Very few fan sites have stood the test of time from the late 20th century to today. Many disappeared because they were hosted on free domains that eventually shut down, while others simply stopped being updated. However, some remain alive and relevant thanks to the quality of their content — and for that reason, they still hold recognition and importance.
Back then, there were discussion forums like Google Groups and Yahoo Groups. I believe it was in one of those spaces that I first came across the work of Miguel Sala, author of:
http://eltonjohnallsongslist.blogspot.com/?m=0
Among the hundreds of Elton John fan sites, Miguel’s had a clear distinction: the articles. While most fan sites focused on photo galleries or brief overviews of Elton’s career, Miguel's blog went far beyond that. There, we found interviews, detailed research, and in-depth analysis — it offered a level of content that stood out from the rest.
It’s a true honor to speak with you, Miguel Sala. I want to take this opportunity to say that much of the work I do today about Elton John was deeply inspired by what I saw on your blog. Content — that’s the key word when describing the value of your work. So yes, I can honestly say that you have influenced me. Believe it.
In this interview, I chose to take a different approach: instead of sending all the questions at once, I sent them one by one. This way, each new question was shaped by Miguel’s previous answer, creating an almost “live” dynamic and adding more spontaneity to the conversation.
To start this interview, I’d like to avoid the obvious. Instead of following a chronological order, I’m going to flip the timeline and begin with some current topics. I really don’t like being predictable, haha.
Recently, I saw Elton’s new project with the band Spinal Tap, and I’d like to hear your opinion about it. Personally, I didn’t like it much (laughs), especially since it repeats the same pattern of Elton not going solo — always teaming up with another artist for a release.
Miguel Sala: Thank you so much, Robson, for your kind words. The truth is, we all find inspiration somewhere — in my case, it came from fanzines like East End Lights and Hercules. I used to devour the articles by Claude Bernardin, Liz Rosenthal, John F. Higgins, George Matlock, Stephan Heimbecher, and especially Jim Turano — a true master in every sense — as soon as the magazine arrived at my home.
Over time, some of them became contributors to Allsongslist, which helped me learn and motivated me to keep going. But to be honest, being able to create a website like yours has always been a dream I’ve never quite managed to achieve. So when you asked me for this interview, I immediately said yes — and I’m truly grateful for the opportunity.
As for collaborations, I think they’ve always been a constant in Elton John’s career, and each one has its own special charm. While I wouldn’t place Stonehenge on the same level as his collaborations with Eminem, Stevie Wonder, Axl Rose, Lady Gaga, Little Richard, Leon Russell, or Brandi Carlile — to name a few — seeing him with Spinal Tap was definitely surprising. It reminded me of Elton’s ability to connect with other artists and always do it brilliantly, in his own unique style — sometimes even improving on the original songs and taking them to another dimension... It's Elton! hahaha
Robson Vianna: Elton John's main characteristic, in my opinion, is his ability to constantly surprise us — he's a true musical chameleon. And honestly, I’ve never had a problem with those shifts in style, because I’m extremely eclectic when it comes to music. I can listen to James Dio singing Holy Diver (and yes, someone once told me the ambient intro sounds just like Funeral for a Friend) just as easily as I enjoy Boogie Nights by Heatwave or Perry Como singing And I Love You So. So no — I’m definitely not conservative, haha.
Elton is also a universe of his own when it comes to creating content. You've explored this brilliantly in your blog. We could talk about him from head to toe — literally! From his hair loss and hair transplants (hey, that’s a good article idea!) to the outrageous shoes he wore in the ‘70s.
This new partnership reminds me of those musical shifts that could either work really well... or completely flop. I remember The Thom Bell Sessions — everything seemed to point toward failure. I can picture Bernie Taupin in the studio with a face that said, “This has nothing to do with our work.” And yet, it worked! On the other hand, I personally thought Heartache All Over the World would be a hit... and it absolutely wasn’t.
