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Dee Murray

Dee Murray (3 April 1946 – 15 January 1992) was an English guitarist best known for his prominent role in Elton John's backing band during the 1970s and 1980s. Born David Murray Oates in , Murray developed a melodic style influenced by and rooted in rock and R&B, which became a signature of his contributions to some of Elton John's most iconic recordings. Murray began his professional career in the mid-1960s as a session musician and band member, starting with the British group the Mirage, where he played on several singles released by labels including CBS and Philips. In 1969, he joined the Spencer Davis Group, contributing bass to their album Funky, which marked his entry into higher-profile rock circles. In 1970, Murray joined Elton John, contributing to his album Tumbleweed Connection and becoming a core member of the Elton John Band alongside drummer Nigel Olsson and guitarist Davey Johnstone. From 1970 to 1975, Murray's inventive and rhythmically fluid bass lines anchored Elton John's rise to superstardom, appearing on landmark albums such as (1970), (1972), and the double album (1973), which was recorded in just 16 days at in . His playing featured prominently on hit singles including "Rocket Man," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," and "Don't Let the Sun Go Down on Me," helping drive 11 Top-10 hits and six number-one albums during this period. Murray's melodic approach, often incorporating , grace notes, and swinging rhythms—as heard in tracks like ""—earned praise for its musicality and support of Elton John's piano-driven arrangements. After a brief hiatus, Murray rejoined in the early for albums like Jump Up! (1982) and (1983), and made vocal contributions to (1988). In the late 1970s and , he expanded his resume with stints alongside artists such as (on the 1978-1979 Madhouse Rocks tour), (1977 tour), and , before relocating to Nashville in the late to pursue opportunities, including work with . Murray, who was married and had three children, died of a on 15 January 1992 at in Nashville while undergoing treatment for ; honored him with tribute concerts at the Grand Ole Opry later that year.

Early life and career beginnings

Early life

David Murray Oates, professionally known as Dee Murray, was born on 3 April 1946 in , . He developed an early interest in music during his teenage years, immersing himself in the burgeoning British rock 'n' roll scene of the and early . Influenced by rock and records, Murray began learning by playing along to his favorite tracks, marking the start of his lifelong dedication to the instrument.

Initial musical career

Dee Murray began his musical journey as a teenager, learning to play influenced by contemporary rock and records of the era. His first professional engagement came in the mid-1960s when he joined the London-based pop band as their and after responding to an advertisement due to dissatisfaction with their previous . The group, formed around 1965 by brothers Pete, Pat, and Dave Hynes along with Ray Mynott, initially pursued a harmony-driven pop sound and released two singles on Records that year, including covers like "It's in Her Kiss" and originals such as "Go Away," though they achieved only modest commercial success. By 1966–1967, shifted toward , issuing three singles on , notably a cover of ' "" backed with "You Can't Be Serious," where Murray's bass lines and vocal harmonies contributed to the band's evolving experimental style. In 1968–1969, continued recording under pseudonyms like and Portobello Explosion, releasing further singles that showcased Murray's rhythmic support on tracks blending pop and psychedelic elements, but the band disbanded amid the shifting music landscape. Murray then transitioned to in 1969, where he played bass on their Funky, contributing to its blend of rock, soul, and funk during tours across the and . Following this, Murray took on session work at Dick James Music studios in , collaborating with various songwriters and performers, which exposed him to emerging talents in the industry. In spring 1970, he paired with drummer —whom he had met earlier—to form Elton John's initial live , marking the end of his pre-Elton John independent career phase.

