{"id":39719,"date":"2006-04-17T00:00:00","date_gmt":"2006-04-17T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/blue-moves\/"},"modified":"2006-04-17T00:00:00","modified_gmt":"2006-04-17T00:00:00","slug":"blue-moves","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/blue-moves\/","title":{"rendered":"Blue Moves"},"content":{"rendered":"

<\/p>\n

When I first became an Elton fan, I gobbled up as
\nmany albums as I could. However, one proved impossible to find in
\nthe U.S.: Blue Moves<\/i>. My desire to listen only it grew
\nquickly as the months passed, especially considering the word of
\nmouth from John fans. Elton himself has proclaimed this to be one
\nof his favorite albums, and John fans label this as one of his
\nunderrated classics. Rather forgotten is the fact that Blue
\nMoves<\/i> happens to be a double album, John’s last. The question
\nis, does Blue Moves<\/i> live up to the hype?<\/p>\n

By this time in John’s career, he had been on top of
\nthe pop world for half a decade. His previous five albums had
\nreached number one on the charts, the previous two debuting at the
\ntop spot. Naturally, this run of success had worn John and Bernie
\nTaupin down, resulting in the moody, introspective nature to the
\nmusic and lyrics of Blue Moves<\/i>. To say the least, this is
\nnot a happy record. Hell, the lead single was titled “Sorry Seems
\nTo Be The Hardest Word.”<\/p>\n

The main problem I have with Blue Moves<\/i> is one
\nthat I have with almost all double albums — the length. This could
\nhave been a killer single album, but unfortunately there is a great
\ndeal of padding, which is not up to the quality of similar tracks
\noff Goodbye Yellow Brick Road<\/i>, Elton’s other double. There
\nare three instrumentals scattered across the record, none of which
\nare interesting. The six-minute jam “Out Of The Blue,” is the worst
\noffender, going nowhere interesting.<\/p>\n

It is not just the instrumentals that bore the
\nlistener – there are a few positively uninspired tracks, most
\ncoming on the second leg of the album. “Between Seventeen and
\nTwenty” fails to latch onto a decent hook or refrain; it reminds me
\nof an inferior version of “Holiday Inn.” “The Wide Eyed And
\nLaughing” is fascinating, being the only Elton John to prominently
\nfeature the sitar. It too is not easily accessible, but given
\nenough time its abstractness and laid back nature catch on.
\n“Where’s The Shoorah” is a stab at pop\/gospel that isn’t horrible
\nbut doesn’t match up with John’s best songs of the type. “Bite Your
\nLip (Get Up And Dance)” is the big rocker of the record, and while
\nthe first few minutes are fun, with Elton and the band in full
\nthrottle, again the length of the track works against it. You get a
\ntouch of “Hey Jude,” at the end, but it’s not enough.<\/p>\n

There are some brilliant moments to be found.
\n“Tonight” is a hugely overwrought ballad but that over-the-top
\nnature lends it charm. The London Symphony Orchestra provides a
\nbeautiful backdrop for John’s piano; kudos to James Newton Howard
\nfor such stunning arrangements. Some would dismiss the vocals on
\nthe track as wimpy, with John reaching for his falsetto a great
\ndeal, but there is still emotion and pain in that voice that make
\nthe sorrowful lyrics work.<\/p>\n

“One Horse Town,” is easily the best rock track on
\nBlue Moves<\/i>, succeeding where “Bite Your Lip” failed. Again,
\na great of praise must be given to Howard, for the string
\narrangements really propel the song. “Boogie Pilgrim” is a funky
\nR&B number which gives Elton a chance to stretch out vocally.
\nWhile the song itself isn’t that special, I would argue the vocals
\nto be some of John’s best of the late 70s, just for the versatility
\ndemonstrated. “Cage The Songbird” is essentially an acoustic
\nversion of “Candle In The Wind,” dealing with the death of French
\nsinger Edith Piaf. However, this is a brilliant track, with its
\nsound stripped down to the bare bones, and the lyrics hit much
\nharder because of it.<\/p>\n

It is hard to review a double album given the number
\nof tracks, but suffice it to say there is enough good material for
\nBlue Moves<\/i> to warrant a listen. It marked the rapid decline
\nof John’s commercial and artistic fortunes, but the remnants of his
\nclassic period can still be heard. As far as double albums go, this
\none ain’t bad.<\/p>\n

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