O’Shea recalls his London days with Reginald Dwight

Friday, Feb. 13, 2004 | 8:41 a.m.

In the late '60s trombonist Brian O'Shea was lead singer for Plastic Penny, a rock band based in London.

During recording sessions, the backup singer sometimes was Elton John.

"His name was Reginald Dwight back then," recalled O'Shea, who at that time used the stage name Brian Keith. "At that point, he wasn't anybody. He was just hanging around with Dick James."

James was the music publisher for the Beatles. His company, DJM, had a stable of recording artists and aspiring recording artists.

Among them was John, a pudgy, likeable teenager who was a little on the quiet side.

"He was there all the time, just hanging around, doing studio work, working with Bluesology and other groups," O'Shea recalled. "He was just a working stiff. He didn't become Elton John until later.

"Dick would said to Reg, 'Make some tea for the boys.' "

The drummer for Plastic Penny was Nigel Olsson. When the group dissolved in 1969, Olsson eventually ended up as the drummer for John, a position he has held off and on for the past 34 years.

Olsson is a band member in "The Red Piano," John's production premiering tonight in The Colosseum at Caesars Palace.

O'Shea, a superb trombonist and vocalist, moved to Las Vegas in 1981. He has been active on the lounge circuit, performing with many bands over the years. He has performed with show bands as well and has a regular morning gig at the House of Blues at Mandalay Bay, where he and other musicians perform for students.

The Scotland native also is partners with Mike Edging in Dreamcat Music, a recording company that works with new talent.

Though he is on the lookout for new talent, O'Shea says he didn't recognize John's talent at the time.

"I was too busy recording, too busy doing my own thing," he said. "Because we were both signed with James, we had something in common."

Plastic Penny, which was around from 1967 to 1969, released two albums, "Two Sides of A Penny" in 1968, and "Currency" in 1969.

Their single, "Everything I Am," was a hit in England in 1968.

O'Shea said James' musicians, including John, often went to lunch together and had a few drinks.

"He didn't stick out," O'Shea said. "He was just one of the guys, very mild mannered, very quiet. Even now he's still kind of quiet. What you see onstage is just his stage persona."

O'Shea says he doesn't think John aspired to reach the level of success he has attained.

"It's just luck," he said. "Most people are surprised when they make it."

O'Shea says he knew John was a decent songwriter and asked if he would write some songs with him.

"He said, 'Well, I just put an article in the Melody Maker (a musician's trade publication) and I had this guy answer the ad,' " O'Shea recalled.

The person who answered the ad was Bernie Taupin, who would collaborate with John for years on most of the pop star's biggest hits.

"When I asked John to collaborate with me, he politely gave me a 'No,' " O'Shea said.

O'Shea was there when Steve Brown began to manage John's career and turned the drab musician into the Rocket Man, with gaudy clothes and ostentatious glasses.

"Steve saw potential in John," O'Shea said. "And he told me when I was at that same stage of my career, he said, "You've got to find what you want to be. You've got to find your identity.' "

And that's what Brown gave John: an identity.

"He gave me the same advice: 'You've got to make yourself stand out from the pack, decide what you want to be, make your own style,' " O'Shea said.

"He said to me, 'You're too versatile. You don't have an identity.' "

Brown told O'Shea he needed to capitalize on his voice.

"I should have paid attention."

Even now he's still kind of quiet. What you see onstage is just his stage persona."

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