1968 1970 THE MOVE 1st & SHAZAM Kaleidoscope Pop Psych

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48

               SCARCE BRITISH ORIG PRESSING

    1968 & 1970  ~ UNDERRATED POP-PSYCH NUGGETS !

                    THE MOVE

\                                                         UK - UK - FLY RECORDS 5/6

TOP COPY! Gatefold cover & both records are MINTY clean...you won't find a better copy...

Includes both cube shape FLY inner sleeves...(MINT)

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SCARCE early 70's British 2xLp with gatefold sleeve containing the very first two 1968 & 1970 Lp's by THE MOVE ...  brillant mixtures of toytown & kaleidoscope popsike/rock.

There's a good reason why the Move's 1968 first album sounds like the work of two or three different bands — actually, befitting a band with multiple lead singers, there's more than one reason. First, there's that lead singer conundrum. Carl Wayne was the group's frontman, but Roy Wood wrote the band's original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran's "Weekend") or drummer Bev Bevan (as they did on the Coasters' "Zing Went the Strings of My Heart"). Such ever-changing leads can lend excitement but it can also lend confusion, especially when the group enthusiastically mixes up Who-inspired art pop with three-chord rock & roll oldies and more than a hint of British eccentricity. Add to that, the album had a long, convoluted birth of 14 months, a long span of time in pop music, but it was an eternity in the mid-'60s, when styles and sounds were changing monthly. The Move were releasing singles during this time so they weren't absent from the scene, but they did happen to be set upon a course of cutting singles when their peers were crafting album-length epics, something that separated them from the pack, making them seem eccentric...and the Move needed no help in seeming eccentric. In an age filled with outsized originals, the Move may have been the most peculiar, not quite fitting into any particular scene or sound. They rivaled the Who in their almost violent power, but were almost entirely devoid of Mod style, despite the "Ace" nickname of bassist Chris Kefford. They were as defiantly British as the Kinks, but during 1967 and 1968 they were more closely tied to psychedelia than the Davies brothers, producing intensely colorful records like "(Here We Go Round) The Lemon Tree" and "I Can Hear the Grass Grow," songs that owed a heavy debt to the Beatles. Indeed, the Move were arguably at the forefront of the second wave of the British Invasion, building upon the bright, exuberant sound of 1964 and 1965 and lacking any rooting in the jazz and blues that fueled the Rolling Stones, the Animals, and Manfred Mann, among countless others.

The Move sounded so new that their 1968 debut still sounds unusual, ping-ponging between restless, kaleidoscopic pop and almost campy salutes to early rock & roll, punctuated by the occasional foray into the English countryside and, with the closing "Cherry Blossom Clinic," psychic nightmare. Much of this oddity can be ascribed to Roy Wood, the only member to write, but the Move were certainly a collective, sounding just as off-kilter and distinctive on the aforementioned oldies covers and their version of Moby Grape's "Hey Grandma" as they do on their originals. But it's Wood's originals — ranging from the stately, tightly-buttoned "Kilroy Was Here" to the carnivalesque "(Here We Go Round) The Lemon Tree"; from the gentle, precious "Mist on a Monday Morning" to the perfect pop of "Fire Brigade" and "Flowers in the Rain" — that give The Move its heady rush of melody and tangible sonic textures. This is vivid, imaginative music — almost too vivid, really, as there are so many ideas that it doesn't quite hold together as a complete LP, a curse of the prolonged sessions behind the album, surely. Nevertheless, art-pop albums are always better when there are too many ideas instead of too few, and The Move is one of the first to prove that axiom true.

1. "Yellow Rainbow" (Wood) – 2:35
2. "Kilroy Was Here" (Wood) – 2:43
3. "(Here We Go Round) The Lemon Tree" (Wood) – 2:59
4. "Weekend" (Post) – 1:46
5. "Walk Upon The Water" (Wood) – 3:22
6. "Flowers in the Rain" (Wood) – 2:29
7. "Hey Grandma" (Miller/Stevenson) – 3:11
8. "Useless Information" (Wood) – 2:56
9. "Zing Went The Strings Of My Heart" (Hanley) – 2:49
10. "The Girl Outside" (Wood) – 2:53
11. "Fire Brigade" (Wood) 2.22
12. "Mist On a Monday Morning" (Wood) – 2:30
13. "Cherry Blossom Clinic" (Wood) – 2:30

LP #2 = 1970 The MOVE ~~ SHAZAM...IF the 10+ minute head-over-heels psych-out "Fields Of People" doesn't blow your mind, nothing will...

The MOVE Shazam will surprise for the 'powers' within, even seasoned collectors have rediscovered this gem, remarking how well it has aged, offering real highs to this legendary British band. 

The Move's 1970 album is both powerfully flowing and intricately structured. 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  act called Amen Corner a while back. The Move introduced it during their American visit with sarcastic remarks about how they'd restored it to its original state, and surely thier 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 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.

"Beautiful Daughter," a tuneful little pop ditty embellished by a string section that sounds like it just arrived from a McCartney session, is a defintite throwback to the first Move album, where, occasional syrupy Paulie imitations are to be found.

In "Cherry Blossom Clinic Revisited," an adaptation of a charming song about confinement in a mental hospital from the 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 barouque Spanish guitar line in front of Price's stalking 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.

The 10: 09 "Fields Of People" is the Lp climax -- a infectious slice of tripped-out British psychedelia with lengthy passages, infectious grooves, it's all here wrapped up & bow tied in a nifty 10 min+ package of thrilling delirium! You won't want to miss this thoroughly satisfying nugget!

"Don't Make My Baby Blue"  The Move deliver a stunning display of all the techniques that characterize the most compelling, "heavy" rock and roll. Wood here employs a monstrously ferocious Jimmy Page-ish 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 qutie favorably with anything the Byrds ever did with Dylan. And perhaps not coincidently, 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.

Hello Suzie 4:55

Beautiful Daughter 2:36

Cherry Blossom Clinic 7:40

Fields Of People 10:09

Don't Make My Baby Blue 6:18

The Last Thing On My Mind  7:35   

CONDITION: The Cover:the front gatefold is nice M- hard to find this clean as the cover did not wear well...this is a TOP copy from around 40 years ago...with solid seams, all around very strong and collectible. You won't find a better original pressing...

The Vinyl: The vinyl records are both very clean, all 4 sides are strong M- look instantly mint by sight & play flawlessly clear and clean ...the FLY labels are both clean....

      A cool addition to anyone's music library!

SEE: SELLERS OTher items for similar cool sounds for "head" people...

EFFICIENT/CAREFUL GRADING

All imperfections are noted both cover & record