First of all, yes, that is indeed a poster for GO WEST on the front cover. Groucho was allegedly the inspiration for the album’s title, but I’ve always wondered why GO WEST was chosen specifically. I like GO WEST, but the later MGMs are often considered among their weaker films by Marx Brothers fans. It’s a stretch, but I’ve long suspected the choice was made because of the fact that the song “Blues For My Baby and Me” makes heavy use of the phrase “Go West”.
DON’T SHOOT ME I’M ONLY THE PIANO PLAYER is where I feel Elton’s transition to stardom was finally complete. True, HONKY CHATEAU did hit number one here in the U.S., but even “Rocket Man” didn’t manage the number one spot on the singles charts. But DON’T SHOOT ME did achieve this feat with “Crocodile Rock”, and it even got another single that made it to the number two spot as well in “Daniel”. While it certainly has its fans, I don’t think this album has entirely gotten its due, partly due to being sandwiched between two albums that are ranked very highly in the Elton catalogue.
It starts off with “Daniel”, which is of course a great song. As with HONKY CHATEAU, Elton is back to playing multiple keyboards outside of just the acoustic piano, which is interesting to think about. That classic image of him is at a grand piano, and yet on one of his most popular songs, that’s not even present at all; he plays Fender Rhodes and Mellotron, which definitely feel more in line with the 70s as a whole, but I mean that in a good way. The lyrics have often been up to interpretation, as Elton cut out the third verse. This was a common occurrence with Elton and Bernie’s lyrics; “Border Song” is another example, although in that case Elton wrote a completely new verse. Regarding “Daniel”, it’s believed it was supposed to be about the Vietnam War. I love this song; it has that amazing 70s feel to it that you just don’t see in songs today, even ones I like. There’s actually a rare mix of this from an album called THE SUPERIOR SOUND OF ELTON JOHN that I highly recommend; it features the original first chorus that was mixed out and replaced with the repeated second chorus, and you can make out Davey’s banjo part a lot better.
“Teacher I Need You” is a very obvious ‘50s callback song, but again, it’s in all the best possible ways. The uptempo drumming from Nigel, Elton’s fast piano playing and the joyful backing vocals make it feel like a truly faithful throwback, and it’s a lot of fun.
“Elderberry Wine” is also a fun song. This is one I’m actually kind of surprised they never really pushed for as an A-side, because it seemed like a good choice. A catchy chorus, a groovy bass part, lots of horns; it feels like something that would have made a great party song. Oh well, at least it made the album, and in the context of the album itself, it keeps the fun pace moving. Just when you think that’s what the tone is going to continue to be...they throw you for a loop.
“Blues For My Baby and Me” is a really great, underrated Elton John ballad. It’s one of the only two songs on the album to feature an arrangement from Paul Buckmaster (who had been missing from HONKY CHATEAU and would not return again until BLUE MOVES in 1976) and he does a really good job properly supporting the song. I especially love how the horns sound after Elton sings “it looks so sweet and so free”; it really feels like he captures the essence of that line with that arrangement. Davey also plays sitar on this one, which isn’t a super common occurrence on Elton recordings (it does appear on “Holiday Inn” but is completely overshadowed by the mandolin playing), but much like with George Harrison using it with the Beatles, it gives the song an extra, worldly feel to it. It’s a song that needs to be heard to be believed; Elton recently chose it as one of the “Deep Cuts” on JEWEL BOX, so I think he would agree with it being massively underrated.
“Midnight Creeper” brings things back to the more upbeat, brassy style of “Elderberry Wine”. Davey’s electric guitar part here is pretty cool and he plays well off of the brass players. It keeps things moving at a good pace musically.
