THE MOVE

Up next, the narrated, autobiographical "Cherry Blossom Clinic Revisited" (a rerecording from their debut). Sometimes you have to sign your life away for your own mental health. Hmmm... I can't believe I don't remember this one! What a bombastic, fun song! It's really no wonder this band eventually spawned ELO (fellow lovers of Psychedelia and Classical alike). Bright and regal, despite being from the perspective of a committed person. The guitars are so heavy. We enter a new section around minute 3. This features a reference to the classic "Jesu, Joy of Man's Desiring" (J.S. Bach), which morphs into a dark, distorted section. I couldn't place it, but this then references the "Chinese Dance" from Tchaikovsky's The Nutcracker. Quite the neo-classical mini-epic, lasting nearly 8 minutes! Impressive.

The longform continues on the very familiar 11-minute Ars Nova cover, "Fields of People". Still neo-classical, but like a tongue-in-cheek Flower Power tune. Ooooooh the group harmonies over the chorus are just amazing! Huge song, this'n. Quite the endeavor. Color me... inspired? Bit of a false ending around minute 6... resulting in a low drone, which turns surprisingly upbeat, but also is a bit of a Raga (though I can't help but think that it's clearly anglicized). Fantastic stuff. This is another that finishes off with a short interview. It's clear they had a lot of fun recording these. Still in a longer-than-Pop form, next is the Blues Rockin' "Don't Make My Baby Blue". A bit reminiscent of Deep Purple or, in guitar beefiness, Black Sabbath (though bright). I'm not one to stick around for the Blues, but this has some special sauce, no doubt. The dual-solo in the middle is very nice. Wicked Hendrix-type something, no? And finally, the last thing on the original album is "The Last Thing On My Mind". With the 6th-chord at the start, immediately brought "Fool on the Hill" to mind. I love the sound. And this is still very much in a Psychedelic vein, but also balladic. I did get a tad bored, though, not even midway through the song. Another solid guitar solo is hereafter. I guess best I can say is I'd rather listen to Led Zeppelin II.

The ending (those last two tracks)? Sort of a blight on an otherwise fantastic album.

MESSAGE FROM THE COUNTRY is a completely different beast than the previous MOVE albums. This one really sounds like the band morphing into the soon to be ELO with those unmistakable melodic grooves that are the clear signature sound of guitarist / vocalist Jeff Lynne. The band members have recalled that the album was a lot of fun to make because they weren't taking it too seriously. They simply explored any idea that fancied them and let it go wherever it led. Musically it is still very much steeped in the harder edged power pop that THE MOVE had become well known for only the album eschewed the more progressive touches on albums like 'Shazam!' and opted to follow in the footsteps of pop hits like 'Brontosaurus' from 'Looking On.'

This final chapter of THE MOVE also proved to be the most democratic of the bunch as it allowed all three band members to participate in the songwriting duties which gives the album the most diverse feel of all of them. The fourth musician bassist Rick Price is only credited as a session musician. There is also a clear indication of what the first ELO album would sound like as Roy Wood was already experimenting with his plethora of musical toys which included unorthodox rock instruments such as recorders, clarinet, bassoon as well as saxophones and his usual guitars and bass. This is most evident on tracks like 'It Wasn't My Idea To Dance,' while Lynne penned tracks like 'The Minister' prognosticate some of the future stylistic features of ELO's later career.

Also apparent is Lynne's fascination with The Beatles. Tracks like 'My Marge' are clear references to Paul McCartney's broadway influenced tap-dancing tunes like 'My Michelle' only sung with a goofy Ringo Starr voice. 'No Time' displays a clear John Lennon influence. Perhaps the funniest track on board is the country slide guitar drenched silly song 'Ben Crawley Steel Company.' In addition to the 60s Beatles flavors, the ELO tradition of implementing good old fashioned rock and roll into the heavier mixes has completely taken over at this point and although the debut ELO album went off in a strange direction, would be the main staple of the ELO sound beginning with the second release. 'Don't Mess Me Up' is the perfect faux Elvis Presley tribute. While the 'Ella James' track was released as a single it was quickly shelved as the Harvest label wanted to release only non-album singles.

As the final chapter of THE MOVE, this probably won't go down as the most remembered album of their career however even til the end the band retained popularity in its native UK. Even the members have stated they were just playing around but after all is said and done, it doesn't really need to be taken that seriously. MESSAGE FROM THE COUNTRY is another excellent album that crafts super-catchy pop hooks wrapped up in heavy guitar riffs, bizarre instrumental accompaniments and a sneak peak into the future world of what would become the Electric Light Orchestra. This is one of those albums that hits me differently depending on the mood i'm in but ultimately it comes off as nothing more than an excellent slice of early 70s power pop rock and that's good enough for me.

