends today. I met up with Vicki in London twice, once for her wedding, New York and am the godfather to her oldest. Yep, Elton did that!

Nice story, Matt!!! But why Elton — and not someone else? What is it about his music, image, or personality that first caught your heart?  

Why Elton? He is fucking awesome am I wrong? 😉 At the time a high school student liking a gay celebrity was not a popular idea, fortunately times have changed. That said it never bothered me and I just liked his music and his style and it was So big I could just keep learning more. Actually in my Junior year of high school I did a presentation on Elton for my Media class. I made a cassette with like 10 second snips of his music and had records all set up and a poster. The presentation went way over the 5 minute time slot and most the class had Nirvana, Metallica and Megadeth on their folders all kind of looked at me like what is up with this guy and Elton? Then one kid said Saturday Night’s Alright for Fighting is a rockin’ toon and I felt some relief. I also remember some kids liking Bon Jovi’s Levon so there was progress. I remember I got some shit for having a yellow and blue ELTON East End Lights sticker on my 87 Honda Civic so I moved it to my sunroof, now a days I would have left it. I was never an avid reader, but I read Tom Stanton’s book almost all the way through and found it fascinating and from there on grew my Elton did you know trivia. I would say I’m not run of the mill, do what is popular and like what everyone else does. I liked what I liked and that has always been fine with me. For instance, I like classic cars but choose a 1968 Datsun a 1965 Checker Marathon for my classic car hobby, and I will tell you that at a car show people will pass up a high valued muscle car to see the different car. Different is good. This may sound unreasonable today as Elton is so accepted and everywhere, but it wasn’t that way for a high school kid in the early nineties.

True! So how many years have you been following Elton, and how has your fandom evolved over time? 

About 33 years I would say I’m not the greatest at dates and recalling exactly. I started with a couple tapes and records then CDs and more records and then cutting out every magazine and newspaper article, even a Philadelphia Free Cream Cheese container I changed to read Philadelphia Freedom Cream Cheese, Boy London Watch, One of Elton’s Out of The Closet shirts and a bunch of knickknacks. I have three bins of stuff like that stored away that are not on display. After High School I put an ad in the Chicago Tribune looking for an Elton John pinball machine that I learned of and ultimately ended up buying one from a guy in Chicago that manufactured the solenoids and bought the Bally’s stock to reproduce the caps. The place was amazing with over 500 machines, and he had two Captain Fantastic machines. He told me of the early back glass without all the stars. I remember he had an original poster on the wall promoting this 1976 machine which was Bally’s most produced machine, I believe 20,000 in total. I took out a $1000 loan and paid for it that way. Over the years I have moved it from apartment to apartment to house to house to house. I love it and have one cap signed by Elton from a show although I smudged his EJ.. It sits in our living room, my wife couldn’t be more thrilled…. 😉 About ten years ago I got the home version for $100 from a lady on Facebook Marketplace and learned to fix both that and my arcade version. Last year at work I saw the new Jersey Jack one come in testing before it was released and was so excited, but I do not own one. Kids and family first and while they know Dad loves Elton I don’t still cut out everything Elton I see and buy everything. That said in the last year or so though I have focused more on building my 45 and 33 collection if I see a deal pop up.

Fantastic! Have you attended many concerts? Is there any particular show or tour that stands out in your memory? 

This is terrible that I don’t know the exact number that I have attended like Jim Turano does but somewhere around 25 only. My first Elton concert was the One Tour at the United Center in Chicago. Regrettably I never saw him at Poplar Creek before it was torn down. I have to say my favorite concert was with my wife, 4-year-old daughter and sister in at a show for a private company they paid Elton to perform at. Not everyone was able to go or wanted to attend so my sister got us three free tickets. My punk rock wife that has no fear said let’s go upfront and I nervously followed and during the show not only did Elton rub my daughter on the head as she was on my wife’s shoulders, but I got my Lady Samantha 45 and pinball cap signed, oh and shh.. but I have it all on DVD. My second favorite was taking my wife, daughter and sons to see Elton at Solders Field in Chicago for the final tour, we had nosebleed seats, but I was so great because I was able to take my family to see Elton who they know is Dad’s favorite. We all wore one of my Elton T-shirts and I am fairly certain it was memorable for my kids as it was for me. My one son said he liked the song about the Indians. I have also seen Elton at The Royal Opera House in Convent Garden December 2002 with my pen pal Vicki and others (I remember we spotted Elton’s Mum Shelia and Derf in the audience and several prevalent others and I saw Elvis Costello with Diana Krall in the hall and shook his hand). During that Trip Vicki took me on a walking tour where we saw several Elton sights including the Northwood Hills Pub where Bluesology played and Eltons Childhood ad Frome Court where Your Song was written if I am correct. Also the One Night only shows met up Vicki there too and once playing tennis at the Rosemont Horizon amongst 20 or so other shows

