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DISCID=7509f70a
DTITLE=Elton John / Jump Up
DYEAR=1982
DGENRE=Popular
TTITLE0=Dear John
TTITLE1=Spiteful Child
TTITLE2=Ball & Chain
TTITLE3=Legal Boys
TTITLE4=I Am Your Robot
TTITLE5=Blue Eyes
TTITLE6=Empty Garden
TTITLE7=Princess
TTITLE8=Where Have All The Good Times Gone
TTITLE9=All Quiet On The Western Front
EXTD=Originally Released April 1982 \nMCA Remastered CD Edition Releas
EXTD=ed May 1992\n\nAMG EXPERT REVIEW: Jump Up! (1982) was Elton John'
EXTD=s (piano/vocals) first full LP to have been recorded in the 1980s
EXTD=, and is best remembered for including "Empty Garden (Hey Hey Joh
EXTD=nny)" -- John and lyricist Bernie Taupin's tribute to the their s
EXTD=lain friend, John Lennon. While the pair had been writing togethe
EXTD=r again, albeit infrequently, since the late '70s, John continued
EXTD= to include material written with his primary non-Taupin collabor
EXTD=ator, Gary Osborne. The latter team had previously scored big wit
EXTD=h "Little Jeannie" on John's 21 at 33 (1980), and to a lesser deg
EXTD=ree with the noir ballad "Chloe" from The Fox (1981). However, on
EXTD= Jump Up!, the quality of material dithers from the absurd and in
EXTD=ane "I Am Your Robot" -- featuring lead guitar work from Pete Tow
EXTD=nshend -- or the insipid breakup opener "Dear John" to the sublim
EXTD=e beauty of "Blue Eyes" or the cathartic value of the aforementio
EXTD=ned "Empty Garden (Hey Hey Johnny)." The dramatic "Legal Boys" is
EXTD= an understated masterpiece, marking the first public effort betw
EXTD=een John and Sir Tim Rice. The pair would garner Tony and Grammy 
EXTD=awards 12 years later for their work on the original motion pictu
EXTD=re soundtrack to the animated feature film The Lion King (1994). 
EXTD=John's backing band includes many of the same musicians who contr
EXTD=ibuted to his most recent recordings. Representing the "classic" 
EXTD=personnel are Dee Murray (bass) and post-Captain Fantastic (1975)
EXTD= recruit James Newton-Howard (keyboards). Fleshing out the core c
EXTD=ombo are studio guitarist extraordinaire Richie Zito and Toto dru
EXTD=mmer (and another highly regarded session heavy) Jeff Porcaro. St
EXTD=eve Holly (drums), who worked with Wings as well as John circa A 
EXTD=Single Man (1978), guests on the tracks "Ball & Chain" and "I Am 
EXTD=Your Robot." While far from a total washout, Jump Up! would remai
EXTD=n tethered in the wake of the follow-up, Too Low for Zero (1983),
EXTD= marking a reunion between John and both his "classic" 1970s comb
EXTD=o as well as Taupin.  -- Lindsay Planer\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nOne Of Elton's Very Best And Still Holds Up Nearly Twenty
EXTD= Five Years Later....., December 28, 2006 \nBy  John Kwok (New Yo
EXTD=rk, NY)\n"Jump Up!" was one of Elton John's best albums from the 
EXTD=1980s, and I think it still holds up quite well today. It was Elt
EXTD=on's first album with producer Chris Thomas, who would produce mo
EXTD=st of Elton's 1980s and 1990s albums, and the last album featurin
EXTD=g songs co-written with lyricist Gary Osborne. Recorded on the We
EXTD=st Indian island of Montserrat, "Jump Up!" truly captures Elton a
EXTD=t one of his happiest moments in the 1980s, backed ably by a fine
EXTD= studio band which included long-time associate, bassist Dee Murr
EXTD=ay, and legendary studio session drummer Jeff Porcaro, best known
EXTD= for his work with his band Toto and of course, with Michael Jack
EXTD=son too. The album harkens back to Elton's early to mid 1970s sou
EXTD=nd, with an eclectic range of pop ballads and uptempo rockers. Th
