The Move Shazam

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Regardless, 'Shazam' is the product of a finely tuned, massively talented incarnation of the Move. This album is full of wonderful arrangements, stretching the musical talents of the group's members, and certainly withstands the test of time, sounding as relevant in 2009 s it did when it first hit record shops in 1970. An effortlessly entertaining blend of humor and heart, Shazam! Is a superhero movie that never forgets the genre's real power: joyous wish fulfillment. Directed by David F. With Zachary Levi, Mark Strong, Asher Angel, Jack Dylan Grazer. A newly fostered young boy in search of his mother instead finds unexpected super powers and soon gains a powerful enemy. Shazam The Move. Released February 1970. Shazam Tracklist. Hello Susie Lyrics. Beautiful Daughter Lyrics. Cherry Blossom Clinic Revisited Lyrics. Fields of People.



Shazam
The Move

A&M 4359
Released: 1970

The Move's new album, Shazam, is an honest, happy child of that heavily electronic brand of rock and roll which was born of the Who and later massively popularized by Cream and their imitators.

Those tens of thousands of tours they've endured have paid off handsomely for the Move: their music, both in performance and on this album, is structured and flowing. Shazam is a brutally energetic rock and roll album.

It opens with 'Hello Susie,' which, in a substantially different form, was a large hit by a popular British teenybopper act called Amen Corner a while back. The Move introduced it during their American visit with some sarcastic remarks about how they'd restored it to its original state, and surely their own version will make even the hardiest teeny wilt with horror. Devastatingly brutal and containing some absolutely lewd guitar, it's sung with unutterable viciousness by lead-singer Carl Wayne, who, delivering some of the nastiest growling ever captured on vinyl, sounds like he'd just as soon bite off Susie's head as look at her.

Original album advertising art.
Click image for larger view.
'Beautiful Daughter,' a tuneful little pop ditty embellished by a string section that sounds like it just arrived from a McCartney session, is a definite throwback to the first Move album (The Move Regal Zonophone SLRZ 1002), where, between the occasional syrupy Paulie imitations are to be found: an hilarious drummer Bev Bevan-sung duplicate of the Coasters' comic adaptation of 'Zing Went the Strings of My Heart'; the magnificent Duane-Eddy-reverb-guitar-decorated 'Fire Brigade'; a great copy of Eddie Cochran's 'Weekend' sung by nasty little bass-guitarist Trevor Burton with enormous greasy zeal; the charming Gilbert & Sullivan-cum-electricity-cum-acid 'Flowers in the Rain'; and five or so lovely helpings of the early Move's catchily simple, vocal-dominated and mildly strident, and distinctively British rock and roll.

In 'Cherry Blossom Clinic Revisited,' an adaptation of a charming song about confinement in a mental hospital from that first album, the Move show us all their new tricks. Poundingly rocking and energetic, its orgasmic choruses are yanked in by siren-screech guitar-slides from Wood, after the last of which there appears a short acoustic bridge that introduces an amazing series of composed movements that alternately feature a baroque Spanish guitar line in front of Rick Price's stalkingly sinister bass, explosive drumming, and finally a choral repetition in falsetto of the baroque guitar line. The walls of the Whisky very nearly crumbled when the Move performed this one there last October.

'Don't Make My Baby Blue' is a Mann-Weill semi-schlocker which the Move have converted into a stunning display of all the techniques that characterize the most compelling, 'heavy' rock and roll. Wood here employs a monstrously ferocious Jimmy-Pagish guitar tone that he makes work perfectly in the context of the song. He slices the song in half in the middle with a screechingly dissonant wah-wah explosion that will floor you, and then at the end hands it over to Bev, whose drum explosion signals the torrent of sirenish harmonies that end the song.

'The Last Thing On My Mind' clinches it: what the Move here do with Tom Paxton compares quite favorably with anything the Byrds ever did with Dylan. And perhaps not coincidentally, the Move use all the Byrds' tricks, right down to the dense-sounding twelve-string guitar and massive high choruses that will remind you of jets taking off.

The Move Shazam Fields Of People

Do what you can to pervent this from being the last Move album. Petition Regal Zonophone in England or A&M (who's still sitting stupidly on the first album, afraid to release it). Or write your congressman. The Move must be kept going to give us more albums like this one.

- John Mendelsohn, Rolling Stone, 5/14/70.

Bonus Reviews!


Further reading on
Super Seventies RockSite!:

Album Review:
Message From the Country

Album Reviews:
2008 The Move Reissues

The Move Lyrics

The Move Videos

This set has been expectantly awaited for some time and the wait was well worth it. The Move here is overpowering in one of the best underground albums of the year to date. Advance raves are borne out by this British quartet. 'Hellow People is a winner as is the inventive extended 'Fields of People.' Tom Paxton's 'The Last Thing on My Mind' also is a top cut here.

- Billboard, 1970.

