Where Music Speaks: Linda Dupuis and the Heart of the Eltonite Spirit

Linda Dupuis is a well-known and deeply respected member of the Elton John fan community. Through her YouTube series Music Speaks, she has created a unique space where musicians share their personal stories, memories, and reflections — often revealing the human side behind the music we love. Her conversations with artists connected to Elton John’s world, both past and present, resonate with fans who value authenticity, warmth, and a genuine passion for music history. Beyond YouTube, Linda remains highly active across social platforms, helping keep the Eltonite community connected across the world.

In this Eltonites Day feature, we explore not only Linda’s journey as a fan and interviewer, but also the heart and vision behind the voice. We were delighted to speak with Linda and begin at the very beginning:

How and when did you first discover the music of Elton John?

I remember being 13 years old when my cousin said to me, “You have to listen to this!” Growing up in Canada, Elton John wasn’t as huge here as he was in the US —or at least I wasn’t aware of just how big he was. At the time, I was mostly listening to The Carpenters and Cat Stevens.

But the moment I heard Bennie and The Jets, from his first Greatest Hits album, I was completely hooked. I still have the copy I bought back then!

What was it about his music that truly captured you at that moment — and made you stay?

It sounded completely different from everything else. There was rock in it, blended with touches of jazz and blues. And the lyrics felt like little short stories set to music.

He seemed to grow older alongside me. His music evolved as I did — moving forward with us, never frozen in a particular time.

How has Elton’s music influenced your life on a personal level?

I’d call it my ultimate feel-good music. There was always a song that matched whatever mood I was in. In recent years, it’s had an even bigger impact on my life, especially as I became more connected with the community of fellow fans.

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

The songs that still move me deeply are Your Song, Tonight, Goodbye Yellow Brick Road, Don’t Let the Sun Go Down on Me, and Curtains. I really can’t pick a favorite!

And which Elton item in your collection do you treasure the most — either because it was difficult to obtain or because of the happiness it brought you?

I have two treasures: a tambourine personally dedicated to me by John Mahon, and a photo of Caleb Quaye that he signed and dedicated to me. They mean the world to me.

What I cherish most are the memories of time spent with past and present band members and collaborators, as well as with fans from around the world whom I’ve met on my journey and who have become dear friends.

At what point did you move from being a fan to becoming actively involved in the fan community?

I finally saw Elton’s farewell show in 2019—and you have to understand, I had never seen him live before. It was a bittersweet experience! That’s when I realized just how much I had missed by not attending his shows earlier. After that, I joined Facebook fan groups and started binge-watching every concert I could find on YouTube, along with every interview and article I could get my hands on.

At one point, I was invited to join a fan group that was holding Zoom sessions during COVID to stay connected. My friend David Connell came up with the idea of inviting Elton’s collaborators—who couldn’t work at the time because of the pandemic. The first guest was Ian Beck, who designed the Goodbye Yellow Brick Road album, followed by John Mahon, Ray Williams, and others. I helped David with these Zooms, and after about a year, I took over coordinating the interviews and arranging the guest appearances.

Later, some guests asked for my help with their social media and other projects, which eventually led to the creation of the Music Speaks project.

Your YouTube series Music Speaks has become a space for very honest and heartfelt conversations. How did this project begin?

During the Zooms, only a small number of fans can join, and I realized that many more would love the chance to get to know Elton’s collaborators as we did. I also feel that these incredible people contributed so much to Elton’s music, and I want to honor their legacy.

So I decided to start interviewing them and share all the conversations in one easily accessible place. I began with the members of the Rock of the Westies band (Ray Cooper, Davey Johnstone, James Newton-Howard, Kenny Passarelli and Caleb Quaye) to celebrate the album’s 50th anniversary, and then continued with other musicians and collaborators.

What kind of atmosphere do you try to create when you interview musicians?

It’s a warm, friendly, and safe space where they can trust me. I would never share anything they don’t want published. They also know that I actively support their work by sharing their projects, albums, music, and performances with the fans.