EXTD=e two songs which most listeners will recognize are the Elton Joh
EXTD=n/Gary Osborne ballad "Blue Eyes", which was recorded later by no
EXTD=ne other than Frank Sinatra, and the Elton John/Bernie Taupin bal
EXTD=lad "Empty Garden (Hey Hey Johnny)", which is Elton's bittersweet
EXTD= homage to the late John Lennon; both songs still rank as among t
EXTD=he finest ballads ever composed by Elton in his nearly forty-year
EXTD= long career. And yet these aren't the only fine songs on "Jump U
EXTD=p!"; even the song which I regard as the weakest on the album, th
EXTD=e Elton John/Bernie Taupin ballad "All Quiet On The Western Front
EXTD=" - the songwriting team's musical tribute to World War One's Wes
EXTD=tern Front - I'd regard as one of their most memorable compositio
EXTD=ns. In other words, "Jump Up!" is that rarity among Elton John al
EXTD=bums, one which truly doesn't have a lackluster song on it (My ot
EXTD=her favorites include the Elton John/Gary Osborne ballad "Princes
EXTD=s", the Elton John/Bernie Taupin Philly Soul tribute rocker "Wher
EXTD=e Have All the Good Times Gone", the Elton John/Gary Osborne rock
EXTD=er "Dear John" (It features a fine guitar solo from none other th
EXTD=an Pete Townshend of The Who!), the Elton John/Tim Rice ballad "L
EXTD=egal Boys" (their very first collaboration, long before Disney's 
EXTD="The Lion King"), and last, but not least, the Elton John/Bernie 
EXTD=Taupin cyberpunkish rocker "I Am Your Robot".). Without question,
EXTD= I would regard "Jump Up!" as an essential Elton John album that 
EXTD=should be acquired by both diehard fans and others interested in 
EXTD=his music. \n\n\nAMAZON.COM CUSTOMER REVIEW\nJump Up! Qualifies A
EXTD=s Classic Elton, August 6, 2006 \nBy  Julien Walden (Austin, TX)\n
EXTD=While the album art and photos on Jump Up! are almost comically d
EXTD=ated, the music, for the most part, stands up to time's test quit
EXTD=e well. Opening with the uber-catchy 'Dear John' (which stands as
EXTD= one of the most clever lyrics produced by Elton's creative tryst
EXTD= with Gary Osbourne) and moving forward with the Taupin-penned 'S
EXTD=piteful Child,' Osbourne's 'Ball & Chain,' and the first collabor
EXTD=ation between Elton and Tim Rice, 'Legal Boys,' this is a strong,
EXTD= energetic record that, twenty-four years on, is still worth hear
EXTD=ing. Okay, so 'I Am Your Robot' is a clear relic of the pre-digit
EXTD=al age (Jump Up! was probably the first record of Elton's to come
EXTD= out on CD as a new release, come to think of it), sounding kind 
EXTD=of naive and quaint here in 2006, and 'Princess' and 'Where Have 
EXTD=All The Good Times Gone' also sound very 1982, but so what? Like 
EXTD=the album art, these songs serve to remind us of a time that was 
EXTD=less cynical and more relaxed than our own time of higher technol
EXTD=ogy and temperatures, lower government and expectations, senseles
EXTD=s international conflicts and economic lunacy on an unprecedented
EXTD= scale. Either way, like the three that open the album, songs lik
EXTD=e Osbourne's laid-back 'Blue Eyes,' as well as Taupin's John-Lenn
EXTD=on tribute 'Empty Garden (Hey Hey Johnny)' and 'All Quiet On The 
EXTD=Western Front' will survive in any climate, whatever the state of
EXTD= the world, providing pleasure and escape from the trials of mund
EXTD=ane existence in any place and time. From our music, what more ca
EXTD=n we ask? \n\n\nAMAZON.COM CUSTOMER REVIEW\nFive great songs on t
EXTD=his album, May 12, 2005 \nBy  Dr Jeremy Buddle (Battery Point, Ta
EXTD=smania Australia)\nElton John made this album in 1982 and it cont
