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Blue Moves is the eleventh studio album by English musician Elton John. It was released on 22 October 1976 through John's own Rocket Record Company (his first for the label), alongside MCA Records in certain countries. John's second double album, it was recorded at EMI Studios, Brother Studios, Eastern Sound and Sunset Sound Recorders, and was his last to be produced by longtime collaborator Gus Dudgeon until Ice on Fire (1985). Additionally, the album would be the last collaboration between John and lyricist Bernie Taupin for the next few years until a partial resumption of their working partnership with 21 at 33 (1980).
The music on Blue Moves is considered some of John's most experimental, fusing genres such as pop, gospel, disco and jazz while also including orchestral elements and extended song lengths. Guests on the album include David Crosby, Graham Nash, Bruce Johnston and Toni Tennille contributing backing vocals, alongside performances by both the Martyn Ford Orchestra and London Symphony Orchestra, the former of which performing string arrangements by Paul Buckmaster.
By 1976, the immense creativity that had spurred Elton John to record 11 studio albums in under seven years was beginning to show signs of inevitable fatigue.
Although initially Blue Moves was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within John's voluminous catalog.
While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road song cycle from 1973, most similarities in musical style and content end there. John's band had expanded to include the talents of James Newton Howard (keyboards, orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), as well as long-time collaborator Caleb Quaye (guitar) and Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-'70s lineup. As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975).
Instead, the album purposefully focuses on moodier and more introspective songs, such as the single "Sorry Seems to Be the Hardest Word" (the effort's sole hit), the achingly poignant "Tonight," and "Cage the Songbird."
(The latter is particularly noteworthy, recalling the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe.) "One Horse Town," which John briefly revived as a dramatic show opener during late-'80s live performances, is one of the album's most powerful and straight-ahead rockers.
The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded.
Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim," featuring backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev.
James Cleveland, "Crazy Water," the haunting ballad "Idol," and the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)."
While Blue Moves is a far cry from essential entries in the Elton John catalogue, the bright moments prove that he could still offer up higher than average material.
Upon its release, Blue Moves received mixed reviews. Some critics found the album to be excessive, while others felt it did not include enough strong material to warrant its length. However, some retrospective reviews have been more positive, highlighting it as one of John's most underrated releases and praising its experimental nature, and John himself has declared it one of his favorites. Blue Moves reached number 3 in the US, breaking his streak of number one albums there, while it matched that position in the UK. The album's first single, "Sorry Seems to Be the Hardest Word", reached the top 10 in the US and the top 20 in the UK, while further singles "Bite Your Lip (Get Up and Dance!)" and "Crazy Water" (only released in the UK) both reached the top 30. The album would go on to be certified both Platinum by the RIAA and Gold by the BPI.
Although initially Blue Moves was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within John's voluminous catalog.
While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road song cycle from 1973, most similarities in musical style and content end there. John's band had expanded to include the talents of James Newton Howard (keyboards, orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), as well as long-time collaborator Caleb Quaye (guitar) and Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-'70s lineup. As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975).
Instead, the album purposefully focuses on moodier and more introspective songs, such as the single "Sorry Seems to Be the Hardest Word" (the effort's sole hit), the achingly poignant "Tonight," and "Cage the Songbird."
(The latter is particularly noteworthy, recalling the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe.) "One Horse Town," which John briefly revived as a dramatic show opener during late-'80s live performances, is one of the album's most powerful and straight-ahead rockers.
The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded.
Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim," featuring backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev.
James Cleveland, "Crazy Water," the haunting ballad "Idol," and the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)."
While Blue Moves is a far cry from essential entries in the Elton John catalogue, the bright moments prove that he could still offer up higher than average material.
Upon its release, Blue Moves received mixed reviews. Some critics found the album to be excessive, while others felt it did not include enough strong material to warrant its length. However, some retrospective reviews have been more positive, highlighting it as one of John's most underrated releases and praising its experimental nature, and John himself has declared it one of his favorites. Blue Moves reached number 3 in the US, breaking his streak of number one albums there, while it matched that position in the UK. The album's first single, "Sorry Seems to Be the Hardest Word", reached the top 10 in the US and the top 20 in the UK, while further singles "Bite Your Lip (Get Up and Dance!)" and "Crazy Water" (only released in the UK) both reached the top 30. The album would go on to be certified both Platinum by the RIAA and Gold by the BPI.