Its enthusiasts to the contrary, this is hardly the greatest rock and roll record ever to thump down the pike. It's just an artier version of the overly self-conscious mode I call stupid-rock, simultaneously gartantuan and prissy, like dinosaurs gallumphing through the tulips. It would be a lot worse if it weren't so funny, but it would also be a lot less funny if it were a little better. Recommended to Stooges fans who have just found a five dollar bill. B-

- Robert Christgau, Christgau's Record Guide, 1981.

The single most accomplished album to be recorded by any of the Birmingham rock bands (which include The Moody Blues), Shazam is sort of Sgt. Pepper with an attitude, a mixture of expansive progressive-rock worthy of The Beatles and high energy music honed by years of playing loud on stage. The rendition of Tom Paxton's 'The Last Thing on My Mind' pushes these guys simultaneously into Byrds and Jimi Hendrix territory, while 'Beautiful Daughter' is one of the most unabashedly pretty records of this era, and 'Cherry Blossom Clinic Revisited' is defiantly strange. The album only exists as an import from Japan, paired up on one CD with the earlier Flowers in the Rain album (all songs in print domesticallly or a better German version filled out with five live tracks from London's Marquee Club, off of the super-rare Something Else EP). * * * * *

- Richie Unterberger, The All-Music Guide to Rock, 1995.

Shazam shows the band in all its eclectic glory, from incandescent folk-pop to full-blown pomp. * * * 1/2

- Simon Glickman, Musichound Rock: The Essential Album Guide, 1996.

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Shazam
Studio album by
ReleasedFebruary 1970
StudioAdvision Sound Studios, London
GenreFreakbeat, hard rock, psychedelic rock, progressive rock, psychedelic pop, pop rock
Length39:13
LabelRegal Zonophone (UK), A&M (US
Producer
  • Roy Wood
  • Carl Wayne
  • Rick Price
  • Gerald Chevin
The Move chronology
Something Else from The Move
(1968)
Shazam
(1970)
Looking On
(1970)

Shazam is the second studio album by English rock band the Move, released in February 1970 by Regal Zonophone. The LP marked a bridge between the band's quirky late '60s pop singles and the progressive, long-form style of Roy Wood's next project, the Electric Light Orchestra. It was the last Move album to feature the group's original lead vocalist, Carl Wayne.

Background and release[edit]

While drummer Bev Bevan regards this as his favorite Move album, Wood's memories were more bittersweet, likely due to 1969 having been a year of up-and-downs for the band. The 'Blackberry Way' single hit No. 1 in the UK to open the year, bassist Trevor Burton quit shortly thereafter and replaced by Rick Price, and the February 1969 American tour was cancelled because of this. It later transpired that a couple of the tracks featured Burton playing bass rather than Price. When the tour did finally happen later that year, it was a financial failure and a logistical farce—due to shoddy planning, the band was forced to race across the country by car (and a U-Haul trailer) to make very few dates. During this time, the relationship between Wood and Wayne - who had always had different personalities and temperaments - was being severely tested.

The two dynamic creative forces in the band were frequently at odds with one another over style and content—Wood reckoned The Move had gone as far as it could go, short of breaking through in America, and wanted to launch a new strings-and-rock project with Jeff Lynne, which would become The Electric Light Orchestra. Wayne, however, still saw potential in the band and wanted to return to their roots with short sharp tracks, even attempting to persuade the others to allow Burton and original bassist Ace Kefford back in the band while Wood would focus on his new ELO project and continue to write songs for The Move, but Price, Wood and Bevan rejected his suggestion.

Returning to the cabaret circuit after the debacle in the United States was the last straw for Wood. One night, in Sheffield in January 1970, he infamously threw a glass at a mouthy cabaret patron who'd called him 'a poofta.' Wayne angrily blew up at him backstage, and the original Move was all but finished. Wayne quit the band, just before Shazam was released, and was replaced by Jeff Lynne who, having previously rejected Wood's first invitation to join The Move because he wanted to stay with The Idle Race, agreed to join on the condition that they retire The Move and focus full-time on ELO.

The Move Shazam Album Cover

The album was not a commercial success in the UK. The hit single 'Brontosaurus' debuted a fortnight after Shazam hit the stores, and was the first recording to feature Lynne. In the US, when it debuted on A&M Records, the heavy feel, tight harmonies, and extended solos made it a cult favorite and the record that introduced most American fans to the band. It also proved to be a stylistic template for successful 1970s bands, such as Cheap Trick and Kiss.

Musical content[edit]

The move shazam fields of people

The Move Shazam Youtube

Shazam was essentially the Move's 1969 stage act captured on record. A mixture of California psychedelia, heavy metal riffs, thundering drums, and interpolations from classic composers, the album was generally praised by critics—Rolling Stone gave a glowing review in the spring of its release year—and is generally regarded as the band's best LP.

The band had spent most of 1969 on the cabaret circuit in England, much to the delight of lead singer/crooner Wayne and to the chagrin of guitarist/composer Roy Wood. When the group finally toured the United States in the autumn for the sole time in their career, they loosened up their performance and played at a louder volume.

