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Blue Moves is the eleventh studio album by English musician Elton John. It was released in October 1976. It was John's second double album (after Goodbye Yellow Brick Road) and the first to be released by his own label, Rocket Records Ltd. The album reached number 3 in the US charts, ending a long streak of chart-topping albums for John that began with Honky Ch|oteau in 1972.
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It was the last album Gus Dudgeon produced with John for almost a decade until 1985's Ice on Fire. The cover art is from a painting by British artist Patrick Procktor, called "The Guardian Readers". In the U.S., it was certified gold in October and platinum in December 1976 by the RIAA.
"Cage the Songbird" was a tribute to legendary French singer Edith Piaf, and a year or so later was covered by Kiki Dee on an unreleased Rocket album, which finally was issued in 2008. ("Songbird" originated as part of the Rock of the Westies sessions, but was not completed during them, probably because the song's acoustic, delicate sound did not fit with the more rock 'n' roll approach of the rest of the songs that made the Westies final track list.) The Beach Boys turned down "Chameleon" (which was written two years prior to the album's release), but Bruce Johnston, a former Beach Boy, performed backing vocals on John's version along with former Beach Boys touring member Toni Tennille. John also performed the song at Wembley Stadium in 1975, where he also performed the Captain Fantastic and the Brown Dirt Cowboy album in its entirety. An excerpt from "Out of the Blue" was used for the closing titles on Top Gear until the end of that Top Gear format (in 2001).[6] This was one of two albums in which Davey Johnstone does not provide backing vocals; 1997's The Big Picture would be the other.[citation needed]
Basic tracks for Blue Moves were recorded at Eastern Sound in Toronto, Ontario. Additional overdubs were done at EMI Studios, Abbey Road in London, Brother Studio in Santa Monica, California and Sunset Sound in Los Angeles, California. The album was mixed at Marquee Studios in London.
Blue Moves has received mixed reviews since its release. A contemporary review for Rolling Stone said the album "contains nowhere near enough good songs to justify the extended length" and that the interludes and instrumentals were done "to the exclusion of sense."[10] Village Voice critic Robert Christgau described it as "impossibly weepy" and "excessive".[9] Lindsay Planer of Allmusic later said the album showed the "inevitable fatigue" of John's "immense creativity" that had helped create the previous albums of his career.[8]
Note: Initial CD versions of the album maintain the same running order, but omit "Cage the Songbird", "Shoulder Holster", "The Wide Eyed and Laughing" and, in some cases, "Where's the Shoorah?".[12] It has since been remastered and re-released as a 2-CD set retaining the original LP track listing.
Three years after the hugely successful Goodbye Yellow Brick Road, Elton John released the much less successful double album Blue Moves. Yet though it sat on the precipice of what turned out to be a significant career downturn for John, and some critics pointing to it as the first of that downturn, Blue Moves has become something of a lost Elton John classic, an ambitious, epic double LP, which should be regarded at least as equal to the acclaimed works that preceded it.
Restall makes the case for renewed examination and appreciation of this often misunderstood album in the Elton John catalog. Which is exactly what this reviewer did after reading his book. And the album was as terrific as he (and I) remembered. (www.bloomsbury.com)
1976 was Elton\u2019s year: he had released 10 albums in the previous 7 years, each of them soaring to #1 on the charts. He spent that summer touring the world to sold-out audiences. What I didn\u2019t know then was that Elton was near burnout, worn down by the pace of touring and by the constant flow of drugs and alcohol in his life. At the end of that summer\u2019s tour, Elton told Rolling Stone that he was done touring and revealed that he was bisexual (a much bigger revelation in those days than today).
But even in the midst of this chaotic, difficult year, these two long-term friends and writing partners came together to write and record the album Blue Moves, which they released in the fall of 1976. Out of the struggles with their own pain, they came together to create one of the most beautiful songs in their voluminous catalog: \u201CTonight.\u201D
Of course my parents bought the new album: Elton John was huge in 1976, both globally and in my family. We\u2019d been listening to his music for years. So it was only natural that this song played on the stereo that sat beside the big rock fireplace my parents had built in our family room. I can still hear it playing, while the wood crackles in the fireplace and my mom makes dinner in the kitchen.
Slow Crush are a force that have become difficult to avoid for the the UK scene. A true workhorse of the touring circuit appearing alongside Soft Kill and Gouge Away previously, and a tour with Loathe coming later this year; with festivals such as 2000 Trees and Upsurge being no stranger to the Belgian shoegaze troupe either. Slow Crush brought their gloomy and dreamy sound with their debut album Aurora to audiences across the country. Three years have now passed since Aurora, they are now back with their follow up, Hush.
Slow Crush have excelled at creating a unique and entrancing atmosphere and sound on Hush. Building up an ambience that sinks in throughout the album, with each element blending together to create a radiant ball of sound. All of this comes together to create an emotive landscape that beckons to be revisited, and Slow Crush have crafted one that is well worth a visit.
Arriving on Oct. 22, 1976, Blue Moves was Elton John's 11th proper album, his second double-LP, and the first on his own imprint label, Rocket Records. It was also the start of a slip from the top of the pop heap, a place he had occupied for most of the decade.
"Every artist comes to the same crossroads and they either cross it or they don't," Elton told Rolling Stone upon the album's release, "and if they do they're going to come to another crossroads. I'm at that second one as far as recordings go, and hopefully I can cross it with Blue Moves. It's got a few surprises."
In 1975, Elton released the classic Captain Fantastic and the Brown Dirt Cowboy album and its followup, Rock of the Westies. Both of those albums debuted at No.1 in the Billboard chart, the only LPs at the time that had ever done that. A stop-gap live album followed to modest success. Blue Moves was somewhat of a gamble to issue a two-record set as the follow-up.
After the brief, jazzy intro "Your Stater For..." the first track is the lengthy orchestrated ballad "Tonight." "One Horse Town" kicks things into gear and remains one of the album's best moments and only rockers. "Boogie Pilgrim" rides into funky soul while "Crazy Water" is a typical Elton pop tune from this period that cracked the Top 30 in the U.K. The album closes with "Bite Your Lip (Get Up And Dance!)," an upbeat rocker that arrives too late to lift the often weighty album.
One might look at the lyrics to one of the albums key tracks, "Idol," for the final word. "He was an idol then, now he's an idol here / But his face has changed, he's not the same no more / And I have to say that I liked the way his music sounded before."

The trio responsible for this calming, cleansing and sometimes strangely exciting music are singer and multi-instrumentalist Nancy Elizabeth, double bassist Jon Thorne of Yorkston Thorne Khan fame, and guitarist Peter Philipson, who is perhaps best known for his work with Jane Weaver. Obviously, each member has a distinct musical background, but the unexpected chemistry of the three of them in combination (along with drummer Andrew Cheetham) is what makes this album really special.
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