Published on Apr 12, 2006
Believe it or not, it wasn’t until 1973 that Elton
John completely devoted himself to pop music for an entire album.
In fact, this is something that pisses me off with regards to how
Elton is perceived. These days, those who are not familiar with the
bulk of John’s catalogue deride him as the man who sang “Can You
Feel The Love Tonight” or “Candle In The Wind” at Princess Di’s
funeral.
Back in the day; John was considered a great talent,
at the head of the singer/songwriter movement. And even when his
sights were set squarely on the pop landscape, he had the potential
to be a master craftsman of the genre. Look no further than
Don’t Shoot Me, I’m Only The Piano Player for evidence.
Right off the bat, we get one of John’s biggest hits,
“Daniel.” Definitely one of his most affecting vocals, “Daniel” is
the story of a Vietnam vet leaving for Spain. While the track may
sounds too much like a track from the early 70s, that hasn’t
changed the quality of its understated beauty. The mandolin and
synth riffs swirl around the listener, adding to the ethereal
nature of the track. It was a risk for John to come out with
“Daniel” as the first single, but it paid off.
Of course, the other huge hit was “Crocodile Rock.”
An ode to the 50s, both lyrically and musically, this was John at
his pop-making, hit-churning best. Featuring an absolutely
irresistible chorus and “la la la” hook, it is not difficult to see
how the song rocketed to the top of the charts. Unfortunately, my
personal enthusiasm for the track has diminished due to the extreme
overplay the song receives on radio. Thirty years have passed since
the album’s release, and you can hear “Crocodile Rock” on any
oldies station every day.
Lost in the shuffle are some tremendous album tracks
that rival the quality of the big hits. “Teacher I Need You,”
(which happens to be my dad’s favorite EJ track) is a rollicking
little ditty, as a student lusts after his teacher, though not
quite to Van Halen levels. “Elderberry Wine” owes more to R&B
than pop, with Elton driving the song through sheer force of
personality, and I love the pounding piano chords and sax
interjections. “Blues For My Baby And Me” is one of John’s most
underrated ballads, by far. Starting off relatively simply, the
track slowly grows more and more complex and layered, as do Elton’s
vocals, which gain more and more intensity. Paul Buckmaster helps
the cause greatly with some great orchestral flourishes,
reminiscent of something off Elton John or Madman Across
The Water.
The second half of the album is where the momentum is
slowed and the material weakens. Besides the oddness of the lyrics
to “Midnight Creeper,” John fails to hit the right note in finding
a suitable hook. However, the horn section on this track is better
than anything off of Caribou. “I’m Gonna Be A Teenage Idol”
falls victim to the same flaws, though it’s scary how well Bernie
Taupin predicted Elton’s future. “Texan Love Song” is hokey, and
has John singing with that country twang he loves ever so much.
While somewhat capturing a country vibe, it’s hard to get past the
silliness of the lyrics.
“Have Mercy On The Criminal” is this album’s “Madman Across The
Water,” with a dark tone and brilliant manipulation of mood with
the various backing tracks, once again especially the strings.
“High Flying Bird” is another underrated effort, with its wide
sweeping wall of sound approach. The harmonies from Davey
Johnstone, Dee Murray, and Nigel Olsen send shivers down my spine
every time.
Don’t Shoot Me, I’m Only The Piano Player is
quite close to being one of those must-have Elton John albums, but
it falters just enough to keep it from reaching that level. Still,
Don’t Shoot Me set the table perfectly for what was to come
in the immediate future.