MOVE

A British psych band exploring the edges of loud distortion and hard rock within melodic pop forms. The music is quite interesting for both its literate lyrics as well as the fact that everyone in the band seems to be involved with the vocals: both harmonically as well as taking turns in the lead roles.

1. "Yellow Rainbow" (2:35) recorded with a lot of pre-BLACK SABBATH volume, distortion, and attitude, this song manages to remain melodic and ktischy enough to be radio- and pop-friendly in the way The Who did as well. (9/10)

2. "Kilroy Was Here" (2:43) edgy and almost raw with so many slightly-distorted sounds (guitars, vocals) (8.875/10)

3. "(Here We Go Round) The Lemon Tree" (2:59) an unsettling song for both its lyrics as well as its poppy in an almost Archies / Monkees way (and the lead vocalists's uncanny similarity to the sound, pitch, and stylings of Ozzie Osborne). (8.875/10)

4. "Weekend" (1:46) an exaggerated Elvis voice over some mega-electrified Beach-Boys-like Surfer music renders this song more akin to The Who. Odd how often this band seems to be breidging more than one seemingly-incompatible pop/rock music genre. (4.375/5)

5. "Walk Upon The Water" (3:22) another Beach Boys-similar song with heavier/more distorted instrumentation and more angsty vocals (and lyrics) giving it the feel of the darker side of The Beatles. (8.75/10)

6. "Flowers In The Rain" (2:29) another fairly standard pop song with all kinds of experimental nuances in the woodwinds, vocal performance, and lyrical content that render it far more affecting in the way a padded bludgeon might render someone. (8.875/10)

7. "Hey Grandma" (3:11) piano-based blues rock with poorer-than-normal melody and lyrics. (8.6667/10)

8. "Useless Information" (2:56) another heavier version of what feels like a former-sunshine pop song now turned dark and cynical. Melodically and musically this is one of the less-engaging, more mundane-feeling songs on the album. (8.75/10)

9. "Zing! Went The Strings Of My Heart" (2:49) Shannana-like doo-wop! What could be purposely dark parody of the style feels too real and invested (long) to be pure sarcasm. (8.875/10)

10. "The Girl Outside" (2:53) opening with some string quartet arrangement that sustains itself throughout the song Pre-ELO. The band plays acoustic instruments along with Tony Visconti and Nicky Hopkins' strings. Hear the band are usurping the Baroque pop song in a way that predates Paul Weller's acerbidc JAM and STYLE COUNCIL work. Brilliant (if weird). (9/10)

11. "Fire Brigade" (2:22) On this song I hear 1980s Brit bands like The Mighty Lemondrops, The Housmartins, Dexy's Midnight Runners, and even XTC and The Wallflowers. (8.875/10)

12. "Mist On A Monday Morning" (2:30) more BEATLES like Baroque pop with harpsichord, strings, and recorders. There is definitely a folk rock element here that reminds me of John Martyn and The Strawbs. A complete, rather mature composition here. (8.875/10)

13. "Cherry Blossom Clinic" (2:30) Dark Beatles-like with John Lennon and Ozzie Osborne alternating on the lead vocals, coming together for some Sgt. Pepper-like choruses. The commanding presence of the full, horn-dominated orchestra is quite interesting--especially for the feeling as if Sgt. Pepper's Lonely Hearts Club Band came marching into the studio just to play on (take over) this song. Fun and memorable in a Mr. Kite kind of way. (8.875/10)

Total time 35:05

The music on this album is deceptively engaging, more interesting that its forms and melodies might expect due mostly to the heavy engineering of all the instruments as well as the frequent inclusion of nearly-violent imagery in the lyrics. I don't know if it was the engineers and producer or the band themselves who envisioned the hard edges and heavy touches to the sound, but if the lyrics are any indication, I'd say the band members were all on the edge of wanting/needing to release some rather wild and even savage energy. I also should comment/commend the band members for their very tight/proficient performances on all of their instruments as well as their compositional acumen.

B+/4.5 stars; a quite excellent album of creative pop songs that seem to convey both a high level of professional competence while, at the same time, expressing the irritability of a generation of worried and unsettled youth.