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The Move - Shazam [1998 Remastered+Expanded] (1970)

Genre: Progressive Rock

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Wikipedia wrote: The Move were one of the leading British rock bands of the 1960s from Birmingham, England, and were among the most popular British bands to not find any success in the US. The Move were led by guitarist, singer and songwriter Roy Wood (although Chris "Ace" Kefford was their original leader), who composed all the group's UK singles and from 1968 also sang lead vocal on many of them (although Carl Wayne was their lead singer). They were extremely successful in Britain in their early career, scoring nine Top 20 UK singles in five years, but they were not as well known in the United States, mainly because they did not tour there until the latter part of their career. Nevertheless, they have been credited as an influence on many later groups on both sides of the Atlantic. The group evolved from several mid 1960s Birmingham based groups, including Carl Wayne and the Vikings, the Nightriders and the Mayfair Set. Strongly influenced by The Beatles, Motown and the emerging American 'West Coast' sound, The Move quickly established a reputation as one of the most accomplished and exciting live acts of the period. The group's name seems to refer to the move various members of these bands made to form the group. Beside Wood, the original members of The Move in 1966 were drummer Bev Bevan, bassist Chris "Ace" Kefford, vocalist Carl Wayne and guitarist Trevor Burton. The concluding members in 1972 were the trio of Wood, Bevan and guitarist-pianist Jeff Lynne, who transitioned the group into The Electric Light Orchestra.

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Review 1 by joeindover @ Buy It at Lowest Price on Amazon

:

I remember getting pretty competitive with guys on my floor in college back in the late 60s. We'd have all these debates about bands, etc. One night some guy was going on about how great Grand Funk Railroad was. At that point in my life I was VERY much into British progressive rock and, after being booed out of the room for saying I didn't think the Funkers were so great, I retreated to my room and put on SHAZAM by the Move to console myself. About 5 minutes into the LP two of the guys who had been back in that other room came in wondering what I was listening to. They gave the Move a listen and limped out of there as if I was the Godfather of heavy music and might break all their toes and fingers for being so stupid. This LP might well be the very finest moment of British progressive rock, period. It is definitely one of my very favorites of all time.

Review 2 by Douglas Vencill @ :

We got to talking about this fantastic album a few nights ago on the discussion thread "YOUR TRIPPIN' ALBUM IS ON ITS WAY--WHAT IS IT?" (Most of those threads are a lot of fun, by the way...and very addictive to us music junkies.) I just shared my thoughts with joeindover in response to his knee-slappingly funny review and feel compelled to give my 2-cents' worth to the masses here.

Everything you've read here is pretty much left on the money, although I can't (yet) attest to the supposed lower-sounding quality of the CD. Guess I'll find that all out in due time. What I want to share was how I was made aware of this album. During the sweet summer of 1970--back when underground FM radio still blissfully existed--I was in Long Beach, California on vacation with my mom, between my sophomore and junior year of high school, and VERY much into the burgeoning English rock and prog-rock scene. In those days, the Moody Blues and King Crimson were my new gods. One afternoon, I was sitting in my living room, listening to what was then for me the Radio Station From Heaven: KABC-FM 95.5. There was so much unspeakably cool music I got turned onto that summer that I could be sitting here for another hour just chronicling it....but I'll never forget this particular afternoon. Seated there on my couch, I had my little portable mono Channel Master cassette recorder, microphone attached, pointed at the speaker of an inconsequential little FM clock radio, and filling up several C-60 cassettes with random recordings of what I was hearing on this fantastic radio station. After one commercial break, here came disc jockey Tony Pigg with the announcement, "Here's one from The Move, a Tom Paxton song called 'The Last Thing On My Mind.'" Well, I remember hearing the Chad Mitchell Trio's original country/folkie version of the song, so I kept the recorder going...

...and cornball and over-the-top as this might sound to some, this was one of the defining moments in my musical development. As I sat there listening to this band of Brits I'd not yet even HEARD of taking this sad little breakup song and turning it into a psychedelic, acid-drenched, acoustic and electric 12-string wah-wah guitar sound painting, I was just stunned. I couldn't move (pardon the pun) for the next 7 1/2 minutes. For me, it was like hearing "Question," "The Court of the Crimson King," Procol Harum's "Repent Walpurgis" or Yes's "Yours Is No Disgrace" for the first time. I swear this to you: those were moments that brought me to states of consciousness that tapped me lovingly on the top of my head to remind me that humanity--even with all its flaws--were still capable of creating great masterpieces in the world of music. When the song reached its very UNpretentious conclusion--with the final chorus still ringing in my ears in near-perfect CSN-style vocal harmoney--I couldn't set about to finding the album fast enough.

Here's what I discovered upon hearing it for the first time: I wasn't nearly as knocked out by Side 1 as I was by Side 2....that's just my opinion for all it's worth. But those 3 tracks on Side 2..."Fields of People," "Don't Make My Baby Blue," and the one I just raved about like a lunatic...for me amounted to 3 of the greatest tracks in a row in British prog history, 23 minutes of near-bliss. The psychedelia and interspersed humor of "Fields," the near heavy-metal interpretations of "Baby" and the concluding masterpiece alone made this album worth having...I can listen to those 3 songs even today and still get the initial rush of hearing them for the first time. But when it comes to "Last Thing," as I shared with joeindover, I think Roy should be humbly proud for coming up with such an exquisite arrangement of a very cool song, and I can only wonder what Tom himself would have thought of it.

For all of you uninitiated ones--especially those of you who might be exploring the founding days of the British progressive rock onslaught of the 70's--you'd be well advised not to let this one slip through your fingers. Cheers.....

Tracklisting:

1. Hello Susie (4:53)

2. Beautiful Daughter (2:54)

3. Cherry Blossom Clinic Revisited (7:43)

4. Fields Of People (10:58)

5. Don't Make My Baby Blue (6:07)

6. The Last Thing on My Mind (7:40)

Additional tracks for 1998 CD reissue:

7. So You Want to Be a Rock & Roll Star (3:02)

8. Stephanie Knows Who (3:05)

9. Something Else (2:25)

10. It'll Be Me (2:40)

11. Sunshine Help Me (5:14)

12. Piece of My Heart [Previously Unreleased Live EP Outtakes] (4:05)

13. Too Much In Love [Previously Unreleased Live EP Outtakes] (2:41)

14. (Your Love Keeps Lifting Me) Higher and Higher (3:36)

15. Sunshine Help Me [Previously Unreleased Live EP Outtakes] (6:35)

Total Time: 73:38

Line-Up:

- Roy Wood / lead vocals, guitars, keyboards

- Bev Bevan / drums

- Carl Wayne / lead vocals, guitars

- Rick Price / vocals, bass

"Beautiful Daughter" features an uncredited string quartet.

Available at the following links:

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Rating:
2.5 out of 5 by Book123