Shazam is a classic example of one side of originals and another of covers, typifying a band wrestling with split musical directions. Wayne, who picked some of the songs on Side 2, delivers tender ballads (Wood's 'Beautiful Daughter') and serves as a compère on spoken-word tracks between the songs (a similar vox-pop feature was included on a Bonzo Dog Doo-Dah Band album). 'Beautiful Daughter' was under consideration for release as a single, the follow-up to 'Curly', in 1970, but cancelled due to Wayne's departure just as the album was released.

Tracks like 'Hello Susie' and 'Don't Make My Baby Blue” meanwhile lets loose with distorted riffs and drum fills. 'Hello Susie' had previously been a hit for Amen Corner, though their faster, more pop-oriented version was markedly different from the Move's heavy metal treatment. 'Cherry Blossom Clinic Revisited' was a variation on 'Cherry Blossom Clinic', a track from the group's debut album, taken at a slower pace, the first verse diffidently spoken by Wayne, recorded without any strings or brass, and interpolating a medley of classical tunes including works by Bach and Tchaikovsky, played on guitars.

Critical reception[edit]

Professional ratings
Review scores
SourceRating
AllMusic[1]
Christgau's Record GuideB–[2]

Reviewing for The Village Voice in 1970, Robert Christgau said the album is 'compelling when played loud' but also 'full of annoying distractions, musical and otherwise.' He described it as 'overtly self-conscious' 'stupid-rock' and facetiously recommended it to 'Stooges fans who have just found a $5 bill.'[3]John Mendelsohn of Rolling Stone gave the album a positive review, ending with a plea 'Do what you can to prevent this from being the last Move album... ...The Move must be kept going to give us more albums like this one'.[4] In a retrospective review, AllMusic editor Stephen Thomas Erlewine said the 'short-yet-sprawling' album reflected the band's growth into a 'muscular and weirder' group. Erlewine said that, although the variety of musical ideas may be 'intimidating' to listeners, the album 'rewards' repeated listens 'many times over' and is 'wildly inventive music', as the Move 'may never have been better than they are here'.[5]

Track listing[edit]

All songs written by Roy Wood unless noted.

Side one
No.TitleLead vocalsLength
1.'Hello Susie'Roy Wood4:55
2.'Beautiful Daughter'Carl Wayne2:36
3.'Cherry Blossom Clinic Revisited'Wayne with Wood, spoken word by Bev Bevan7:40
Total length:15:11
Side two
No.TitleWriter(s)Lead vocalsLength
4.'Fields of People' (Originally by Ars Nova)Wayne10:09
5.'Don't Make My Baby Blue' (Originally by Frankie Laine)Wayne6:18
6.'The Last Thing on My Mind' (Originally by Tom Paxton)Tom PaxtonWayne, Wood and Rick Price7:35
Total length:24:02
Bonus Tracks (2007 reissue)
No.TitleWriter(s)Lead vocalsLength
1.'This Time Tomorrow'Dave MorganPrice3:40
2.'A Certain Something'MorganWayne3:45
3.'Curly' (Alternate mix)Wood and Wayne2:54
4.'Wild Tiger Woman' (Stereo mix)Wayne, Wood and Trevor Burton2:55
5.'Omnibus' (Full-length version)Wayne and Wood4:11
6.'That Certain Something' (Demo version)MorganWayne3:58
7.'This Time Tomorrow' (Demo version)MorganPrice2:36
8.'Blackberry Way' (Alternate mix)Wayne3:38
Total length:27:37

Personnel[edit]

  • Roy Wood - lead vocals, guitars; keyboards.
  • Bev Bevan - drums, percussion.
  • Carl Wayne - lead vocals; guitars.
  • Rick Price - vocals, bass.
  • Trevor Burton - bass (prior to leaving the band, which tracks unknown)
  • Tony Visconti - bass on 'Beautiful Daughter'

'Beautiful Daughter' features an uncredited string quartet.

References[edit]

  1. ^Huey, Steve. 'Shazam - The Move'. AllMusic. Retrieved 30 December 2012.CS1 maint: discouraged parameter (link)
  2. ^Christgau, Robert (1981). 'Consumer Guide '70s: M'. Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X. Retrieved March 8, 2019 – via robertchristgau.com.CS1 maint: discouraged parameter (link)
  3. ^Christgau, Robert (July 30, 1970). 'Consumer Guide (12)'. The Village Voice. New York. Retrieved April 14, 2013.CS1 maint: discouraged parameter (link)
  4. ^Mendelsohn, John (May 14, 1970). 'The Move: Shazam'. Rolling Stone. Retrieved August 18, 2018.CS1 maint: discouraged parameter (link)
  5. ^Erlewine, Stephen Thomas. 'Shazam - The Move'. Allmusic. Retrieved April 14, 2013.CS1 maint: discouraged parameter (link)
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