I also back their charitable efforts, especially Hillsides in California, where John and Pam Mahon are deeply involved. The organization provides education and other services for children and families, and each year our Zoom group raises funds to support their work.

You’ve spoken with many artists connected to Elton John’s world. What have these conversations taught you about the people behind the music?

That these stars are human—full of dreams, accomplishments, insecurities, successes, and hardships. When they feel respected, they return that respect. I would never betray their trust.

Were there any conversations that particularly surprised or moved you?

Each of them moves me in some way. Whenever they open their hearts, it’s always an unforgettable experience.

How important do you think the fan community is in preserving musical legacies?

The fan community is absolutely vital in preserving musical legacies. Fans are not just listeners—they’re storytellers, archivists, and ambassadors. They keep the music alive by sharing it with new generations, celebrating milestones, and connecting with the artists’ collaborators to learn the stories behind the songs.

In the case of Elton John, for example, fans have created groups, organized events, and documented concerts and interviews that might otherwise have been forgotten. They help maintain the context of his work, the evolution of his music, and the contributions of everyone involved, from band members to songwriters and designers. For other artists, it’s the same: the dedication and passion of fans ensure that these legacies aren’t just remembered—they continue to inspire.

What role do you think platforms like YouTube and social media now play in music storytelling?

Platforms like YouTube and social media have transformed how music stories are told and preserved. They allow fans and artists to share concerts, interviews, and behind-the-scenes moments that were once hard to access. They’re also a gateway for younger generations to discover music from the ’60s, ’70s, and beyond—songs and artists they might never encounter otherwise.

For artists like Elton John and others, these platforms keep their music and stories alive, letting fans engage, share memories, and help preserve a legacy that continues to inspire.

When you look back at your own journey — from fan to interviewer — what would you say to someone who dreams of starting a project of their own within the music world?

I’d say: go for it. Dive in, get involved, and really get to know your subject. Do your research, work hard, and follow your passion. Don’t hesitate to start something new—but always stay respectful, and make sure you give as much as you take.

What place do you believe Elton John will hold in the history of rock music?

I believe Elton John will always hold an extraordinary place in the history of rock music. His genius was never solo—his long-time collaborator Bernie Taupin provided lyrics that told vivid, timeless stories, and his incredible band and musicians brought those songs to life. Together, they created a sound that transcended genres—rock, pop, blues, even jazz—and combined showmanship with deep emotion in a way few artists ever have.

Elton’s music isn’t just about hits; it’s about storytelling, connection, and artistry. With the contributions of Bernie, his band, and all the collaborators along the way, his work has become an essential part of rock history, influencing generations of musicians and fans alike.

After all these experiences, what does being an “Eltonite” mean to you today?

After all these experiences, being an Eltonite means feeling connected—not just to Elton and his music, but to the community of fans and collaborators who share that passion. I know his work so well that I have a story about him for just about every moment in my life! It’s about celebrating the music, the memories, and the people who helped bring it all to life.

Thank you. Would you like to add any observation, suggestion, or message for fellow Eltonites around the world?

I’d just say to fellow Eltonites around the world: keep celebrating the music, the stories, and the incredible people behind it. Share your memories, connect with other fans, and never be afraid to dive deeper into the history and the collaborations that made it all possible. Every story, every experience adds to keeping his legacy alive—and it’s a joy to be part of this community.

Thank you, Linda!!!

Listening to Linda Dupuis is a reminder that music does not end when the final note fades. It lives on in memories, in conversations, in friendships formed across continents, and in the quiet dedication of those who choose to preserve its stories. Through Music Speaks and through her unwavering commitment to the Eltonite community, Linda embodies something essential: the understanding that legacy is not only built by artists on stage, but also by those who carry the music forward with care, respect, and love. In a world that moves quickly, voices like hers ensure that the heart behind the songs continues to be heard.