Collaboration with Elton John

1970–1975

In 1970, Dee Murray joined 's backing band as bassist, initially forming a alongside drummer after both had worked as session musicians for John's manager, . This lineup provided the rhythmic foundation for John's early live performances, debuting on stage in the United States and contributing to the energy of his breakthrough tours. Murray's bass playing, characterized by melodic lines and a driving pocket groove influenced by , complemented John's piano-centric style and helped solidify the band's rock-oriented sound. Murray's first recorded appearance with John came on the 1970 album , where he played bass on the track "Amoreena," marking the start of his integral role in John's studio work. The trio's live prowess was captured on the 1971 album 11-17-70, a concert recording from that showcased Murray's rhythmic inventiveness on extended tracks like "Sixty Years On," emphasizing his ability to lock in with Olsson while adding melodic . As the band expanded in 1971 with guitarist , Murray continued to anchor the rhythm section on albums such as (1971), contributing bass to several tracks that highlighted his voice-leading skills. From 1972 to 1974, Murray played on a string of commercially successful albums, including (1972), Don't Shoot Me I'm Only the Piano Player (1973), (1973), and Caribou (1974). On , his bass lines on "Honky Cat" and "Salvation" drove the album's upbeat, château-recorded vibe with syncopated rhythms and . The double album featured Murray's prominent contributions to hits like "," where he employed a loping feel, notes, and melodic fills during solos, all captured in just one or two takes during the rapid 16-day recording session. These efforts helped propel to global stardom, with the albums yielding multiple Top 10 singles anchored by Murray's bass work. The period culminated with Captain Fantastic and the Brown Dirt Cowboy (1975), John's first U.S. No. 1 album, recorded in a single week as a conceptual live-in-studio performance. Murray's bass provided the melodic and rhythmic backbone for tracks like "," blending intricate lines with the band's tight interplay. However, shortly after its release, John dismissed Murray and Olsson, citing a desire for a fresh musical direction, ending Murray's initial five-year tenure with the band. During this era, Murray's contributions were pivotal to 15 Top 10 hits and six No. 1 records between 1972 and 1975.

1980–1992

Murray rejoined Elton John's band in 1980 alongside drummer , marking their return after a five-year hiatus, and performed at the landmark in on September 13, 1980, which drew an estimated 400,000 to 500,000 attendees. The event featured the reunited core lineup, including guitarist , and showcased hits like "," with Murray providing steady bass support during the high-energy performance. This concert, broadcast on and released as a live album, signified a creative resurgence for John and reestablished the classic band's chemistry. Throughout the early 1980s, Murray contributed bass and backing vocals to several of John's albums, beginning with select tracks on 21 at 33 (1980), where he reunited with Olsson for "Chameleon." He played on the full-length Jump Up! (1982), anchoring songs like the Top 10 single "Empty Garden (Hey Hey Johnny)," a tribute to John Lennon, and provided rhythmic foundation for the album's rock-oriented sound. Murray's bass work continued on Too Low for Zero (1983), supporting hits such as "I'm Still Standing" and "I Guess That's Why They Call It the Blues," both of which reached the Top 5 in the US and UK, helping the album achieve platinum status. The band, featuring Murray, toured extensively during this period, including the 1980 World Tour and the Jump Up! Tour, delivering energetic live sets that revitalized John's career trajectory. Murray also played bass on Breaking Hearts (1984), contributing to tracks like the ballad "Sad Songs (Say So Much)," which became a major hit, and participated in the subsequent Breaking Hearts Tour, one of John's most successful arena tours of the decade. After departing the touring lineup later that year, Murray made a final studio contribution with backing vocals on Reg Strikes Back (1988), appearing alongside Olsson and Johnstone on several tracks, including "A Word in Spanish." This period solidified Murray's role in John's mid-career comeback, blending his melodic bass style with the band's polished rock arrangements.

Other musical work

Session recordings

Throughout the and , Dee Murray established himself as a sought-after session in and Nashville, contributing to a diverse array of recordings beyond his primary association with . His versatile playing style, characterized by melodic lines and rhythmic precision, made him a frequent collaborator on , and folk projects. Murray's session credits often involved providing foundational grooves that complemented lead artists' visions, as seen in his work on several notable albums during this period. One prominent example is his contribution to Elliman's 1978 album Night Flight, where Murray played bass alongside Lee Sklar, Paul Stallworth, and Scott Edwards, supporting the disco-inflected hit "If I Can't Have You." The album's polished production highlighted Murray's ability to blend seamlessly in ensemble settings, adding warmth to tracks like "Baby Don't Let It Mess Your Mind." Murray also appeared on Shaun Cassidy's 1977 release and 1978's , delivering bass lines that underscored Cassidy's teen-pop sound. On , he shared bass duties with Dennis Belfield and Jim Hughart, contributing to the album's energetic tracks amid a backdrop of session heavyweights like Carlos Vega on drums. These recordings showcased Murray's adaptability to lighter, commercial material while maintaining a professional edge. In the vein, Murray provided bass for England Dan & John Ford Coley's 1979 album Dr. Heckle and Mr. Jive, specifically on the track "Caught Up in the Middle," where his playing supported the duo's harmonious melodies alongside multiple bassists including . This collaboration exemplified Murray's role in enhancing mid-1970s sensibilities. Further diversifying his portfolio, Murray played bass and backing vocals on Allan Clarke's 1973 solo album Headroom, the former frontman's effort that featured a mix of rock and pop elements. His contributions added depth to songs like the title track, working with drummer Tony Newman to drive the album's . On Bernie Taupin's 1980 solo album , Murray handled bass duties across several tracks, joining and in a lineup that included on piano for select cuts. The record's eclectic style, blending rock and experimental sounds, benefited from Murray's steady presence. Later in his career, after relocating to Nashville, Murray contributed to folk and country-leaning projects, such as John Prine's 1984 album Aimless Love, where he played bass on tracks that captured Prine's storytelling wit. He also appeared on Prine's 1986 release , reinforcing his reputation in the session scene with subtle, supportive lines. Additionally, Murray supported guitarist on the 1978 solo album , playing bass on tracks like "Easy to Slip" with on drums, bringing a rock-solid foundation to Weir's laid-back jams. These session recordings underscore Murray's high demand as a reliable whose work spanned genres, often in collaboration with fellow alumni, until his health declined in the late 1980s.