Ironically as it turned out, Jeff Lynne was actually Wood's replacement in Nightriders after Wood jumped ship to form THE MOVE, so in a way Lynne already had a feel for Wood's style and fit into the band perfectly as the two shared many musical ambitions. Truth be known was the fact that Wood actually wanted to end THE MOVE and start a new band with Lynne right away that would expand the horizons of pop music and move it closer to orchestrated classical sophistication but due to record contract obligations, the two conjured up the material to keep THE MOVE floating along for another couple albums before they could finally be released from their contractual shackles and begin The Electric Light Orchestra. However, despite existing as THE MOVE, the arrival of Lynne showcases LOOKING ON as a sort of proto-ELO collection of tunes that exists in some strange limbo between the 60s move sound and snippets of ideas that would fully gestate into the later ELO projects. Much ELO material was actually written and held back during this period.

LOOKING ON is quite the diverse album and while not as epic as the prior "Shazam," still churned out seven cranking tunes that upped the hard rock aspects but also found nascent early ELO elements such as the medieval classical sounds of a cello, oboe and sax residing next to 60s psychedelic pop leftovers such as the sitar. Quite the eclectic album indeed. While the title track kicks off in heavy rock form which showcases the band's attunement with the new 70s trends, the track oddly morphs into a bizarre Indo-raga tune towards the end. Jeff Lynne's love of 50s rock and roll shines through like a beam of sunshine on tracks "When Alice Comes Back To The Farm" which has a rather Rolling Stones bluesy rock feel as well as their hit single "Brontosaurus" which utilized a clever mix of heavy rock'n'roll, slide guitar and honky tonk piano.

The peculiarly titled "Turkish Tram Conductor Blues" which channeled their best Eric Clapton led Cream exhibited healthy doses of a strangely incongruous sitar and sultry sax solo whereas "What?" sounds a lot like the proto-makings of the following year's "Mr Radio" which would appear on the debut ELO album. Strewn all throughout LOOKING ON are tinklings of "Roll Over Beethoven" rock'n'roll riffs threaten to break in but never quite gestate completely. "Open Up Said The World At The Door" carries on where "Shazam" left off with an intricately designed mix of clever melodies, creative counterpoints and beautiful vocal harmonies that proved Lynne was the ultimate collaborator for Wood's similar musical visions and a veritable vocalist in his own right. Also on the work table, Lynne and Wood would create the much loved "10538 Overture" but held it back to be included on the future ELO project.

The ending track utilizes a rather Clapton-esque "I Shot The Sheriff" guitar riff but with a funky soul type of vocal style accompanied by a stomping groovy beat. After a few verses and choruses the track drifts off into a serious jam with guitar soloing with soulful Jackson Five type vocals and finally ends after eight minutes with a few breaks. One morphs into a Beach Boys styled barbershop choir that kinda sounds like "Barbara Ann" and then finally shifts into a piano roll with some British bloke blathering on about something or rather. While THE MOVE only released a mere four albums in their career, each one is completely different and LOOKING ON has its own distinct personality as well. Due to Lynne's contributions the album really sounds a million miles away from the "Shazam" album that was released only months prior. Somehow i acquired a taste for this band and each album stands up on its own merit. LOOKING ON is no exception to this for it is yet another strong batch of progressive pop tracks that provides also provides an interesting context to ELO's early history as well as just being a really creatively cool album in its own right.

Five years in, Kefford found his influence overpowered by guitarist / keyboardist / vocalist Roy Wood and in 1968 exited stage right after a nervous breakdown resulting from a liberal fascination, and excessive love affair with LSD experimentation. As Wood took the reins, THE MOVE, well?. moved into new territories and with Kefford's departure Trevor Burton would switch from guitar to fill his bass duties only to depart midstream only to be replaced by Rick Price. Making it even more complicated was the fact that Tony Visconti played bass on "Beautiful Daughter" which resulted in that track being used from older sessions, so while SHAZAM! was recorded in a much shorter time than the long term recording sessions of the debut album, this track in a way connected the band to their Beatles pop influences in the fact that it sounds like a reworked making of "Eleanor Rigby" complete with a exuberant violin and chamber pop backing.

SHAZAM is a few steps up from the eponymous debut, which i really found to be an excellent pop rock album of 1968, however on this sophomore outing Wood and company fine-tuned their overall sound into a veritable art rock band that foresaw many trends that made the 70s so great. This album is a testament to its era. It equally catches the zeitgeist of the 60s hippie vibe that was slowly waning all the while jumping ahead into progressive pastures that were blossoming all around them. The result is electrifying like that lightning bolt from the sky that like Billy Batson uttering the word SHAZAM! becomes the powerful superhero Captain Marvel. While the original album only had six tracks, they are quite diverse and all but "Beautiful Daughter" clock in at the five minute mark or more and despite continuing to hit the charts even in 1970 with singles, none of the six tracks on this album were even released as singles making SHAZAM truly an art rock album oriented musical ride all the way.