EXTD=ains the superb John Lennon tribute song Empty Garden (Hey Hey Jo
EXTD=hnny)- one of my all-time favourite songs by anyone. This is a pe
EXTD=rfect example of the best qualities of the Elton John/Bernie Taup
EXTD=in writing team - a great melody matched with an artful and movin
EXTD=g lyric. I also really like the tune All Quiet On The Western Fro
EXTD=nt - a beautiful lament for the fallen in WW1, and the dramatic L
EXTD=egal Boys ( a superior Tim Rice lyric about a messy divorce wrang
EXTD=le). Most people would remember Crooner Elton on the tune Blue Ey
EXTD=es, which became the only sizeable hit from Jump Up! in 1982. Thi
EXTD=s saw Elton moving into the "adult-contemporary" bracket of matur
EXTD=e, sophisticated pop, and doing it well. Where Have All The Good 
EXTD=Times Gone is also really good, and is a nostalgic trip through g
EXTD=roovy light soul. It's just a shame that these five great songs a
EXTD=re matched with less-good material on the rest of the album . Dea
EXTD=r John is a quite-good but generic pop-rocker, while the others a
EXTD=re fairly inconsequential album tracks. I'm still going to give t
EXTD=his 5 stars though because I love the good songs on it. \n\nBuy t
EXTD=his record if you are a fan of accessible, mainstream pop music o
EXTD=r if you enjoy Elton's later 80's work. \n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nGlad To See This Reissue!, March 4, 2005 \nBy  Jonathan 
EXTD=M. Goodman "Blue Suede Schubert" (Franklin Square, NY USA)\nI was
EXTD= grateful that this album finally got it's CD release, and quickl
EXTD=y bought it. It is about as straightforward an album as you can g
EXTD=et from Elton(no overblown arrangements here--very understated bu
EXTD=t crystal-clear). Alas, it would be the last such tasteful album 
EXTD=from him; the schmaltz here is earned, which can't be said for an
EXTD=ything that came after. Hard to hear "Empty Garden" without think
EXTD=ing about where we were when we heard about John Lennon. Anyone w
EXTD=ho loves Elton's AIDA can look to this album for the first collab
EXTD=oration of Elton and lyricist Tim Rice. I know I'm going to give 
EXTD=the minority opinion here, but I think Tim Rice showed up Mr. Tau
EXTD=pin with the clever wordplay of the wrenching divorce saga, "Lega
EXTD=l Boys". Elton responds with a masterful, chordally and rhythmica
EXTD=lly complex, but imminently listenable rocker that would be his b
EXTD=est song of the 80's. The rest doesn't hold up to this song, but 
EXTD=is enjoyable, confident Elton material; mediocre from Elton is st
EXTD=ill worthy of 4 stars. Why? Because Elton is a superior craftsman
EXTD= of the highest order in popular music, and the producers had the
EXTD= sense to not ruin this album with extraneous sounds. This is the
EXTD= best Elton album of the 80s. Dare I say it? It's the last 4 star
EXTD= album he ever made. There; I await the next great Elton album to
EXTD= be made. \n\nA footnote: "Blue Eyes" is a curious thing; a stand
EXTD=ard worthy of mention next to Porter or Berlin, but Elton's voice
EXTD= is bafflingly weird-sounding,like he was digitally warped before
EXTD= that was even possible. Elton's voice is great enough that he sh
EXTD=ouldn't have to mess with it. \n\n\nAMAZON.COM CUSTOMER REVIEW\nJ
EXTD=ump Up and Down!, May 2, 2004 \nBy  David Sigler (Baltimore, Mary
EXTD=land)\nElton John had started the 80s with a huge hit called Litt
EXTD=le Jeannie from a solid album called 21 At 33. He followed that a
EXTD=lbum with the similar but lukewarm The Fox. Well hold on. Because
EXTD= on this outing, Elton John wakes up and hits the ground running.
