Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
The album was released in June 1983. "The Border," featuring Bunnell's reworked lyrics, strings by the Royal Philharmonic Orchestra and an energetic saxophone solo by Raphael Ravenscroft, hit number 33 on the Billboard singles chart - what would turn out to be America's last Top 40 pop hit to date. The single fared far better on adult contemporary radio, peaking at number 4. This even bested "You Can Do Magic," which had peaked at number 5 on the adult contemporary charts the year before. However, lacking a major hit single, Your Move was unable to replicate the success of View From The Ground, peaking at number 81 on the Billboard album charts. With that, America's collaboration with Ballard came to an end.
Allmusic's retrospective review panned the album, asserting that it follows the trends of 1983 pop radio but fails to show any inspiration. They singled out "The Border" as the one strong piece on the album, concluding "There's a distinct lack of spark in the material, production, and performance".
Read more about this topic: Your Move (album)
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)