Now, moving on with the interview — let’s continue with the next section:
Stories, behind-the-scenes moments, and analysis about Elton:
Question 1: While researching interviews with musicians who worked with Elton — such as Charlie Morgan or Nigel Olsson — which stories or revelations stood out the most to you?
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Miguel Sala:
There was a section called "Interview with the Idols" where I had the chance to do 25 interviews with various people related to Elton. I have so many memories, really. The last one was an unfinished interview with Paul Buckmaster — his passing shocked me deeply. He was a great person and always so kind to me. We went through his origins, his influences...
Other painful and heartfelt losses were those of Bob Birch and Guy Babylon, both of whom had contributed to my blog. Birch, for instance, once told me how much he admired the work of the late Dee Murray:
“No one could ever replace Dee. Those were his bass lines that made the songs what they were. I just wanted to try and reproduce them. I could play my own stuff, but to me, those bass lines on the record are part of the song. I don't think there was any pressure... it's just the respect to play the right thing.”
I fondly remember Guy’s son, my dear Ben Babylon — such a talented, kind, and well-prepared young man, who already is and will continue to be someone to watch. He reminds me a lot of his father, even though he has his own personality. I’ll never forget the piano session he dedicated to me when we met. There are moments in life that are simply meant to be lived, and I was amazed by the musical quality of such a young guy (he's 27 now).
I also cherish the memory of the best backing vocalists — in my humble opinion — to ever sing with Elton John: Mortonette Jenkins, Marlena Jeter, and Natalie Jackson (aka Kudisan Kai). Kudisan told me about the meaning of her "new" name:
“Kudisan means ‘you are blessed, or holy, or lucky’. Kai means ‘you are loved’. The person who gave me these names told me that I am to always remember this.”
Marlena told me:
“The work ethic in that organization is one I highly respect, and I learned a lot during my 7 years of being part of it all. The entire ‘Elton John’ experience was life-changing for me, and I will always treasure those experiences from that time in my life.”
And Mortonette — one of the three wonderful ladies, as I called them — shared how the tour rehearsals worked:
“Months of rehearsing take place before you even hit the road, hours and hours of rehearsing to give everyone great performances. The arrangements are done with Elton, Davey, and then the other guys play and play to perfection. Then Davey gives us our background parts to learn that go along with the arrangements they've already perfected. We then perfect our parts — and the real rehearsals begin. Elton is very exacting and does not settle for less than perfection in rehearsals or performances.”
They were all wonderful artists and unique, talented divas.
I also loved interviewing David Paton, who told me about working in the studio with Elton:
“I was in the studio setting up my bass when Elton appeared. He said hello and sat down at the piano. I was tuning my fretless bass at the time and Elton started to play a sequence of chords. I played along with him for about 20 minutes. He stopped and said ‘I think you’ve got it.’ The chords he’d been playing were for ‘Nikita’.”
Or John Jorgenson — such a gentleman — who, when I asked about what Elton once said of him (“You have a reputation for playing everything but the kitchen sink”), replied:
“Yes, I do play a lot of instruments! I usually want to learn how to play something if I like the sound of it... I also would get bored in school band when I was young and wanted to play different instruments to make it more fun and interesting for me. I have just started playing the bouzouki onstage with my quintet, and that is an instrument I have wanted to play for a long time.”
Or Charlie Morgan, when we spoke about his debut with Elton — at Live Aid 1985 — he said:
“Yes, the monitor system went down for the first song and I just watched for EJ’s foot to tap in time.”
Or Jody Linscott, about being pregnant during the long tour and studio sessions:
“I was heavily pregnant during most of the tour and during the making of that record in Europe, and my memories are of him in a good mood. I don't remember it being anything but a pleasant time, though I had to leave early to have a baby. Things might have been tempestuous on tour from time to time... but in the studio, he seemed comfortable. He and Gus seemed to have a good time together. Gus was great.”
About Cidny Bullens (then Cindy Bullens) and the foundation she created in honor of her daughter:
“The Jessie Bullens-Crewe Foundation (and the Jessie Fund) help kids with cancer and their families in any way we can.”
