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. It's also worth mentioning that this effort marked the end of
John's initial collaboration with lyricist
Bernie Taupin, who would resurface some three years later, albeit haphazardly on
21 at 33 (1979). ~ Lindsay Planer