So great!!! And have you ever met Elton, Bernie, or anyone from their team? If not, what would you like to tell them if you ever had the chance? 

I have met John Jorgenson, and he is a wonderful person. I touched Elton’s finger when he passed me back the Sharpie marker but never met him. I have an irrational fear that if I met him he might be in a sour mood and ruin all these years of icon to me. I’d love to meet Bernie, Davey, Ray and Nigel but never have. I did have a duck named Nigel though and a cat named Reginald and a goldfish Dee.

Hahaha wonderful! Every fan has a crazy story — something we’ve done for Elton that others might call a bit mad. What’s yours? 

Sometimes I actually believe that I made Elton popular again 😉, lol maybe...  It’s like people I know feel the need to send me info they see on Elton because they know how much I like Elton and honestly I kind of like that thought. But what have I done for Elton? I went to an Elton John birthday party with other Elton fans that he was not at and I am fairly certain he had no knowledge of but it was fun and I met great people. I donate to EJAF when I can. Oh I know! I became known to a smaller time radio station in Chicago as the number one Elton fan because I kept requesting songs and I truly believe they play more Elton songs because of that. Some rare ones too like Mama Can’t Buy you Love, Part Time Love and Lani Hall’s version of Come Down in Time and Nigel’s Dancing Shoes and Sedaka’s Bad Blood. I have counted 36 different ones so they play. I did that. The program director has since retired from the station, but we still joke about it and Elton still gets regular play.

(Clapping!) Which Elton songs mean the most to you, and why? Could you share your Top 5 all-time favorites? 

My Wife’s favorite is “Mona Lisa’s” so I think of her when I hear that, I gave my daughter the middle name of “Amoreena”, when my childhood dog passed away I heard “Friends” and when my cousin was tragically killed I heard “I Guess that’s why they call it the Blues” my favorite though boy I really like Roy Rogers and for some reason "Heavy Traffic" but I will go with “Country Comforts”, that may change tomorrow to something; for instance I really enjoyed hearing “The Emperor’s New Clothes”  today and every time I hear the Union album I thing this really should be a top 100 all time recording.

What kinds of items make up your collection — records, tour programs, backstage passes, stage-used items, autographs...? 

I have the Beer and Bread 45 as well as Lady Samantha in my fairly large Elton 45 collection as well as two copies of the DJM 12 pack, some fairly rare 33s, one reel to reel and a handful of 8-tracks, Cassette tapes, several hundred CDs, VHS, DVD, Books, Magazines, shirts, posters, bobble heads, the Elton doll, the singing crocodile a friends Mom bought me, Pinball machines, pictures, limited tour prints. One thing I had that I misplaced some how that I really regret was John Jorgenson’s Big Pick Tour guitar pick. I would say I have a lot of Elton stuff but then I have seen people post what they have and I have not nearly that much stuff ant that is ok.

What’s the most treasured piece in your collection — and why does it hold such meaning for you?

Probably that signed Lady Samantha 45 with the marker used although this recent release of Captain Fantastic LP from Blood Records is my current favorite thing.

Is there something rare or special you’re still hoping to find — that “holy grail” missing from your shelves? 

It would be awesome if I had a picture with Elton and could tell him what an appreciative fan I am of him and his music.

You’re one of the most active fans on the official Elton John Facebook groups — what does that community mean to you? 

I enjoy sharing, drives my wife nuts but its fun for me to share and interact with the people that appreciate it. The collection and love of it all is something I have a lot of pride in.

Finally, what does it mean to you to be an Elton John fan today? 