Beyond her own words, we felt it was important to hear from someone who has worked closely with Linda and witnessed her generosity and spirit firsthand. David Connell, a central figure in the Zoom community and a close friend, kindly shared the following message for her. That's for you, Linda:

"In a world that can often feel divided and distant, there are rare individuals who remind us what true community looks like. Linda Dupuis is one of those people — the kind of “Fan Friend” who feels like the personified equivalent of a warm hug.

Linda has created a safe and welcoming environment for fans and music lovers alike. Through her kindness, sincerity, and unwavering love for the music, she has built a community rooted in compassion and connection. It is a space where people feel seen, valued, and embraced. Elton fans truly are the best in the world, and Linda Dupuis is the epitome of that spirit.

Her Music Speaks project is a beautiful bridge between eras, bringing the classic sound and soul of Elton John into the modern age. At the same time, it respectfully tips its hat to those who have been there from the very beginning, honoring the past while welcoming a new generation. Through this work, fans from around the world are able to feel connected — not only to the music, but to each other.

Linda’s love for the music brings people together in a way that feels both natural and extraordinary. I cannot express how proud I am of her — not only for the incredible work she continues to do, but for loving me as a friend in a way I have never experienced before. She is a powerhouse woman whose strength is matched only by her heart.

In such a divisive world, Linda brings people together in a way that is awe-inspiring and, most importantly, deeply needed.

To Linda, and to all those who have paved the way for the Zoom Group community — the admins, fellow fans, and loyal followers — you are appreciated and loved beyond measure. Your dedication, warmth, and shared passion have created something truly special."

Pictures courtesy of Linda Dupuis / Photos of David Connell by David Connell

2018: Living My Eltonite Dream in New York

I had already been to the United States in 2012, and I had seen everything one is supposed to see as a tourist: the Statue of Liberty, Central Park, and Fifth Avenue in New York. But this time, six years later, it was different. This was my Eltonite journey.

The Farewell Yellow Brick Road Tour arrived in New York with two concerts on October 18 and 19, following its premiere in September in Allentown, Pennsylvania. Having already seen Elton in my hometown Barcelona, as well as in Madrid, Paris, Milan, Munich, and London, I simply could not allow myself to miss seeing my idol at the summit, at the epicenter — at Madison Square Garden.

And I didn’t book just one night. I booked both. Because if I was going to do it, I had to do it properly.

The perfect prelude to this journey was meeting Bernie Taupin. If someone had told me back in 1984 — when I was turning the dial of my radio searching for songs by Elton John and his lyricist — I would have thought they were completely mad.

And yet, on October 17, at Chase Contemporary, 231 10th Ave, Taupin was opening his exhibition of art pieces — an iconic and impactful collection titled True American. Themes and symbols of patriotism, combined with music, ran deep throughout the entire exhibition. I must admit I was nervous about that moment. It would have been enough for me just to be near Taupin — listening to his explanations, simply being part of the event. I was there, and I could hardly understand how I could be so fortunate.

Everyone gathered around Bernie, asking for photographs. His beautiful wife was there, along with his lovely daughters. There were cocktails, conversation, and an atmosphere filled with admiration. The response to his work was overwhelmingly positive. I also had my own perfect reward: my photo with Bernie. I was truly euphoric. 

And beyond that, the best was still ahead of me — the concerts at Elton John’s sanctuary: Madison Square Garden. Not just one. I had tickets for both nights. I had always dreamed of experiencing a concert there, and what better occasion than the Farewell Tour? I had everything ready: my T-shirts, my glasses, my LPs to be signed, my passes. My hotel was on Broadway, directly across from where Bruce Springsteen was performing Springsteen on Broadway. And just as I stepped out of the hotel, I found myself among a group of fans waiting for “The Boss” to come out and sign autographs. I joined the line. One hour. Two hours. It felt endless. More and more people gathered around. I was at the front and refused to move. Finally, the door opened — and out came Bruce Springsteen. It was incredible. He stopped right in front of me to sign autographs — mine included. I told him I was from Barcelona, and he said he loved my city.

