Shazam Kiss

• Shazam And Stargirl Kiss
• Shazam Kiss Scene
• Shazam Kiss

The kiss of Venus has got me on the go She scored a bullseye in the early morning glow Early morning glow Packed with illusions, our world is turned around This golden circle has a most harmonic sound Harmonic sound And in the sunshine when we stand alone We came together with our secrets blown Our secrets blown Now moving slowly, we circle through the square Two passing planets in the sweet. Warning: Spoilers for Shazam! If you haven't seen the film yet, say the magic word and fly off to another page. Jul 24, 2020 The Kissing Booth 2 Rating TBD Dec 22, 2021 The Matrix.

Shazam And Stargirl Kiss

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 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]

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]

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.

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)

KISS today announced it is teaming up with Shazam and Apple Music on the launch of The KISS Hype Chart powered by Shazam; a new music show playing and discussing the most Shazamed and talked-about KISS tunes of the day – from the newest releases to the hits going viral on socials to trending TV and film soundtracks. Directly targeting KISS’s music-loving and social-media-savvy listeners, the KISS Hype Chart follows the previous successful collaboration KISS Does Summer Anthems with Shazam, which aired on 20^th June. The top 200 chart show, along with other virtual live events such as KISS Fest, KISS Ibiza and Bauer Radio’s Radio Rave led to the network recording all-time high streaming figures during lockdown, some weeks reaching over double the amount of listeners as the same time last year. Furthermore, the network saw a 22% rise in reach in the week of 27 July – 2 August compared to before UK lockdown, with significant increases recorded for KISS Dance (+52%) and KISSTORY (+35%).

Launching on Monday 7^th September, the chart show will be presented by Tinea Taylor and air every Monday - Thursday from 7pm. It will be the must-listen digest of the music most important to the KISS audience’s lives right now, with artist pass-throughs, audience interaction and an exciting, fast-paced listen. The show includes a companion playlist exclusively available on Apple Music and will be available on-demand via the KISS Kube app.

Rebecca Frank, Content Director,KISS, said: “Like KISS, Apple Music and Shazam truly understand what music and stories can do to engage and unite audiences, so we’re delighted to be teaming up again on a new chart show. The KISS Hype Chart is all about celebrating the audience’s current passions and encouraging them to connect with others, harnessing the power of music and the importance of radio during this time. With specially curated content that updates just as fast as our audience’s find a new favourite song, the show will engage listeners across the country via Shazam and make its music available on Apple Music.”

Jon Davies, Music Partnerships, Shazam, added: “We couldn’t be more excited to be working once again with the KISS Network, supporting the Hype Chart show and giving their listeners a daily selection of music that reflects what they have been organically discovering on Shazam.”

The KISS Hype Chart launches on Monday 7th September at 7pm. Make sure you follow @KISSFMUK on social and download the KISS Kube app to keep in touch with all the latest.

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ABOUT KISS:

The KISS Network is a national multi-media entertainment brand with 5.1m listeners a week. From the mainstream to what’s new and different, KISS connects with its audience through its multi-platform strategy of delivering content around the music they’re into, and the popular culture they love.

Shazam Kiss Scene

Playing the freshest beats to old skool and anthems, the network is also home to two breakout standalone digital stations, the UK’s most listened to digital commercial station KISSTORY (Old Skool and Anthems) and KISS Fresh (Non-Stop New Beats), plus the network now offers additional genre specific stations KISS Dance, KISS Jams and KISS Garage which are available online or via the KISS Kube App.

About Bauer Media UK:

Shazam Kiss

Bauer Media UK reaches over 25 million UK consumers through a portfolio of world-class, multi-platform media and entertainment brands including heat, KISS, Grazia, Empire, Magic, Absolute Radio and the Hits Radio Network. These brands offer commercial partners access to highly engaged audiences, with creative solutions underpinned by insight and instinct. Bauer Media UK is part of the Bauer Media Group, one of the world’s largest privately owned media businesses with media assets all over the globe.