Love

To read Matt’s story is to see what being an Eltonite truly means: the mix of music, friendship, laughter, and memory that turns admiration into something much deeper. From the kid in suburban Chicago discovering Sleeping with the Past to the father proudly taking his family to Elton’s farewell concert, his journey mirrors that of so many of us — growing up with the songs that have soundtracked our lives. 

Before you go, Matt, I have someone here who want to send you some words, it’s Vicki here from New Zealand:

"Hi Matt, I was asked to write something about you, and I hope this is a nice surprise! I met you at an Elton John birthday convention in Chicago March 1998 along with other fans. Matt and I have stayed in contact ever since and have shared Elton concert experiences and Elton conversation over the years both living in different countries.  Matt flew into London, United Kingdom over 20 years ago for my wedding and my husband and I asked him to be Godfather to our first born over a year later. I am really looking forward to both our families coming together one day either in New Zealand or Chicago. Thanks for being such a great friend over the years Matt, twenty seven Elton John friend years and counting. Best wishes, Vicki "

Friendships like yours are a beautiful reminder of how Elton’s music connects people across oceans and continents — uniting fans in every corner of the planet. Thank you Vicki for being here.

And thank you, Matt, for reminding us that collecting is not just about objects, but about the moments and feelings they hold. Different is good — and your story proves it.

Picture of Elton John Fan Convention courtesy of Vicki Allen
Other pictures courtesy of Matt Thomas

ELTON 2050: The Legacy That Will Still Resonate

What will Elton John mean to the world in 2050? When the lights of the last farewell tour have faded and the piano stands silent, what remains is not just the music — it’s the story, the emotion, the human spark behind every song. This is a journey through the past, the legend, and the future of one of the most enduring artists in modern history. 

“The measure of a legacy is not how long it lasts, but how deeply it continues to move us.”

The Crown Jewels of a Legend

Few artists in modern music history can claim a résumé as dazzling as Elton John’s. He has earned six Grammys, two Oscars, two Golden Globes, an Emmy and a Tony Award, placing him among the rare entertainers who have nearly achieved the coveted EGOT status. Add to that a Laurence Olivier Award, a Kennedy Center Honor, and inductions into both the Songwriters Hall of Fame (1992) and the Rock and Roll Hall of Fame (1994). He is also a proud fellow of The Ivors Academy. 

Knighted in 1998, he became Sir Elton Hercules John, CBE — an honor that recognizes not only his extraordinary musical achievements, but also his enduring cultural and humanitarian influence.

With more than 300 million records sold, dozens of gold and platinum albums, and one of the highest-grossing farewell tours in history, Elton’s statistics are staggering. Yet his impact goes far beyond charts and trophies.

Through the Elton John AIDS Foundation (EJAF), founded in 1992, he has raised over half a billion dollars to combat HIV/AIDS, supporting health initiatives, LGBTQ+ rights, and access to treatment worldwide. His philanthropy and activism mirror the empathy at the heart of his songwriting.

Whether recording duets with legends like George Michael, mentoring young artists, or lending his voice to Disney, Broadway, and Hollywood, Elton has never stopped creating — or caring. His legacy is not only musical; it’s moral.

Songs That Will Never Die

Some songs don’t just survive — they transcend.

These five are more than career highlights; they are emotional archetypes. Each reveals a reason why Elton John will never disappear from the cultural bloodstream.

Your Song (1970)

The reason it’s immortal: purity.
A love song without artifice, written when Elton and Bernie Taupin were barely in their twenties, “Your Song” is the moment innocence became art. Its melody is simple yet universal — a confession that feels personal to anyone who’s ever loved. Every generation rediscovers it because sincerity never goes out of style.

Tiny Dancer (1971)

The reason it’s immortal: freedom.
Part portrait, part dream, “Tiny Dancer” is the soundtrack of youth and California sunlight. Its slow build mirrors the emotional rise of growing up — delicate, cinematic, endless. In the streaming era, it found new life through films and viral moments, proving that true emotion doesn’t expire; it waits to be heard again.

Rocket Man (1972)

The reason it’s immortal: solitude in an infinite sky.
Inspired by the space age and the alienation of fame, “Rocket Man” turned loneliness into poetry. It still speaks to modern audiences navigating digital isolation, space exploration, and the search for belonging. It’s futuristic and timeless all at once — Elton’s anthem for anyone who’s ever felt far from home.

