Blue Moves (1976)
Blue Moves is Elton’s first double album since Goodbye Yellow Brick Road. It runs through a real diversity of styles, from gospel-like ballads to jazz-lounge tunes to dance-rock fusion, and it makes Elton’s versatility and love of experimenting obvious. Some tracks run long or light on immediate replay value, which is the tension at the center of this record: artistic exploration on one side, listener accessibility on the other. Where you land on that balance shapes how you hear the whole album.
The record opens with Your Starter for…, a brief instrumental intro that sets the tone. It may feel too short, but its style foreshadows the diversity to come. Tonight follows, a cinematic ballad with a nuanced beauty that grows over time. The lack of a catchy chorus makes it less accessible at first, but its emotive qualities reveal themselves on repeat. The first half is a big, grand piece of classical composition.
One Horse Town picks the energy up, a bluesy, upbeat track that runs slightly long but lands as a welcome contrast. It lacks a strong memorable hook, but its harmonies and pacing feed the album’s diversity. Chameleon brings things back down into Elton’s signature ballad style. It doesn’t reinvent anything, but the backing harmonies are lovely and it makes for a solid, easy listen.
Boogie Pilgrim is one of my favorites here. Some might call it an album-only track, but I hear a standout jazzy, funky gem, even at its extended length. That infectious groove makes it stick. It goes a little long, but there are more serious offenders on that front later.
Cage the Songbird is very pretty, though its slower tempo means it may not leave a lasting impression next to other songs. On the other hand, Crazy Water is another standout. It ramps the pace way up on super funky bass lines and great energy, and while it might run a touch long, I won’t complain, it’s too fun. Back-to-back favorites, with Shoulder Holster immediately following. Another great one with a killer horn line. The mix of horns, saxophone, funk, and jazz makes it a dynamic addition.
The second disc opens with the single Sorry Seems to Be the Hardest Word. A timeless classic, poignant and beautiful. Elton’s emotive vocals and soulful lyrics give it a resonance that sets it apart. Out of the Blue is THE standout instrumental of the record, a spectacular balance of funk, rock, and jazz built on dynamic musicianship. Totally unexpected from the Pinball Wizard himself, and it blew me away the first time I heard it a while ago.
Between Seventeen and Twenty keeps some of that energy, an upbeat track with a liveliness that sets it apart. Elton’s dynamic vocals and the spirited composition capture that transitional phase between youth and adulthood. Gotta love that Hammond organ!
The Wide-Eyed and Laughing is a stylistic departure from Elton’s previous work, introducing a new flavor with the sitar. It may take a few listens to fully appreciate, but it’s grown on me a lot. Its slower tempo and spacious quality build an atmosphere that holds my attention the whole way through, and Elton’s vocals shine especially bright here. In online reviews especially, this song doesn’t get nearly enough love.
Someone’s Final Song is a musically beautiful ballad with some really dark, depressing lyrics, and it’s sadly a tad forgettable. Being the story of someone’s final words in a note to a loved one, it hits the heartstrings, though not necessarily in the best way. Still, Elton’s vocals and the backing vocals are powerful and emotional.
Where’s the Shoorah? is a softer, gospel-like ballad. Very pretty, but it doesn’t beg for many replays. Once again, though, Elton’s vocals and the backing choir are gorgeous. If There’s a God in Heaven (What’s He Waiting For?) hits right away with those Hammond organs, a nice pickup in pace after a run of ballads. On a full album listen it’s not worth skipping, but it’s not the standout it should be. It’s interesting enough to tap your feet and sing along to, then you might forget it once it’s over. Although, the more I listen to it, the more I enjoy it…
Idol is the biggest surprise for me on re-listening. A jazz-lounge-inspired standout with rich vocals and sultry saxophone. Among the best on the record, its soft, smooth, somewhat sexy quality makes it a real highlight. Theme from a Non-Existent TV Series is an oddly placed interlude. Not a standout on its own, but it bridges and flows well into the closer. Bite Your Lip (Get Up and Dance!) is a lively fusion of dance, rock ‘n’ roll, and gospel, though its length may test your patience. Despite the obvious repetitiveness, it stays a fun, infectious party anthem. Great choice to close the album.
Blue Moves has real standout moments and some thematic cohesion, but the double-album format could stand some tightening to cut the forgettable filler. The diverse array of styles proves Elton John’s musical prowess, even if it doesn’t quite reach the heights of his earlier work.
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Highlight Songs:
Boogie Pilgrim
Idol
Crazy Water
Shoulder Holster
Out of the Blue
The Wide-Eyed and Laughing
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Own It, Stream it, Forget about it
With standout tracks making it worth revisiting, Blue Moves is a valuable addition for Elton John enthusiasts. However, the occasional forgettable moments might make streaming a more pragmatic choice for those seeking a curated experience. It’s got great looking cover art and a cool gatefold, so aesthetically it would be a good record to own. I’ll let you decide in this one though.
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Overall Rating:
3.5 Stars