Notable collaborations

Throughout his career, Dee Murray engaged in several significant collaborations beyond his primary association with , showcasing his versatility as a in rock, pop, and . In the mid-1970s, following his initial stint with John, Murray and drummer frequently worked as a session . They provided and for Rick Springfield's 1976 debut U.S. album Wait for Night, supporting Springfield's transition to American audiences with a polished rock sound. Additionally, Murray toured with in 1977 to promote their album , delivering live performances that emphasized the band's elements during a challenging period for the group. These session and touring roles underscored Murray's reliability as a supporting in high-profile acts. Murray's collaborations extended into the late 1970s with notable contributions to Alice Cooper's recovery-themed album From the Inside (1978), where he played bass on tracks like "How You Gonna See Me Now" and served as part of Cooper's backing band for the subsequent tour, blending with theatrical flair. He also appeared on Kiki Dee's self-titled 1977 album on 's Rocket Records label, providing bass alongside other former bandmates, which helped bolster Dee's pop-soul recordings during her peak commercial years. A particularly memorable one-off collaboration occurred in 1974, when Murray joined onstage at for a with , marking the last live appearance by the former Beatle and featuring Murray's bass on songs like "Whatever Gets You Thru the Night." In the 1980s, as Murray relocated to Nashville, he supported artist in live settings, immersing himself in the city's music community and applying his rock background to performances until health issues arose. These diverse partnerships, spanning genres and decades, cemented Murray's reputation as a sought-after session player whose precise, melodic lines enhanced a range of artists' outputs.

Death and legacy

Death

Dee Murray died on January 15, 1992, at the age of 45, after suffering a at in . He had been battling since around 1984. Murray had relocated to in the late 1980s to pursue opportunities in the scene, where he resumed performing and recording while managing his long-term illness. In the months following his passing, organized two tribute concerts at the Grand Ole Opry on March 15, 1992, to support Murray's family.

Legacy

Dee Murray's legacy endures through his foundational role in shaping the sound of Elton John's most commercially successful era, particularly from 1970 to 1975, where his bass lines provided melodic and rhythmic drive to albums such as (1972), Don't Shoot Me I'm Only the Piano Player (1973), and (1973). His playing anchored 15 Top-10 hits and six number-one albums during this period, with iconic examples including the tuba-like bass in "Burn Down the Mission" from the live album 11-17-70 (1971) and the syncopated, swinging lines in "" from , which featured and grace notes for added quirkiness. Murray's style, influenced by Paul McCartney's melodic approach, blended classical with rock energy, often incorporating and fearless fills that elevated the Elton John Band's harmony and pocket. Beyond , Murray's versatility as a extended his influence, with contributions to recordings by artists like and , and his work as a —often alongside —added harmonic depth to hits like "." In the bass community, he is remembered as an underappreciated master whose authoritative tone and expert musicality inspired generations of players, with himself describing him as the best he ever worked with. His final onstage appearance with at in 1974 further cemented his place in rock history as the last to perform live with the former Beatle. Following Murray's death from a on January 15, 1992, at age 45 after battling , Elton John honored him with two benefit concerts at the Grand Ole Opry in Nashville on March 15, 1992, to support his family. Bandmate later reflected in 2004 that Murray's presence was irreplaceable, underscoring his enduring personal and professional impact. Despite his contributions, Murray and other members have not been inducted into the Rock & Roll Hall of Fame as performers—though was inducted in 1994—prompting advocacy from music writers who argue his bass work deserves recognition alongside the band's seminal output.

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