I kept glancing at my watch and, little by little, once another personal goal had been fulfilled, I ran off to meet two great friends — people I had known for years online but had never met in person until that day. At the agreed time, Kimberlee Kemble and Lisa Greer were waiting at the restaurant so we could finally meet and talk for hours about Elton. That is the beauty of this current of fans — of Eltonites — who travel to see our idol. When you finally meet them, there is an immense joy in connecting with someone you already know so well, yet have never seen face to face. It is curious, but it is true. 

And as I walked up the steps toward the first of the concerts at Madison Square Garden, I felt deeply emotional thinking about how many more people I might have the chance to meet there as well. The setlist was well known, so there was no room for surprise additions that night. We already knew the band was tight, that Elton was in good form. The real anticipation was in the atmosphere that always surrounds him when he steps onto that mythical New York stage. It was in the staging, in the production, in the visual design — and I can say it truly hypnotized me.

I remember the lights going down. The intro beginning to play. The musicians walking out and taking their places. And above all, those first chords of “B-B-B-Bennie and the Jets.” Incredible. The arena exploded. The ovation for Elton was apotheotic and lasted throughout the entire concert. Every word, every gesture, every expression was celebrated. The show came close to perfection. There were many emotional moments, especially when the audience chanted and applauded each member of the band by name. And when Elton ascended and disappeared along the Yellow Brick Road, I was left speechless — satisfied, overwhelmed, emotional. I had done it. I had fulfilled my dream of seeing Elton in New York. I remember walking around outside the venue afterwards, passing by the trucks, the VIP area, just taking it all in. Then I slowly made my way back to the hotel, singing to myself in the street. I was in no hurry. I wanted to savor every second, replaying the concert in my mind. And all of this knowing it was not over. Because the next day was still to come. And that night, yes — I would be sitting in one of the very front rows, right in front of the stage.

And yes, that was the big day. I had a feeling something extraordinary was going to happen. I already had the experience of the night before; I knew how to move around the venue, and as I mentioned earlier, I had an excellent seat. I was able to speak with Kim Bullard and give him a few gifts I had brought from Barcelona. Every time I lifted my head from my seat, I would spot a VIP nearby — David Furnish, Bill Clinton — they were right there, within reach. I enjoyed wandering around the area, and thankfully I did, because I ran into many people I had known for years online but had never met in person: Wayne Martin and Marylin, my “brothers” who had come from Italy, and suddenly, right in front of me, my admired “Elton” Jim Turano.

It was incredible. With every passing second, as the clock moved forward, the emotion and the magnitude of the experience grew stronger. Then it was time for the ritual: to sit down and surrender to the show. Wearing my Elton T-shirt, bought at the venue’s souvenir stands, I was ready. Even knowing the setlist, that night felt different — even if, on paper, it was a twin of the previous evening. Elton was energetic, unstoppable. The band gave everything, as if it were the last concert of their lives. Every song in the setlist felt like a treasure, one more powerful than the next. The atmosphere kept building, the passion overflowing, and there I was — shouting, overwhelmed, my voice beginning to fail. I remember “Candle in the Wind,” Elton alone at the piano. I remember an endless “Levon,” an extraordinary “Rocket Man,” an emotional “Your Song.” During the final bows, Elton and David’s children came out to greet the audience — they were our children in that moment, and we were all moved to see them. And then came the moment to sing “Goodbye Yellow Brick Road” at the top of our lungs, while Elton crossed the stage with his piano, heading toward the point where he would rise and disappear beyond the screen, down the Yellow Brick Road.

And there — yes — I began to cry like a child. As if I would never see Elton again. The emotion overflowed, and all the tension I had carried inside finally broke free. I remained seated. I did not want to leave. I did not want to return to everyday life, to routine. I was at the summit, at the height of it all. I knew that any other concert I might see, in any other country or city, would never carry the same magic as what I had lived there. And yet, I lived it. And I relive it still. More than seven years have passed. I have seen Elton again since then. But none will ever equal the New York pair of nights.