Side one
1. Your Starter for… (1:23)
2. Tonight (7:52)
3. One Horse Town (5:56)
4. Chameleon (5:27)
Side two
1. Boogie Pilgrim (6:05)
2. Cage the Songbird (3:25)
3. Crazy Water (5:42)
4. Shoulder Holster (5:10)
Side three
1. Sorry Seems to Be the Hardest Word (3:48)
2. Out of the Blue (6:14)
3. Between Seventeen and Twenty (5:17)
4. The Wide-Eyed and Laughing (3:27)
5. Someone’s Final Song (4:10)
Side four
1. Where’s the Shoorah? (4:09)
2. If There’s a God in Heaven (What’s He Waiting For?) (4:25)
3. Idol (4:08)
4. Theme from a Non-Existent TV Series (1:19)
5. Bite Your Lip (Get Up and Dance!) (6:43)
Musicians
- Elton John – acoustic piano (1–5, 7–10, 13–16, 18), vocals (2–9, 12–16, 18), vocalese (11), harmonium (14), harpsichord (17)
- Curt Becher – backing vocals (4, 10, 11, 13), BGV arrangements (11, 13)
- Harry Bluestone – strings leader (18)
- Michael Brecker – saxophone (5, 8, 16)
- Randy Brecker – trumpet (5, 8, 16)
- Paul Buckmaster – string arrangements and conductor (3, 7, 15), brass arrangements (7)
- Cindy Bullens – backing vocals (4, 7, 11)
- Clark Burroughs – backing vocals (13)
- Joe Chemay – backing vocals (11, 13)
- Rev. James Cleveland – choir director (5, 14, 18)
- Ray Cooper – glockenspiel (1, 17), marimba (1, 17), gong (3), tambourine (3, 5, 7, 8, 11, 15), vibraphone (3, 4, 9, 10), bells (3), shaker (4, 6, 11), triangle (6), finger cymbals (6), congas (7, 10, 11, 15, 18), rototom (12)
- The Cornerstone Institutional Baptist Church and the Southern California Community Choir – choirs (5, 14, 18)
- David Crosby – backing vocals (6)
- Daryl Dragon – BGV arrangements (7)
- The Martyn Ford Orchestra – strings (3, 7, 15), brass (7)
- Carl Fortina – accordion (8)
- Ron Hicklin – backing vocals (4, 7)
- Michael Hurwitz – cello (3)
- Bruce Johnston – backing vocals (4, 7, 10, 11, 13), BGV arrangements (4, 11, 13)
- Davey Johnstone – mandolin (2, 11, 17), electric guitar (3, 7, 10, 15), slide guitar (5, 18), acoustic guitar (6), dulcimer (6), sitar (12), slide guitar (18)
- Jon Joyce – backing vocals (4, 7, 11)
- The London Symphony Orchestra – strings (2, 9)
- Gene Morford – backing vocals (4, 7)
- Graham Nash – backing vocals (6)
- James Newton Howard – synthesizers (1, 3, 6, 10, 12, 13, 17, 18), Fender Rhodes (3, 9, 13, 17), Hammond organ (5, 11, 15), mellotron (6), clavinet (7)
- The Gene Page Strings – strings (18)
- Kenny Passarelli – bass guitar (1, 3–5, 7–11, 14–18)
- Roger Pope – drums (1, 3–5, 7, 8, 10, 11, 15–18)
- Caleb Quaye – acoustic guitar (1, 4, 6, 12, 17), electric guitar (3, 4, 7, 10, 11, 15, 18), guitar solo (3, 10, 15), 12-string guitar (12)
- Barry Rogers – trombone (5, 8, 16)
- David Sanborn – saxophone (5, 8, 16)
- Richard Studt – strings leader (3, 7, 12, 15), brass leader (7)
- Toni Tennille – backing vocals (4, 7, 10, 13)
Production
- Producer and liner notes – Gus Dudgeon
- Engineers – Arun Chakraverty, Gus Dudgeon, Mark Howlett, John Kurlander, Earle Mankey and John Stewart
- Mixing – Phil Dunne
- Remixing – Gus Dudgeon and Phil Dunne
- Cutting engineer – Arun Chakraverty
- Art direction and coordination – David Costa
- Photography – David Nutter
- Painting – Patrick Procktor
Notes
Release: 1976
Format: 2LP, Vinyl
Genre: Pop, Rock
Label: The Rocket Record Company
Catalog# 5C 152-98293
Vinyl: Goed (VG)
Cover: Goed (VG) Gatefold
Prijs: €20,00
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