Goodbye Yellow Brick Road (1973)

The reason it’s immortal: escape and self-knowledge.
This masterpiece is both autobiography and allegory — a farewell to illusion, fame, and dependency. It’s the moment Elton the pop star looked inward and found Elton the artist. Its cinematic arrangement and bittersweet lyrics continue to resonate with anyone yearning for authenticity over glamour.

I’m Still Standing (1983)

The reason it’s immortal: defiance.
A survivor’s anthem disguised as a pop hit, “I’m Still Standing” is pure energy and resilience. It’s about refusing to be defined by the fall — a message that only grows stronger with time. For younger listeners, it’s an empowerment song; for older fans, a statement of endurance. Either way, it never stops standing tall.

Lessons from Legends Past

To understand how Elton’s legacy might evolve, we look at how other icons’ stories have lived beyond them.

Elvis Presley (1935–1977) — The Industry of Immortality

Elvis’s legacy became both business and pilgrimage. Graceland is not just a house — it’s a myth made tangible, drawing hundreds of thousands of visitors yearly. His estate became a cultural corporation, managing his image with precision, ensuring “Elvis” is not just remembered, but monetized. It shows that death can be the beginning of brand immortality.

John Lennon (1940–1980) — The Message Preserved

Lennon’s posthumous legacy is less about spectacle and more about ideology. Through Yoko Ono’s stewardship and the Lennon estate, his message of peace, activism, and authenticity remains central. New generations discover him not through records alone but through his voice in activism, turning memory into mission.

Freddie Mercury (1946–1991) — The Phoenix of Performance

Freddie’s energy refused to die. Queen reinvented itself with Adam Lambert, tribute concerts became cultural landmarks, and the film Bohemian Rhapsody reignited love for him across generations. His story shows how legacy thrives when it evolves — when myth meets reinvention.

Michael Jackson (1958–2009) — The Contested Genius

Jackson’s legacy reveals the complexity of fame. His artistry remains untouchable; his influence on dance, video, and pop structure is monumental. Yet his personal controversies have forced the world to separate art from artist — a reminder that legacy is never simple, and that time, not death, decides what endures.

David Bowie (1947–2016) — The Curated Constellation

Bowie’s estate manages his legacy with rare elegance. Each reissue, exhibit, and digital archive feels like part of a master plan — a continuation of his aesthetic intelligence. Even in absence, Bowie remains present — as an idea, an influence, a mirror of the future.

Together, these five artists teach us that legacy management is an art form: a balance between preservation, innovation, and emotional truth.

The Future of “Elton, Inc.”

If there’s one thing Elton John has done masterfully, it’s preparing his own story.
His Windsor home, Woodside, already functions as an archive of memory — overflowing with costumes, paintings, instruments, and decades of history. In time, it could become Elton’s Graceland: a museum, a cultural foundation, and a pilgrimage site for fans and scholars.

His company Rocket Entertainment will likely steer the future of his brand — ensuring posthumous releases, exhibitions, and projects uphold his standards. The Elton John AIDS Foundation will continue his humanitarian mission, perhaps expanding into new global causes.

And technology will play its part. We can imagine AI-enhanced concerts, holographic duets, or immersive virtual archives where fans can explore his studio sessions, lyrics, and piano improvisations interactively. Done ethically, this could keep Elton’s presence alive — not as simulation, but as celebration.

Elton 2050: The Future of Music and Memory

By 2050, artificial intelligence will likely redefine how we experience legacy.

Music will no longer be static; it will be alive. Imagine playlists that adapt to your mood using biometric feedback, AI “companions” trained on Elton’s voice that can improvise new verses, or virtual reality concerts where you can step into 1970s Madison Square Garden in full immersion.

The AI of the future won’t just imitate artists — it will extend them. It may allow collaboration with the past: new duets between Elton and voices yet unborn, reorchestrations of classics for instruments that don’t even exist.

Yet amidst all this innovation, one truth will remain unchanged: emotion. Elton’s music connects because it feels human — full of imperfection, vulnerability, and grandeur. Technology may reshape the format, but not the feeling.

