blindsider's Full Review: Move Along by The All-American Rejects
Hailing from Stillwater, Oklahoma, The All-American Rejects brought forth an addictive, catchy fusion of pop/rock with their wonderful 2003 self-titled debut. Best known for the hit single "Swing, Swing", the album's defining flaw (in the eyes of many) was the severe lack of lyrical variation. Fans eagerly craved what was coming up next for the guys, so when the Rejects finally crawled out from wherever they went into hiding and stirred us all up with the announcement of Move Along, I believe that I temporarily went nuts.
Why? The reasons are countless. The anticipation of a refreshing batch of songs from the guys was overwhelming, sure, but I had a creeping feeling that they would try to adapt the horrific sound of many of the 'emo/screamo' bands populating the music scene at the moment. Praying that this wasn't the case, I think I clenched my teeth and postponed the whole breathing thing until I finally heard the first single. Before we discuss that, though... meet the guys.
REJECTS? HARDLY...
Tyson Ritter - vocals/bass
Nick Wheeler - guitars
Mike Kennerty - guitars
Chris Gaylor - drums
To only cement my restless anticipation of the album, I discovered that the producer is no other than Howard Benson. AHHHH! Howard was the mastermind producer of only my favorite albums ever, Blindside's Silence, P.O.D.'s Satellite and countless other true gems. What can I say? The dude's a genius. I knew this effort just couldn't be a disappointing one.
Move Along starts off on the right foot with the lead single, "Dirty Little Secret". After only one listen, it'll be permanently engraved in your head. Tyson Ritter has always had a way with songwriting, that's for sure, and the lighthearted, playful sound of the guitars make this an excellent song. The first big difference between this and the band's past work is that Move Along does not wallow in self-pity. During the course of the first album, Tyson had just suffered a huge break-up and dwelled on it in, well, every song. Nowadays, he's dating supermodel Kim Smith (is it normal for a couple to be that good-looking?) and it seems as if he's much happier. It definitely shows in the band's music.
"Stab My Back" is a bouncy song with awesome drumwork and hooks-a-plenty. "You nearly broke my heart," Tyson acknowledges, but he doesn't sound like he cares this time around. "Move Along", an optimistic number that insists on not wallowing in one's troubles, is where the band's newfound love for experimentation with their sound really begins to shine through. The tempo is simply insane, changing every few seconds; the song even features a children's choir joining in during the latter choruses.
I nearly fell out of my chair when I heard "It Ends Tonight". A ballad by The All-American Rejects? Dangerous territory they're trodding, it seemed at first. I was soon proven wrong. The piano-driven, sweeping sound works exceptionally well with Tyson's fiery cries of "Just a little insight will make this right ... / it ends tonight." But the surprises don't stop here. "Change Your Mind" might have the typically addictive hooks of your average AAR song, but it mixes in circus sounds and unpredictable tempo changes. "Night Drive" (isn't that the title of a really awful Jimmy Eat World song?) initiates with a frenzy of people clapping and stomping, giving way to a hard rock sound that The All-American Rejects have never before ventured into.
"11:11 P.M." is a cute, wistful song with urgent vocals. Before the chorus explodes, sounds of a ticking clock can be heard, and it literally gets the listener's heart pumping with anticipation. "Dance Inside" is pure catchiness with undeniably beautiful vocals, and will surely be released as a single eventually. "Top of the World" sounds like a salsa song at first, with these gorgeous tinkly Latin-esque guitars. Eventually, it dives back into an alternative rock sound with Tyson's imploring wails of "Is there anybody out there?"
Another ballad comes in the form of "Straitjacket Feeling", which continues the album's theme of moving along and empathy. "I'm holding on by letting go of you," Tyson realizes. The piano work is chilling and beautiful and brings out the best in the band's sound. "I'm Waiting" has an introduction reminiscent of Green Day in their earlier days, but soon switches up to provide a pumping dose of guitars, insanely fast drumwork, and perhaps the best vocal work on all of Move Along. Closing out the album, "Can't Take It" is disappointingly short, but every second of it is simply whimsical. I would never expect a song like this from The All-American Rejects, and when I say that, I'm not putting down their musical abilities -- it's just a completely different territory, and I think I'm seriously still in shock. It's beautiful. "If you're so strong, you might as well just do it alone / and I'll watch you go," Tyson insists.
Move Along is an extremely diverse album that is void of weak moments. The production is amazing, and The All-American Rejects will certainly gain a new appreciation for their evident talent. Lyrically, it's top-notch and bears a chilling theme -- almost like a lesson that has been so painfully learned -- that somehow isn't cheesy and doesn't come off as repetitive at all. Tyson Ritter sounds better than ever before. The music is great in every way, and the band certainly has gotten over any fears of experimentation. Definitely a contender for my favorite album in 2005, Move Along should not be overlooked by anyone!
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