“Have Mercy on the Criminal” is the album’s epic. It’s a much better version of “Rotten Peaches”, dealing with a prisoner on the run from the law. It reminds me a bit of “I’ve Seen That Movie Too” in its arrangement; very cinematic with the orchestra and Davey’s guitar, and Elton gives a really powerful vocal performance. It’s so passionate that he really captures the feeling of someone who has been on the run for a long time and has been suffering as a result. It’s so vivid and atmospheric; Elton also chose this for the “Deep Cuts” section of JEWEL BOX and I can see why. It’s a song I can feel people not aware of it being really impressed by.
“I’m Going to Be a Teenage Idol” is another horn heavy song, allegedly inspired by Elton’s friend, T-Rex frontman Marc Bolan. The horn riff here is probably the catchiest one yet, and I love how during the choruses it kind of transitions in a way that makes it feel like a completely different song; when Elton starts singing about being a teenage idol, it’s like he’s in some sort of fantasy or dream sequence, only for reality to come crashing back when the horns returns. I can really see why they went for the cover they did; the cinematic imagery of the lyrics and production is really noticeable here, just as much as on GOODBYE YELLOW BRICK ROAD or TUMBLEWEED CONNECTION.
“Texan Love Song” is kind of what you’d expect; a country song, but one that’s still really entertaining. Elton gives another fantastic vocal performance here; his voice is so clear and captures that beautiful nighttime atmosphere I get every time I listen to this. Here’s something I didn’t mention earlier: Elton actually was suffering from glandular fever while this album was recorded. I’ve always found this interesting because his vocals are so on point throughout this album that it’s not noticeable in the slightest; heck, I’d argue he sounds at his best so far on this record.
“Crocodile Rock”, that silly song everyone likes to make fun of, even Elton himself. It’s been subject to lots of criticism over the years, but I still really enjoy it, for the pure nostalgic fact that it was the song that introduced me to Elton John. Yes, for me, it all started here, and while I’ll admit it is silly and not the greatest representation of Elton’s versatility, it is still a really catchy song. I love the Farfisa organ, the guitar work, the “Speedy Gonzales”-inspired “la la las”. It still holds a special place in my heart and I’m always happy to hear it.
The final song is “High Flying Bird”, another wonderful ballad. A more piano and acoustic guitar-focused song, this is a perfect ending to the album, one that demonstrates how well in check the Elton John Band was with each other, both from a musical and vocal standpoint. The way they build everything up and keep the rhythm moving is absolutely perfect; it reminds me a lot of a longer version of “Harmony” in a way, especially with the soaring backing vocals. It’s another track that has a truly cinematic feel to it and it’s conveyed so perfectly.
Only one B-side to talk about this time, and it’s one you guys will be familiar with: “Skyline Pigeon”, the standout EMPTY SKY track was remade with the Elton John Band and a Buckmaster arrangement. I can kind of see why it was relegated to B-side status; there were two bird-themed songs and one had to get the cut, plus considering the fact “Skyline Pigeon” had already had its chance in the spotlight...well, I can see why they made the decision they did. Still, this version of “Skyline Pigeon” is pretty darn good; Elton’s voice is in great shape, Nigel’s drumming is fantastic, and the Buckmaster arrangement again really suits the song’s needs and contributes when necessary. I especially love the oboe in the second chorus; much like the sitar in “Blues For My Baby and Me”, it really gives off this worldly feel to it. Which version do I prefer? I think I slightly lean towards this one mostly due to the vocals, but the original is still such a unique song on its own with its lighter arrangement that both are well worth checking out.
DON’T SHOOT ME I’M ONLY THE PIANO PLAYER is an album I think very highly of; I like every song on it and it flows in a way that feels really balanced between the ballads and rockers. Add in a natural flow, tight band, and suitable supporting arrangements from Dudgeon and Buckmaster, and you get an album that demonstrates why Elton John is such a great artist. I’ve tried doing rankings of Elton’s albums multiple times and often find myself shifting albums around, yet DON’T SHOOT ME always somehow finds itself in the number two spot (there is one other Elton album I slightly prefer to this one). Highly recommended.