In 2050, Elton John will still be more than a name. He will be a constellation — a network of sound, color, and compassion illuminating the next chapters of music history.

---

Because legends don’t end — they echo.

Beyond the Curtains: The Musicians Who Helped Elton John Tell His Story

Half a century has passed since Captain Fantastic and the Brown Dirt Cowboy first arrived, bringing a story of friendship, struggle, and music. When Elton John performed “Curtains” during the 2005 concerts, the big screens behind him filled with names — friends, musicians, collaborators who are no longer with us. Those glowing names weren’t just a tribute; they were a living reminder of the souls who shared his journey, whose music still resonates even in their absence. From that spirit comes this remembrance: a tribute to the musicians who gave shape to two of the most personal works in Elton and Bernie’s career — Captain Fantastic and the Brown Dirt Cowboy (1975) and its natural continuation, The Captain and the Kid (2006). Among all those who played their part, some have passed on, yet their touch remains in every chord, every breath between verses, every lingering echo of “And we’re still standing.”

In 1975, Elton John and Bernie Taupin released Captain Fantastic and the Brown Dirt Cowboy, an album unlike anything they had done before — and, in many ways, unlike anything rock had seen. It was not a collection of singles, but an autobiography set to music. Every lyric and chord was woven from memory, struggle, and triumph. Behind that deeply personal story stood a band that understood Elton’s heart better than anyone else ever could: Elton John on piano and vocals, Davey Johnstone on guitars, Dee Murray on bass, Nigel Olsson on drums, and Ray Cooper on percussion. Together, they had built a chemistry so rare it felt telepathic — the kind of unity that can only grow through years of touring, laughter, exhaustion, and shared discovery. Guiding them all was producer Gus Dudgeon, Elton’s trusted studio architect, whose sense of space and dynamics allowed the music to breathe like a living thing. Orchestral arrangements on “Tell Me When the Whistle Blows” were handled by Gene Page, whose elegant touch added cinematic depth to the album’s sound. Behind the console, Dave Hentschel brought precision and texture, shaping the sonic landscape with an ear finely tuned to Elton’s storytelling.

Today, some of those names belong to history, but their music still vibrates through every groove of the record.

Dee Murray (1946–1992), whose melodic bass lines were as emotional as they were technical, was the quiet anchor of the band, the pulse beneath Elton’s voice. His inventive playing defined the rhythm of Elton’s early work, shaping the character of the songs and leaving a lasting influence on every live performance he graced. He joined Elton John’s band in 1970, making his recorded debut on Tumbleweed Connection. After a hiatus following the band's dissolution in 1975, Murray reunited with Elton in the early 1980s, contributing to albums from Jump Up! (1982) to Breaking Hearts (1984), with his final studio appearance on Reg Strikes Back (1988) providing backing vocals.

Gene Page (1930–1998), arranger and conductor, whose sophisticated orchestrations enriched Elton’s music during the Captain Fantastic era and beyond — including the lush strings of "Philadelphia Freedom." Known for his work with legends from Marvin Gaye to Barry White, Page brought a soulful depth and orchestral precision that perfectly matched Elton’s melodic sensibility, adding a new emotional layer to his sound. His arrangements combined elegance and emotion, giving Elton’s songs a cinematic sweep and a resonance that balanced grandeur with intimacy. Though his direct collaborations with Elton were limited, his orchestral voice continues to resonate through the recordings he touched.

Gus Dudgeon (1942–2002), who produced nearly every classic Elton John album from Your Song to Goodbye Yellow Brick Road, remains a guiding hand through the music. His production choices gave Elton’s songs their cinematic scope, balancing orchestration, dynamics, and vocal clarity in a way that shaped the artist’s signature sound. Dudgeon’s collaboration with Elton began with the self-titled Elton John (1970) and continued through Blue Moves (1976), marking the end of their partnership until it was briefly rekindled for Leather Jackets (1986). Gus became such an integral part of the creative recording process that Elton considered him to be one of the band.

Three decades later, The Captain and the Kid arrived — not as a nostalgic retelling, but as a continuation of the journey. Where Captain Fantastic had captured youth, struggle, and ambition, The Captain and the Kid reflected maturity, endurance, and perspective. The dirt cowboy had grown older, but the fire still burned.