I remember boarding the plane and replaying every single video I had recorded — at least from the first night, because on that final evening I never once thought about filming with my phone. When the plane landed and I unfastened my seatbelt, I felt the landing of the cloud I had been floating on. And thank goodness we live in order to relive moments like these — every time I proudly proclaim my Eltonism around the world. Because being an Eltonite is a feeling that goes far beyond the artist and the man who was born and raised in London and who one day became great in America and across the world, becoming the myth he is today. Time has passed since those concerts. But I still feel them on my skin as if it were today.

When the Music Waits: Elton John Across the Ages

Some songs seem to look beyond the present, as if they know someone will hear them at just the right moment. The melodies and words of Elton John and Bernie Taupin don’t just travel through time—they dialogue with it. It’s not just context that matters, but the age of the listener. 

This article isn’t about songs that grow old with us. It’s about songs that seem to speak to a specific stage of life, no matter when they were written or released. Songs that, if heard too early, slip past you; but if heard at the right moment, strike with unsettling precision.

At 20: When Leaving Matters More Than Arriving

At twenty, the world still feels light. Or maybe it weighs too much, but the body can still carry it all. Songs that speak to this age don’t need explanations: they need movement.

Border Song doesn’t proclaim a manifesto. It claims space. It’s a young voice that doesn’t yet know how to defend itself, but already knows it doesn’t want to stay put. On “Holy Moses, I have been removed” conveys the feeling of displacement and disorientation that comes with youth—the need to find a place of one’s own, still unknown.

In Take Me to the Pilot, the journey matters more than the destination. There’s no map, only the urgency of boarding something that moves away: “Take me to the pilot, lead me through the chamber” expresses the urgency to leave the familiar behind and seek a path not yet clearly seen—a metaphor for the inner journey we all take in our twenties.

All the Girls Love Alice watches without protecting. It neither judges or consoles. It is the gaze of someone who does not yet fully grasp the consequences, because they have not yet fallen upon them. “Poor little darling, with a chip out of her heart” shows a sensitive awareness of others’ vulnerability, characteristic of an age where curiosity and compassion still mix with incomprehension.

Street Kids is nervous, uncomfortable, almost aggressive. It is not a song about danger; it is a song written from danger. “It’s just another street kid on your tail” reflects the tension and insecurity of late adolescence and early adulthood: threats, both real and perceived, closing in without control.

And Saturday Night’s Alright for Fighting is not ideological rebellion, but physical. The body speaks before the mind. “Get about as oiled as a diesel train”—while seemingly just about partying and rebellion, the line symbolizes how twenty-year-olds channel physical frustration before understanding emotional complexity.

These songs do not look back. They cannot. And they do not need to.

At 40: When the Mirror No Longer Lies

There comes a time when speed no longer hides anything. At forty, the question is not who you want to be, but what you were about to become.

Someone Saved My Life Tonight does not speak of a romantic rescue, but of a quiet escape. Understanding that an entire life can go off course without anyone noticing is a revelation typical of this age. “It’s four o’clock in the morning” captures a moment of vulnerability and decision that defines maturity: recognizing one’s fragility and the need to act before it’s too late.

In Tower of Babel, success brings no order. Identity fragments, voices do not align, and the structure becomes a labyrinth. It is a song that accepts that not everything will fit together. “It’s party time for the guys in the tower of Babel” summarizes the confusion and fragmentation accompanying success: as we age, we discover that greatness does not guarantee clarity or harmony.

The Ballad of the Boy in the Red Shoes introduces the real world into the narrative: history, politics, responsibility. When you can no longer pretend that none of this touches you. “The boy in the red shoes is dancing by my bed” reflects the clash between innocence and reality, reminding us that the decisions and responsibilities of adult life shape youthful dreams.

Weight of the World brings serenity after struggle. Fatigue, reflection, and the small joys of daily life define this age. “And the weight of the world is off my back” expresses the calm that comes with experience, when we know how to put things in perspective and enjoy the small reliefs life offers.