"Hello Susie" starts things off with a blistering heavy guitar riff oriented sound for 1970 allowing singer Carl Wayne to wail his vocals in a snarling heavy rock shout-a-thon where he battles to be heard over the heavy guitar, bass and surprisingly sophisticated drum techniques implemented by Bev Bevan. At this point THE MOVE was known for their mixing it up with Roy Wood penned originals and covers of other artists. The first three tracks are Wood's creations whereas the second half of the album is all covers. "Beautiful Daughter" rescued from past sessions and a 2.0 version of The Beatles' "Eleanor Rigby" unleashes a string savvy power ballad as well as the shortest track on the album at a less than three minute running time. Then we come to one of my favorite tracks of the album: "Cherry Blossom Clinic Revisited." As the name implies, this one is taken from the first album but perfected in every way. Firstly, the instrumentation is impeccable with guitars, bass, drums and vocals ramping up their respective roles. The stylistic changes suit the music perfectly and the medley type ventures toward the end that incorporate different variations on classical pieces by J.S. Bach and Tchaikovsky is stunningly brilliant and surprisingly amusing.

Side two begins with the other genius track of "Fields Of People," which although a cover of an Ars Nova hippie dippie track from a few years prior is crafted into a bona fide masterpiece of musical pleasure with a marriage of classical music sensibilities with the 60s beat pop rock that THE MOVE made their own. The verse / chorus infectious pop grooves evolve into a veritable Indo-raga finale which takes the entire track to close to the eleven minute mark yet not for one second does this one get boring. The remaining two tracks are sort of the more ordinary of the bunch. "Don't Make My Baby Blue" is a rather Janis Joplin sounding bluesy rocker with heavy guitar riffs and soul gusto while "The Last Thing On My Mind" dips back into the psychedelic pop 60s for a wild trippy guitar rock track that meanders on into the ethers and beyond for a seven and a half minute ride. The album is rather light-hearted as THE MOVE adopted the rather Bonzo Dog Doo Dah Band approach of silly narrative between and even with tracks to add a personal touch of mood and situation to add some personal connections.

Wham bam i love SHAZAM! This was a grower and not one that immediately revealed its secrets to me. It was like a worm that embedded itself in my soul and only really unleashed its magic after probably the fifth listen or so. And then i was hooked! While highly accessible upon the first listen, it doesn't really differentiate itself from other contemporary pop music at first at least not for me despite the progressive nuances. This album was yet another crossroads in the band's history. After SHAZAM singer Carl Wayne would part ways and Jeff Lynne would join the band and effectively take control and make THE MOVE a proto-Electric Light Orchestra outfit. And it's no surprise that Lynne had his eye on this band since ELO's mission statement was based on the fact that they wanted to take the classical pop characteristics of The Beatles and take them even further. Well, that exactly what THE MOVE was doing on SHAZAM. Don't let the horrible album cover fool you. This is one of 1970's coolest pop rock albums to have been recorded. It's like something The Beatles should have recorded somewhere down the road had they not broken up and ventured even further toward progressive pastures after "Sgt. Peppers."

4.5 but not quite good enough to round up

This is the album that the Move made for contractual reasons, and they added some filler they wrote quickly to it, to get this out the door. But there is also excellent music here. Indeed, they wrote so many songs during this time that there were six extra tunes that didn't initially get released, but which made it onto most re-releases of this album (my own vinyl copy contains not only the 10 original tracks, but all six additions, so that I what I will review here). The music here is very diverse, much more diverse than any previous Move album, with more different styles than any ELO album. There is blues, country (and faux country), jazz, hard (for the time) rock, progressive rock, and of course pop, here. The very best song here, one of the best Wood-related tunes, is "It Wasn't My Idea to Dance". This sounds like it could have been targetted at the first ELO album, as it has that heavier multi-instrument feel, like the 10538 overture, but perhaps they had too many good tracks for that (the first ELO album is SO good!), so perhaps this one had to be kept for this Move album (apparently, much of the first ELO album and many of the songs for this album were recorded at the same time). But I actually like all the songs on this album. The title track is great. I really like the fun songs too, like Wood doing his best Elvis impression on "Don't Mess Me Up", and Bev Bevan singing the faux country (but socially critical) "Ben Crawley Steel Company". Also, the six tracks that were left off this album are also quite good. This includes the Move single hit (and later ELO hit) "Do Ya". ELO recorded that one as a virtual carbon-copy of this Move version. "Tonight", "Chinatown" and another single, the rough rockin' "California Man", are also great ("California Man" could be thought of as the template for later ELO rockers like "Hold On Tight" and "Rock'n Roll is King"). While there are some greats here, and every song is listenable, with this amount of diversity I can see how those who prefer one particular style could be turned off. And I don't think this album is going to make it to the top of anyone's greatest list, But I think it is solid, and slightly better than Shazam. I give it 7.6 out of 10 on my 10-point scale, which places in the (higher) 3 PA stars range.