Or Billy Trudel’s childhood:
“I have always been a fan of Elton's. When I was in middle school I was in drama class and had to do a short live skit. So my live skit was to dress up like Elton and perform Bennie and the Jets.”
And from the current band, I’ll never forget interviewing John Mahon, who shared:
“My father took me to join the Police Boys Club Drum and Bugle Corp and I had to pick between trumpet or drums... well... no brainer there! Then I joined the school band, concert and marching — played the bass drum — it was the coolest cause you are the tempo keeper. The driver, so to speak.”
Or Kim Bullard, whom I interviewed just after he started rehearsing with the band. He talked about Guy:
“The good thing about having Guy precede me was that he took the keyboard parts to Elton’s songs to a very high level. He did this job for a long time. I got to use that experience, and add my own touches as I went along. If I shine at all up there, it is because he lit the way.”
And how Bob Birch had helped him:
“Bob was an enormous help, too; he followed up with me all the time to make sure I had everything I needed.”
And so many others: Katy Rose, Stjepan Hauser, Stuart Epps, Catherine Britt… Incredible. I get emotional just remembering it all. So much work, so much gratitude.
At the end of each interview, I always included two guests who would say a few words about the interviewee — it was all very touching. How wonderful that all of this remains, and that we can all share it...
Robson Vianna Question 2: When looking into the more turbulent studio sessions and tours — like during Leather Jackets or Elton’s vocal crisis in 1986 — what impressions did you get from those who were there?
Miguel Sala:
Those were clearly complicated times. Several of the people I interviewed remembered that period with a mix of affection and exhaustion. The Leather Jackets sessions, in particular, came up a few times as being difficult — not just because of the music, but because of Elton’s personal state at the time. Some said there was a kind of cloud over the sessions — emotionally and creatively.
And of course, 1986 was especially tough for Elton. His vocal crisis was a turning point. Many saw him as invincible, and suddenly he was forced to confront a physical limitation. I think for the people around him, it was a sobering moment. There was fear — not just about whether he’d be able to sing again, but also about how it would affect everything that had been built until then.
At the same time, we can’t ignore that the 1980s were a very different era musically. Even though Elton continued to release at least one hit every year — and some were massive, like Nikita or I’m Still Standing — he was, in a way, out of step with the dominant pop-rock trends.
The sound of the 80s was being shaped by new wave, synth-pop, MTV aesthetics, and younger artists who represented a new generation. Elton, by contrast, came from a 70s songwriting tradition that was more piano-driven, more introspective in some ways.
But to me, Live in Australia put Elton back at his absolute best:
“You want synthesizers? Well, I’ll bring an orchestra.” That album is incredible.
What stands out most to me from the testimonies I collected is the respect everyone had for him. Even in the most turbulent times, all the musicians I spoke to admired his resilience, his professionalism, and his ability to keep going, even when the road got incredibly rough.
Robson Vianna Question 3: Among so many songs, albums, and eras in Elton’s career, which lesser-known stories or curiosities do you find most fascinating?
Migel Sala:
What makes Elton John so fascinating is his ability to constantly reinvent himself without losing his identity. He’s a true chameleon — from 70s glam-rock to 80s pop, intimate ballads to modern collaborations, he has always adapted and even anticipated trends. His immense and consistent discography, with albums released nearly every year for decades, reflects rare passion and dedication. His lifelong creative partnership with Bernie Taupin has produced iconic songs and remains one of music’s most enduring collaborations. Elton’s voice, too, evolved after his vocal surgery in the mid-80s — becoming deeper but just as powerful. Beyond the music, his commitment to social causes, especially the fight against AIDS, shows his generosity. His theatrical style — the glasses, the outfits — became part of his artistic signature. He can perform with Ray Cooper in a minimalist duet, with a full orchestra, a rock band, or modern pop artists — and in every case, it still sounds like Elton. He’s embraced gospel, reggae, disco, blues, country… and always made it his own.