By 2006, the Elton John Band had evolved, yet its spirit remained intact. Elton, Davey Johnstone, and Nigel Olsson were still there — the original heartbeat, still standing shoulder to shoulder. But around them had gathered a new generation of extraordinary musicians who carried the same devotion to the craft: Guy Babylon, on keyboards and orchestral arrangements, and Bob Birch, on bass and harmonies, became essential parts of Elton’s sound from the 1990s onward. Their musicianship bridged eras — Guy’s intricate keyboard layers brought symphonic depth, while Bob’s steady, soulful bass anchored the modern Elton band with grace and humility. The Captain and the Kid ends as it began — with gratitude, with reflection, and with a sense of wonder at the journey itself. For fans who had followed since the first Captain Fantastic, it felt like closing a circle. For the musicians who played on it, it was a celebration of friendship, creativity, and endurance — a reminder that the magic never truly disappears, it just changes hands.

Among the new generation of musicians, two are no longer with us:

Guy Babylon (1956–2009), keyboards and orchestral arrangements, whose touch added shimmering depth to the songs. Guy’s arrangements expanded the sonic palette of Elton’s modern recordings, giving both studio and live performances a rich, orchestral texture that elevated every emotion. He made his debut with Elton on Sleeping with the Past (1989) and remained a central part of the band through The Captain and the Kid (2006), contributing to both the studio albums and the live performances that defined Elton’s modern sound.

Bob Birch (1956–2012), bass and harmonies, whose steady tone anchored the modern Elton sound. Bob’s warm, reliable playing provided continuity across decades, holding the band together and ensuring that Elton’s music retained its rhythmical and harmonic integrity. He joined Elton's band in 1992, making his debut during The One tour, and remained with him until 2012, leaving a lasting imprint on the sound of both studio albums and live performances, his bass lines resonating in every note Elton played.

Decades may separate them, but the bond between these musicians — those still with us and those who have gone — remains unbroken. Their notes still echo whenever Elton sits at the piano and begins to play.

Fifty years after Captain Fantastic and the Brown Dirt Cowboy first told its tale of friendship and survival, the story still feels alive. When the curtain falls now, we remember not only the Captain and the Kid, but those who helped them fly and are no longer with us. Their names — Dee, Gene, Gus, Guy, Bob — are no longer just credits on an album sleeve. They are part of the song itself.

Every time “Curtains” swells toward its final chorus, you can almost see them there: standing in the golden light, smiling, listening, playing one last time. As the lights dim and the names fade from the screen, what remains is the sound — the music that carries their memory forward.

This article is written for them — the ones we have lost, yet whose music still plays on, softly, behind the curtains.

From Tin Pan Alley to Captain Fantastic: Keith Hayward on Elton’s Masterpiece

Today, we’re celebrating the 50th anniversary of Elton John’s Captain Fantastic and the Brown Dirt Cowboy, a landmark album that marked a turning point in his and Bernie Taupin’s careers. To guide us through its creation, impact, and enduring legacy, we’re honoured to have Keith Hayward with us — a leading expert on Elton John, whose meticulous research and in-depth interviews have provided fans and historians alike with unparalleled insight into the music, stories, and people behind the legend. 

And who's Keith?

Keith Hayward is a British music historian, writer, and respected authority on Elton John’s early career. His work documents the formative years of Elton’s musical journey — from his days as Reg Dwight and his time at Dick James Music, through the creation of his first albums and the landmark tours that defined the 1970s sound.

Hayward has authored several acclaimed books providing a detailed and intimate view of Elton’s rise to fame. Tin Pan Alley: The Rise of Elton John (2013) explores Elton’s early years in London’s songwriting scene, chronicling his collaborations with musicians such as Caleb Quaye and Roger Pope. This was followed by From Tin Pan Alley to the Yellow Brick Road (2015), tracing Elton’s creative and personal evolution through the end of the 1970s. His most recent work, Elton John: From The Inside (2023), draws on over fifteen years of research and interviews with key figures — musicians, managers, producers, and crew — offering fresh insights into the artist’s inner world.