With their third album, The Move finally recorded a collection worthy of four stars. Building on the sound they introduced on Shazam, the Move take it even heavier and edgier here, and extend their songs with additional sections and well-developed solos. This album seems Jeff Lynne join the band, replacing the departed Carl Wayne who didn't like this shift away from pop (and of course, Lynne would later form ELO with Move members Roy Wood and Bev Bevan). The bass player is also new here, with Rick Price taking over from Trevor Burton. So, this is really quite a new Move, with only Wood and Bevan remaining from the previous lineup. The result is a great album that draws the listener to it for repeated listens. The title track "Looking On", Jeff Lynne's "Open Up Said the Door to the World", and the closing track "Feel Too Good" are among their best songs. "Brontosaurus" is trudging, but fun-trudging. By the time this album came out, Wood and Lynne had already decided to form a new band (ie ELO), and they made their last (fourth) album for contractual reasons. But this album was made before they got that far, when they were putting their bets on a revitalized Move co-led by Wood and Lynne. You can feel it in the vibe here too. Of all the move albums, this is the one most worth having. I give this 8.2 out of 10 on my 10-point scale, which translates to 4 PA stars.

With a more lively and harder edge, Shazam jolts the listener into realizing this is a new Move sound than all the radio-friendly singles represented on their debut. Roy Wood had begun growing his hair even longer and dressing in entertaining ways and Carl Wayne the lead vocalist and sometime-songwriter was none too happy (even looks a bit like this on the cover, no?). The tension adds to the music. This album mixes cover songs and originals. The covers are given a good do-over, with the re-interpretations sounding fresh. Among the originals, the excellent but eerie "Beautiful Daughter" and their remake of their great hit "Cherry Blosom Clinic" (but here the harder, "revisited" version) stand out. On this album they are playing better and more like they mean it. But it is not quite at the 4-star level. I give this album 7.5 out of 10 on my 10-point scale, which translates to higher 3 PA stars. Get the version with the bonus tracks - there are a number of them of varied quality, but they give a good idea of the music the band were recording at the time.

The Move's first album is very much in the early-mid Beatles mode. Very poppy, meant for radio, but with some clever lyrics and enough charm that one will be tempted to put in on more than once. Roy Wood is the main songwriter for the Move, and his songs are generally the best of theirs, all the way through until they split. The best track on this first album is "Cherry Blossom Clinic", a great song that is among the best in their discography, although the heavier "revisited" version on Shazam is the much better version. But that song serves mostly to reinforce the feeling that the rest of the songs here, while often catchy and clever enough, are not at the same level. Indeed, this their weakest album, even apart from the fact it is the least progressive or musically diverse. I give this 6.4 out of 10 on my 10-point scale, which translates to mid 3 PA stars.

While one would expect the performances to be material from the band's debut release, it actually contains nothing but covers of some of the band's favorite tracks beginning with The Byrd's "So You Want To Be A Rock 'N' Roll Star." Immediately one is struck by how much more raw and rocking this is compared to the carefully crafted and perfectly polished psychedelic pop of the debut release. The beauty of these live performances is it shows THE MOVE in full on stage regalia delivering a rock 'n' roll energy level that isn't always present on the studio albums. The selection of tracks is quite pleasant as they all seem to morph perfectly into one another despite being mined from quite a diverse catalogue of artists. The folk rock intro suddenly leaps into the psychedelic garage rock Love song "Stephanie Knows Who" and then off to the world of rockabilly with Eddie Cochran's "Somethin' Else." Also on board is the Jerry Lee Lewis track "It'll Be Me" and even an excellent cover of Spooky Tooth's "Sunshine Help Me" complete with groovy blues guitar riffs and solos matching the splendor of the original.

The album was released in 1999 on CD and from then on includes the Erma Franklin / Janis Joplin classic "Piece Of My Heart" and three other tracks by Denny Lane, Jackie Wilson and an additional unedited version of "Sunshine Help Me." This EP while not exactly essential is quite a pleasant listening experience as it fully conveys what THE MOVE was all about in a live setting and how well they could adapt their own particular style of playing around a varying set list of songs. The album has been remastered and reissued in its own right with varying amounts of bonus tracks tacked onto the end. It is really a treat to hear the band in their early days before the more progressive elements were added on "Shazam" and how well they could master the vast array of influences on board. While not quite reaching the heights of essential releases, it is nonetheless a very enjoyable little tidbit that fills the cracks of the time between the first two albums.

3.5 rounded down