EXTD= If you thought he was down and out, he was preparing his fans fo
EXTD=r a release that was truly the jump start of his career in the 19
EXTD=80s. \nJump Up contains some outstanding songs. Dear John, Spitef
EXTD=ul Child, Legal Boys, Blue Eyes, Empty Garden, Where Have All The
EXTD= Goodtimes Gone and All Quiet On The Western Front. The productio
EXTD=n has never been stronger with thanks to Chris Thomas for giving 
EXTD=these songs a real shine without over doing it. The tight product
EXTD=ion on songs like Spiteful Child and Legal Boys measure up to any
EXTD=thing that came before this effort.\n\nElton sings convincingly a
EXTD=nd with a self-assurance that resembles his best known work. The 
EXTD=ache in his voice during Empty Garden, the wonderful tribute to J
EXTD=ohn Lennon is moving. Elton has said he had fun making this relea
EXTD=se and it shows. He and producer Chris Thomas started to gel and 
EXTD=while the hits Blue Eyes and Empty Garden may overshadow this alb
EXTD=um, it was a perfectly well executed album that deserves to be he
EXTD=ard. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Solid Summery Album, Jul
EXTD=y 19, 2003 \nBy  Keith T. Pells (Fort Myers, FL United States)\nA
EXTD= year after 1981's somewhat tepid response to that year's majesti
EXTD=c and stately album "The Fox" (see my review for that album), Elt
EXTD=on John broke out of the gate with "Jump Up!". While "The Fox" wa
EXTD=s subdued and understated, "Jump Up!" came out rocking and fun. R
EXTD=ecorded in Montsarrat, it feels like an album that was recorded a
EXTD=t leisure while on holiday.\nFrom the thundering opening drums of
EXTD= "Dear John", the album as a whole is upbeat. Only the two Americ
EXTD=an Singles "Empty Garden (Hey Hey Johnny)" and "Blue Eyes" were b
EXTD=allads. "Dear John" rocked harder and louder than anything he'd d
EXTD=one since "Rock Of The Westies" (though not quite as hard as 1984
EXTD='s "Li'l Frigerator" from the "Breaking Hearts" album (see my rev
EXTD=iew for that album)).\n\nLike the "21 At 33" album (see my review
EXTD= for that album), the arrangements and production values were cri
EXTD=sp and pointed. The piano in "Spiteful Child" has punch to it, th
EXTD=e synth-solo in the Summer-y "Princess" (released as a single out
EXTD=side the United States) has a sense of urgency. \n\nBut every now
EXTD= and then, John surprises his listeners and records a "period pie
EXTD=ce". A track that highlights the musical flavourings of the momen
EXTD=t without going overboard (NOTE TO JOHN: I'd love to hear an all 
EXTD=instrumental album from you someday). Prime examples up to this p
EXTD=oint were disco (from the "Victim Of Love" album - DEFINETELY see
EXTD= my review of that album) and Philly-Soul from "The Thom Bell Ses
EXTD=sions". \n\nWith "Jump Up!", the period piece is "I Am Your Robot
EXTD=". With elements of electronica and industrial along the lines of
EXTD= A Flock Of Seagulls' "I Ran", "I Am Your Robot" remains one of m
EXTD=y favorite John tracks. Only John can give credibility to lyrics 
EXTD=like "I am your robot, I'm programmed to love you...my serial num
EXTD=ber is 4-4-3-5-7". Great stuff!\n\nLike most of his 80's output, 
EXTD=the album closes with a stately more solemn number. In this case,
EXTD= it's "All Quiet On The Western Front" (released as a single outs
EXTD=ide the United States). With hymn-like vocals front-and-center, t
EXTD=he track mirrors the bleakness and despair of war. The arrangemen
EXTD=t builds throughout, with a church organ brining it to a soaring 
EXTD=conclusion. My father (a Korean War veteran) loves this song. \n\n
EXTD=Like the other 1979-1984 import remasterings, the only drawback i
EXTD=s the lack of bonus tracks. There were some great b-sides availab
EXTD=le, such as "Lonely Boy" and "Take Me Down To The Ocean". In fact
EXTD=, "Ocean" is one of his best written and arranged b-sides, right 
EXTD=up there with "Love Sick" (available as a bonus track on 1978's "
EXTD=A Single Man").\n\nBut with great packaging and liner notes, the 
EXTD=remastering only enhances the sound, making this album a welcomed
EXTD= return to the spotlight in the John catalog. Those of you who pr
EXTD=efer John's 70's output should take a closer look throughout the 
EXTD=80's. Though more of a "singles artist" during this time, there w
EXTD=ere some great records! \n\n\nAMAZON.COM CUSTOMER REVIEW\nElton b
EXTD=egins his comeback, July 4, 2003 \nBy  Jim Hanson (Walla Walla, W