A dedicated collector of music and photographs, Hayward has gathered rare archival material and firsthand accounts that bring Elton’s early career vividly to life. He was also part of the archive team for Elton’s official documentary Never Too Late, contributing his expertise and deep knowledge of Elton’s formative years. Based in the United Kingdom, Keith Hayward’s publications have become essential reading for Elton John fans, collectors, and scholars seeking to understand the creative, cultural, and human context behind one of the most successful music careers of all time.

Keith, your impressions, just listening!

Caribou Ranch

Captain Fantastic and the Brown Dirt Cowboy is Elton John’s ninth studio album, recorded at Jim Guercio’s Caribou Studios in Nederland Colorado.  For me this album marks a significant change in Eltons career and the last seventies album to feature Nigel Olsson and Dee Murray.  The album also marked the first time Elton and Bernie had written on a formulaic basis to tell the story of the beginning of their career together up to the recording of the album.  Although Bernie wasn’t told to write he had a brief to keep him in the right direction.

Although the album reached number 1 in the UK and USA it was with a touch of arrogance that Elton decided to play the entire album live, before anyone had heard the songs and on top of that with an entirely new band, (except Ray Cooper), from that which had played in the studio; stupid, arrogant or a master stroke.  It was certainly not the latter as the audience started to leave part way into the album having just watched The Beach Boys completely blow Elton John out of Wembley Stadium during the album live launch on 21^st June 1975.

The album takes us through the early years from the Bluesology days and into the studios of Dick James and the story of two young musicians who loved music.  Obviously, the songs are written through the eyes of Bernie Taupin who sometimes gave a more jaundiced view of people who were around then during the time.  Dick James for instance was pilloried in the song Bitter Fingers, even though Dick stuck with the pair during lean and good times.  In fact, Elton, or Reg, was very well respected in Tin Pan Alley, Denmark Street in London, for both his cover songs, backing piano and singing for major artists from the sixties such as Hollies, Tom Jones, etc.  His melodies on the Captain Fantastic album were, and still are, superb.  I felt sorry for Linda Woodrow, who was engaged to be married to Elton, and the way Bernie’s lyrics treated her in Someone Saved My Life Tonight, both unnecessary but it didn’t tell the full picture, so Linda has had the pain of listening to this song for a large portion of her life and not only that she couldn’t easily escape it as it was the only single from the album.

Overall, the album was up there with the best, but then all of Elton’s work was excellent during the seventies.  In some ways it marked the peak of Elton’s career with his appearance at Dodger Stadium, another suicide attempt and then Elton week where he was given a star on Hollywood Boulevard.

The albums that followed were good, Rock of the Westies marked the first album with a new band, which was rock and raunch with Caleb Quaye and Roger Pope giving it that Hookfoot feel, and Blue Moves, a decent album with some musical brilliance but morose miserable lyrics.  For me that was the album where Elton lost his way; he was never the same after Blue Moves even though A Single Man was an excellent album with Gary Osborne writing lyrics.  That’s the direction Elton should have taken really instead of returning to Bernies lyrics, which by now, had lost their way too,

I’d love to have seen Elton with his studio band of Nigel, Dee, Ray and Davey play the album live.

Fast forward to 2006 Elton decided to repeat the process and introduce the world to another autobiographical album, that takes our hero to America in the ‘70’s.  The Captain and The Kid.  Not impressed at all.  Whereas Captain Fantastic evoked all the feeling and emotions of the seventies music scheme with the struggles of two budding songwriters, The Captain and the Kid just didn’t have the same feel.  By this time they were multi-millionaires with nothing to prove; I just didn’t believe any of the songs and what made it worse was the poor attempt at trying to rehash the music to Captain Fantastic in the final track The Captain and the Kid.  There is very little that is good about this album but I honestly believe that Elton’s career had ended before then anyway.

In the end, Captain Fantastic and the Brown Dirt Cowboy captured Elton and Bernie at their most authentic — still hungry, still fighting to be heard. It was the sound of two artists writing their own story before fame rewrote it for them. Whatever came after — the highs, the lows, the reinventions — nothing ever quite matched the honesty and urgency of Captain Fantastic. It remains the true heartbeat of Elton’s seventies.

Keith, thank you for sharing your thoughts and for joining us in the Week Of... Captain Fantastic 50th Anniversary. It’s been a real pleasure having your voice in the celebration.