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.