And Goodbye may be one of the most adult songs in his catalog. It does not accuse, does not dramatize. It accepts. Saying farewell without seeking blame is a skill learned late. “I am the poem that doesn’t rhyme” shows the acceptance of imperfection and the impossibility of controlling everything; a lesson only mastered with age.

These songs do not rush forward. They observe. And they do not need to.

At 70: When Nothing Needs Proving

When time has said nearly everything it needs to say, songs change function. They no longer explain—they accompany.

The Last Song is not about dying, but about letting go gracefully. Making peace before silence arrives alone. “’Cause I never thought I’d lose, I only thought I’d win” summarizes the conflict and central vulnerability of the song: confronting unexpected loss and late acceptance.

In Live Like Horses, the perspective is wide. There is no rush, there is meaning. It is a song written from a place where you no longer need to convince anyone. “Break out the stalls and we’ll live like horses” symbolizes freedom and perspective: there is no hurry or need to prove anything, only living with sense and breadth.

Blue Eyes speaks of a calm love, without urgency or grand promises. Affection as refuge, not battle. “Blue eyes, baby’s got blue eyes” evokes tranquil love, a refuge in the face of time passing, showing affection without dramatics.

This Train Don’t Stop There Anymore observes the passage of time without complaint. The train continues, and the important thing is no longer boarding it, but knowing where you are when it passes. “I used to be the main express, all steam and whistles heading west” reflects the inevitable passage of time and acceptance of change: it no longer matters how fast the train moves, but where you are when it passes.

And When Love Is Dying is disarmingly honest. It does not dramatize the end; it describes it. When you have loved enough, you know when something ends. “And nobody ever tells you when love is dying” shows acceptance of the end of relationships and situations—an honesty that only comes with experience and emotional maturity.

These songs do not insist. They remain. And they do not need to.

Epilogue: Songs That Arrived Too Early

Some songs do not fail. They simply arrive ahead of time, speaking to future ages before the audience is ready.

We All Fall in Love Sometimes“Wise men say it looks like rain today” expresses the sensitivity and fragility of a love not yet fully understood; the rain is a metaphor for the incomprehension that only maturity can interpret.

Come Down in Time “Come down in time and I’ll meet you half way” reflects patience and temporal misalignment between two people; a metaphor for an audience not yet ready to fully hear the song.

The Diving Board “But who below knows that you’re still a mystery” speaks to the separation between appearance and interiority: the audience only sees the surface, while the truth of fragility remains hidden.

From the restless energy of youth to the quiet questions of middle age, to the calm acceptance of later years, Elton John and Bernie Taupin have written songs that speak differently depending on who listens. Some lines fly over your head if you’re not ready. Some words land with a weight you can only feel at the right moment.

This article is about more than memory or nostalgia. It is about timing. About growth. About hearing a song at the moment it can change something inside you. Elton John’s songs wait. They wait for the listener to catch up.

In the end, these songs are not just music. They are companions. They are mirrors. They are small guides. And sometimes, if you listen carefully, they tell you things about yourself before you even knew you needed to hear them.

Christmas Notes from Elton John’s Legendary Musicians

Kathy Babylon
Born in Los Angeles, USA · Close collaborator with Elton John’s musical circle

Kathy Babylon was born into a musical family and began as a studio singer at age 12. She has performed with The Carpenters, Frank Sinatra, Joe Sample, Nigel Olson, and on Disney projects. She was married to Guy Babylon, Elton John’s longtime keyboardist and arranger, and remains close to him and his band. Kathy continues to collaborate on music projects and musicals, including works with Holly Doubet and John Vester (This Is NOT A Drill The Musical). Kathy is also a proud mother and grandmother.

Merry Xmas from the Babylons! Kathy Babylon

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Adam Chester
Born in the USA · Pianist and stand-in for Elton John

Adam Chester is a powerhouse pianist and vocalist who serves as Elton John’s official band stand-in, affectionately known as the “Surrogate Elton.” He has performed at rehearsals and select live events, including Elton’s final U.S. Dodger Stadium concert in 2022, Glastonbury Festival 2023, and the 2024 Gershwin Prize ceremony. Chester arranges and conducts choral performances for Elton’s productions. He has collaborated with artists such as Joni Mitchell, Brandi Carlile, Garth Brooks, and Miley Cyrus. Adam began his musical journey at age four and studied at USC’s Thornton School of Music. He continues to perform regularly in Los Angeles and for private events nationwide.