Robson Vianna Question 4:
Elton John has always had a very unique style of composing. In certain videos, you can clearly see how his creative process flows naturally — he sits at the piano, and the inspiration just comes.
In his most recent album, I once again noticed a distinctive feature of Bernie Taupin’s lyrics — what I would call a patchwork approach. He pieces together lines written separately over time into a single song lyric. This isn’t new for him; he had already done something similar back in the days of Take Me to the Pilot.
Musically speaking, several artists use this kind of method. Paul McCartney, for example, often creates short musical fragments and stores them away. Later, he combines those fragments to build a complete track. A great example is Under Pressure, the collaboration between Queen and David Bowie. Each of them went into separate rooms, came up with random ideas, and then they put everything together — and it worked.
Elton, on the other hand, has never really composed in that way. Still, we’ve come to know many different “Eltons” over the years, each with a distinct approach to songwriting. The Elton from 1971 is definitely not the same as the Elton from 1982.
That leads to an interesting question: did these changes happen because of the different lyricists writing for him, or was it a deliberate choice — both his and theirs — to adapt and climb the charts?
Miguel Sala:
Elton John is an artist in constant evolution, and this is clearly reflected in his approach to songwriting over the years. More than simply changing to adapt to the market or external influences, I believe these shifts in his style come from a combination of factors: his own artistic maturity, collaboration with different lyricists, and the desire to explore new ways of expressing himself. Bernie Taupin, for example, has this “patchwork” technique that adds a special dynamic to the lyrics, like a puzzle constructed from fragments written at different times. This makes the songs richer and less linear, and it’s a tool he has used occasionally but very effectively.
Musically, Elton has never followed a fixed system but has evolved according to his creative state and the context of the moment. This ability to reinvent himself — from the raw, energetic sound of his early days to the sophistication and experimentation of his latest albums — means each era has its own distinct personality. Thus, the different “versions” of Elton John are not just a result of the lyricists he worked with, but also his own artistic will. I believe he has always been faithful to the idea of growth and surprise, rather than simply following market trends.
Robson Vianna Question 5: When an artist hires a musician of Davey Johnstone’s caliber — or other guitarists such as Nik Kershaw (on Act of War) or Steve Lukather (on Heart in the Right Place) — and that musician creates a solo or instrumental part that becomes as vital as the song itself, shouldn’t they be considered a co-writer?
Would Saturday Night’s Alright (for Fighting) be just as powerful if its iconic guitar solo and rhythm section — crafted by Davey Johnstone — had been created by a different guitarist? Doesn’t Davey’s contribution qualify him as a co-author of the song?
I call this phenomenon “the third element” — when a performance or arrangement becomes so integral to a song’s identity that it transcends its original composition.
Could this also apply to the original versions of Grey Seal and Skyline Pigeon, which were later reimagined and enhanced by producer Gus Dudgeon? Is Elton John with Gus Dudgeon the same as Elton John without him?
These are questions worth asking when we consider the true nature of authorship in music.
Miguel Sala:
The third element? Yes, absolutely. When a musician like Davey Johnstone contributes a distinctive solo or instrumental part that becomes inseparable from a song’s identity, their contribution goes far beyond mere performance. It shapes the very essence of the track, elevating it to something unique and unforgettable.
Take songs like Saturday Night’s Alright (for Fighting), I Guess That’s Why They Call It The Blues, or Grow Some Funk of Your Own; Davey’s iconic guitar energy and sound are so deeply rooted in these tracks that it’s almost impossible to imagine them without his input. This kind of creative collaboration blurs the lines of authorship, making it only fair to recognize these musicians as co-creators.
Similarly, Gus Dudgeon’s transformative production work on songs like Grey Seal and Skyline Pigeon adds layers that redefine the original compositions. The partnership between Elton John and Gus is a perfect example of how production and arrangement become an essential part of an artist’s voice.
In music, authorship isn’t always just about who wrote the lyrics or the basic melody. It’s also about those vital elements — the third element — that bring a song to life and give it personality.