EXTD=A United States)\nElton made it clear he was going to be a force 
EXTD=to reckon with on Jump Up. Yielding two top 15 singles, Blue Eyes
EXTD= and the John Lennon tribute Empty Garden, Jump Up! is Elton's mo
EXTD=st consistent effort since Captain Fantastic in 1975. \nJump Up i
EXTD=s a great sounding album with a variety of great songs. Spiteful 
EXTD=Child and I am your Robot are punkish rockers; Princess and Empty
EXTD= Garden are classic Elton ballads; Blue Eyes is a Frank Sinatra-e
EXTD=sque tune; Dear John is a bouncy rocker; Where have all the good 
EXTD=times gone? is a great philly-soul sounding song. There aren't an
EXTD=y bad songs here and the album has a bouyant, energetic and polis
EXTD=hed feel to it. In my opinion, it is one Elton's best of the 1980
EXTD=s. \n\n\nHalf.com Details \nContributing artists: Pete Townshend 
EXTD=\nProducer: Chris Thomas \n\nAlbum Notes\nPersonnel: Elton John (
EXTD=vocals, piano); Pete Townshend, Richie Zito (guitar); James Newto
EXTD=n-Howard (synthesizer, electric piano); Dee Murray (bass, backgro
EXTD=und vocals); Jeffrey Porcaro (drums); Steve Holly (tambourine, sy
EXTD=nthesizer drums); Gary Osborne (background vocals).\n\nRecorded a
EXTD=t Air Studios, Montserrat.\n\nElton John was in something of a tr
EXTD=ansitional period in the early 1980s. After he stopped touring in
EXTD= 1977, he continued to appear on the charts, but he no longer dom
EXTD=inated them. In 1982, when JUMP UP was released, he was tinkering
EXTD= with his sound, as some of the more synthesizer-driven songs her
EXTD=e demonstrate. But, more importantly, his extraordinary partnersh
EXTD=ip with Bernie Taupin had broken up and reformed, leaving Taupin 
EXTD=as one of four lyricists on JUMP UP; it was the Taupin collaborat
EXTD=ion on "Empty Garden," a tribute to John Lennon, that proved to b
EXTD=e the record's big hit.\nHis abilities as a balladeer are much on
EXTD= display in the gorgeous, torch-style "Blue Eyes," which enjoyed 
EXTD=chart success and which Roy Orbison would have done well to cover
EXTD=. The other obvious standout, "Empty Garden (Hey Hey Johnny)," wi
EXTD=th its soaring melody and emotional vocal, is a great showcase fo
EXTD=r Sir Elton's gift with a pop hook. Some songs, like the hard-sto
EXTD=mping "Dear John" and "I Am Your Robot," reflect the synth-pop 80
EXTD=s sound, while "Ball and Chain," with its catchy hand claps and s
EXTD=prightly guitar work from guest Pete Townshend, is a little gem.\n
EXTD=\n\nROLLING STONE REVIEW\nJump Up is the album that redeems Elton
EXTD= John from his famine years as a fallen superstar exiled to less 
EXTD=verdant pastures. Showing more spunk than anyone might have expec
EXTD=ted at this late date, he's put himself back on top simply by mak
EXTD=ing a tour de force of a record that says he knows he's worth it.
EXTD= Even if he never again comes close to inciting the mass hysteria
EXTD= of the mid-Seventies, the sheer stylistic breadth of Jump Up sho
EXTD=uld secure Elton John's reputation as a rare master of pop form.\n
EXTD=\nFrom the muscular lurch of "Dear John" to the Philly-soul styli
EXTD=ngs of "Princess," Elton is feeling frisky again. Those trademark
EXTD= piano rolls and crisp cadences never sounded so good as on "Spit
EXTD=eful Child," and he's found a new expressiveness in his singing (
EXTD=witness the dramatic, mock-Brechtian reading of "Legal Boys," whi
EXTD=ch redresses the paper chasers with eloquent vehemence). And, for
EXTD= a guest-celebrity change of pace, there's "Ball and Chain," a ca
EXTD=tchy little tune that rolls along to the inimitable percussive st
EXTD=rum of Pete Townshend's acoustic guitar.\n\nLyric-writing duties 
EXTD=are divided between Gary Osborne and Bernie Taupin. The former se
EXTD=ems to coax a more effervescent melody from John, while the latte
EXTD=r plumbs for emotional intensity -- be it vengeance ("Spiteful Ch
EXTD=ild") or sentimentality ("Empty Garden," a heartfelt paean to Joh
EXTD=n Lennon).\n\nElton John just might be rock & roll's equivalent o
EXTD=f the Tin Man in The Wizard of Oz. His songs have a kind of mecha
EXTD=nical vigor, he's a one-man pop-music assembly line, but the guy'
EXTD=s got a heart that won't quit. "I am your robot/I am your robot m
EXTD=an," he sings on Jump Up, in a way that suggests he's content wit
EXTD=h this self-assessment. Yeah, he may be a robot, but he's our rob
EXTD=ot, all right. God bless him. (RS 370 -- May 27, 1982)  -- \nPARK
EXTD=E PUTERBAUGH
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