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Kudisan Kai
Born in the USA · Former backing vocalist for Elton John

Kudisan Kai is an accomplished singer who has performed as a backing vocalist for Elton John, Chaka Khan, Anita Baker, Natalie Cole, Jeffrey Osborne, and others. She is currently a session singer for film and television. Kai was a former associate professor at Berklee College of Music and is the author of Memoirs of a Back Up Diva. She hosts her own podcast, Backstories On Kai-Fi, and released a single, Step Into The Light. Kai also runs Vocal Music Evolution, an online forum for singers, vocal contractors, and coaches.

Sending love and good wishes to to everyone on EltonJohnAllSongList as Christmas fast approaches 🍾🍾❤️🍷🎄🎄 I see your light ✨✨✨✨

Kudisan Kai

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Shirley Lewis
Born in London, UK · Backing vocalist for Elton John

Shirley Lewis is a British vocalist known for her work as a backing singer for Elton John and other musical greats, including George Michael and Stevie Wonder. Her voice can be heard on some of George Michael’s biggest hits, including Father Figure and Freedom. Lewis toured with Elton John during his 1985–86 World Tour, including the Australian shows with the Melbourne Symphony Orchestra. She took part in the seven-day The George Michael Singers UK tour in March–April 2025, helping to keep his music alive for fans. Lewis has extensive experience as a studio and stage performer.

Happy Christmas and blessings for the New Year to all The Elton John AllSongs list 🎄 blog 🎄 Shirley Lewis

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Charlie Morgan
Born in the UK · Drummer for Elton John

In 1985, Charlie Morgan’s drumming work with Nik Kershaw attracted the attention of Elton John, who invited him to play on the Ice on Fire album. Later that year, Morgan joined Elton John on stage at Live Aid, beginning a thirteen-year period of recording and touring together. He became a core member of Elton’s band throughout the late 1980s and 1990s. Beyond Elton John, Morgan has worked with artists such as Kate Bush, Paul McCartney, Tina Turner, Cher, and The Moody Blues. He is also the owner of Manicdrums Productions.

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Caleb Quaye
Born in London, UK · Original lead guitarist for Elton John

Starting in 1969, Caleb Quaye played guitar supporting Elton John at live concerts around the London area, in line-ups that later became the nucleus of Hookfoot. This live work continued until Elton formed his original touring band in spring 1970 with Dee Murray and Nigel Olsson. Quaye is best known as Elton John’s original lead guitarist, having played on much of his early recorded work. Beyond Elton John, he built a major career as a session guitarist and producer, collaborating with artists such as Harry Nilsson, The Beach Boys, Joan Baez, Dusty Springfield, Liza Minnelli, Pete Townshend, and Hall & Oates. He remains a highly respected figure in British rock history.

Thank you all for the love and warmth you continue to share — it truly means the world to me. I’m excited to share that my documentary, Louder Than Rock : The Director’s Cut will be released at the end of January, and I hope the music continues to bring you peace, light, and joy.

Caleb Quaye

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Richie Zito
Born in Los Angeles, USA · Guitarist and collaborator with Elton John

Richie Zito is a guitarist, songwriter, composer, and record producer with a career spanning more than 50 years. He has contributed as a session musician to recordings by numerous artists, including Elton John, Neil Sedaka, Diana Ross, Leo Sayer, and Art Garfunkel. Zito has also produced charting singles and worked as a composer for projects such as the 1986 anime film Project A-Ko. He was named Billboard’s Producer of the Year in 1990. Known for his versatile production and guitar work, Zito remains active in music and studio projects today.

Wishing Everyone a Safe, Healthy& Happy Holidays!!!! Richie Zito

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