Robson Vianna Question 6: What are your plans for the future of the blog — new interview series, more fan interactions, content expansions, or anything else you’re working on?
Miguel Sala:
I don’t know why, but I have a feeling something very important is coming with Elton John. I can’t really explain it, but I don’t think it’s a coincidence that AllSongsList is emerging now. Anyway, we’ll take it step by step and let the path unfold naturally.
Plans? New segments, of course. And lots of interaction with the Eltonites — I feel that’s the spirit of the blog: the connection between us and Elton John.
I feel incredibly grateful for everything the blog has brought me so far — the connections, the stories, the trust of so many amazing people who have collaborated with Elton. I never imagined it would grow into something so meaningful.
We have many projects underway: the Committee of Experts to discuss and share deeper insights, and I’m also bringing back the Fourth of a Kind segment.
Another passion of mine is the world of collecting, so we’re developing a section called Re-collecting. We’ll explore this universe and the rare, well-preserved pieces many of us have at home related to Elton.
We’re also focusing more on the Adventures of Jack Rabbit, who has a list of places to discover and share stories about.
I also want to dedicate time to highlighting the many talented musicians who have worked with Elton and Bernie — they’re a big part of what makes the music so special, and honestly, it’s important we don’t forget them. That’s exactly what the Interview with the Idols section is for.
Finally, I’m working on another surprise that I’m confident will come to fruition.
Robson Vianna Question 7:
Your blog feels like a true work of musical archaeology — uncovering rare facts, forgotten stories, and hidden layers in Elton John's vast catalog. Over the years, have you come across any discoveries in your research that truly surprised you or changed the way you see certain songs or albums? And how do you usually go about verifying and choosing what’s worth sharing with your readers?
Miguel Sala:
Thank you for your kind words, Robson. Each of us has a hidden treasure — whether it’s a memory, an experience, or an object. What archaeology does is recover these treasures and give them life and rigor; I really like your comparison.
In my research, I often think about songs Elton has recorded that never saw the light of day. Someday I hope to share the experience of coming across so much Elton material, sometimes with little time to process it all — hearing melodies, reading lyrics, coveting and being surprised by titles, and discovering gems that remain tucked away in some drawer of time, waiting to be opened.
One particular project close to my heart was the campaign around Original Sin, Elton’s 2001 song. In 2010, we launched a pilot initiative to try and push it to number one on the UK charts. It was led by me, with remarkable support from George Matlock, who dedicated an “Elton John’s Day” on his radio show, ORLA FM and so many fans from different countries of the world, the list is endless, including you haha. Although we didn’t achieve the number one spot, what truly stood out was the solidarity, the encouraging words, the feeling of a job well done, and the joy of at least trying — reminiscing about what happened with Sacrifice back in 1990. I still treasure the messages and gifts from fans thanking me for the initiative; it was very moving.
When it comes to verifying what’s worth sharing, I’m always careful. I cross-check facts with multiple sources — interviews, official releases, trusted biographies, and direct conversations with people connected to Elton’s world. It’s important to me to keep the content accurate and respectful, so readers can trust what they find here.
This ongoing journey of discovery keeps the blog alive and meaningful, reminding me every day why I started it — to celebrate and preserve the incredible legacy of Elton John.
Robson Vianna Question 8:
In recent decades, the term "yuppie culture" has been widely misinterpreted, often being associated with conservative consumerism or even outdated gender roles, especially in some parts of the U.S. However, artists like Elton John were ahead of their time in breaking stereotypes — notably by embracing fluidity, individuality, and openness about sexuality long before such themes were mainstream. While we once seemed to be moving toward greater social equilibrium, we are now witnessing a surprising and unsettling regression — with many of the cultural advances of the past 50 years being rolled back in favor of ideologies that echo our grandparents’ era. As someone who has studied this artist and his cultural impact in depth, how do you interpret this decline? Have we entered a cultural backlash?
Miguel Sala:
Yes, I believe we are experiencing a kind of cultural backlash. Many social advances — in LGBTQ+ rights, gender equality, and freedom of expression — are now being questioned or outright challenged. But there is also a new generation of artists who not only resist but respond with creativity and courage. I think of Lil Nas X, who uses provocation and aesthetics to confront intolerance; Billie Eilish, with her style and authenticity, breaks the expectations imposed on what a female artist should be; and Bad Bunny, who, coming from reggaeton — a genre often marked by machismo — plays with gender roles and defends freedom of identity.
Elton has always been a counterpoint to this kind of regression. He broke molds from the very beginning — not only in terms of sexuality but also in how he dressed, performed, and collaborated. He made it clear that one can be vulnerable and theatrical, masculine and emotional, extravagant and deeply sincere — all at once.
So yes, perhaps we are living through a moment of cultural regression — but I also believe that moments like this highlight the value of figures like Elton. They remind us that progress is not linear. Sometimes the boldness of past pioneers becomes even more essential when society takes a step backward. And it is our responsibility, as fans, scholars, and citizens, to keep that fire alive.
Robson Vianna Question 9:. Would you like to talk about something that’s on your mind?
Miguel Sala:
Well, I’d say that sometimes the perspective that comes with the passing of time allows you to see and appreciate many things you want to seize now. These past years have been complicated for me. I kept loving Elton — I went to the Farewell Tour in New York, London, and Barcelona — but I had reached a point where I lacked inspiration. I felt it was best to take a step back: to read a lot, gather information, and talk to people connected to Elton.
During that time, I also had the chance to meet Elton in London and Bernie Taupin in New York — absolute highlights I never would have imagined could happen to me. Yet, despite all of this, there was a part of my personal life that needed attention. I wanted to dedicate more time to my daughter, Júlia, and that’s exactly what I did. Now, I’m coming back feeling fresh — original, I’d say — with many ideas in mind, and perhaps this is the perfect moment to move forward and reconnect with the readers, sharing new stories and perspectives that keep the spirit of the blog alive.
Robson Vianna Question 10:. Is interviewing easier than being interviewed?
Miguel Sala:
Hahaha, it was strange! I’m used to being the one asking the questions, never the other way around — so it feels a bit odd. And then I find myself wanting to ask myself questions back, like a reporter would, haha. I can tell you that I’ve felt very comfortable with you.
I was really excited that you proposed this interview — I admire your work on Elton, you have an archive and research skills I wish I had. What I’m truly grateful for, though, is that through your questions, I’ve been able to remember many important moments and experiences in my life. I’ve reflected and recalled many anecdotes. For me, this has been a very worthwhile experience. Thank you from the bottom of my heart.
Let’s keep working for Elton — to do justice to his legacy and to spread the word about such an important figure in music history, who will be immortal and live on for many years, especially if we make sure of it. Thank you so much, Robson. A big hug!
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http://eltonjohnallsongslist.blogspot.com/?m=0
SPECIAL VIDEO:
Countdown (December 7, 1980) Host Elton John & Molly Meldrum
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This clip features the guest hosts of the Countdown episode aired on December 7, 1980: Countdown Talent Co-Ordinator Molly Meldrum and British singer Elton John, filmed in Brisbane, Queensland.
In the clip, Molly and Elton discuss the band The Police, whom Elton regards as one of the world’s best bands. They also talk about some Australian albums Elton has purchased over the years during his tours in Australia. This conversation leads into the British band Ian Dury & The Blockheads and their single “I Want To Be Straight.”
The segment, titled ‘Humdrum,’ is presented by Molly Meldrum as usual—note that he does so without his trademark Stetson hat (commonly mistaken for an Akubra), which he only began wearing in the early to mid-1980s. During the segment, he mentions several acts including Elton John, Rocky Horror Picture Show, Fame, Irene Cara, Dire Straits, Steely Dan, David Bowie, and The Easybeats.
Molly interviews Elton John about the artists he discusses in this segment and about his latest album. Additionally, a clip of Molly interviewing Irene Cara regarding her single “Fame” is shown.
