Review: Keep Moving

The third album in an artist's catalog tends to be my favorite. I don't know why, but they do. Examples include Pearl Jam, Creedence, the Bangles, Volbeat. So I'm not sure where I stand on Andrew Stockdale's Keep Moving. After all, he is the common denominator between Wolfmother albums. However, while he is the primary creative force behind their music, he isn't the only one. That goes for his latest release, which, up until the end of last year, was a Wolfmother album. So if you consider it to essentially be Wolfmother's third effort, then it's my favorite record of their body of work. If you look at it as Stockdale's first solo album, it's a solid debut.

Andrew Stockdale creates the Polaroid picture of music. It's feathered hair, cut-off jeans and vans with murals. His music has more of an AM radio sensibility than Everclear ever had. It is, at its core, far out. It's fun to listen to, especially while driving to the store on a hot summer evening to get more Margarita mix. The songwriting is exemplary, with complex melodies and harmonies from a variety of instruments weaving through and around each other like Formula one cars on a difficult course. My biggest problem is the production. This sounds more like a expertly-cut demo than a finished, polished album. Stockdale's vocals miss their mark often, and on a couple of tracks, the harmonica parts could be tighter. That being said, it's been in heavy rotation on my media player since it dropped.

So let's start the track-by-track analysis:

• Long Way to Go

An optimistic and diverse beginning to the album. Multiple bridges highlight the virtuosity of the musicians involved, though Stockdale's vocals falter occasionally, especially when he slides between octaves.

• Keep Moving

The simplicity of the instrumentation, especially during the verse, help the vocals stand out. The main riff is bouncy and catchy, working effectively as a hook.

• Somebody's Calling

The driving rhythm of this track matches the desperation described in the lyrics, yet the overall feel is still hopeful. The time change at the bridge marks the turnaround in the lyrical journey the singer is taking.

• Vicarious

I love the counterpoint guitar between each line of the verse. The first tune with a darker feel than the proceeding tracks, mid-tempo and a less-sunny message.

• Year of the Dragon

Another bouncy track, thematically playing off of the Chinese zodiac. I have to say, though, that Stockdale is not at his lyrical best here. He uses simple, easy rhymes, which has the effect of making the song sound more like Dr. Suess wrote it.

• Meridian

This track is most reminiscent of Wolfmother. Interesting interplay between the guitars and the bass leading into the verse.

• Ghetto

While it starts in the same key as the previous song, it sounds vastly different. I love the multiple layers of guitar sounds, and the quick piano (at least, I think it's piano) runs. Nice transition from minor key to major. One of my favorite tracks on this album.

• Suitcase (One More Time)

The lyrics are, again, simplistic, but this mellow track is a welcome change of pace from the harder tracks leading up to it. The vocals could be tighter, especially on the falsetto parts. It's easy to imagine this song being performed by Faces or the James Gang.

• Of the Earth

Then Stockdale picks things right back up. Nice bass work and mellotron accents. This shows the artists' versatility. It does just enough, without overdoing it. Funky and fun.

• Let It Go

The bridge really saves this song. The main riff seems to exist simply to get you to the bridge. Together, though, they create a terrific counterpoint to each other.

•  Let Somebody Love You

Let Somebody Love You is a jaunty little ditty. The rhymes are simplistic, but it's hard not to tap your toes. Not to mention, it's pretty good advice.

• She's a Motorhead

This track captures that true '70s  funk that Stockdale appears to master. I can easily picture this as a Stones release. Nice use of harmonica.

• Standing on the Corner

Nice transition from simple instrumentation to a full wall-of-sound effect.

• Country

This is a well-placed slower song. It gives the listener a breather. Its sound is reminiscent of the Grateful Dead or even later Beatles, although the harmonica solo at the end sounds under-rehearsed. Country starts the wind-down of the album.

• Black Swan

Andrew Stockdale writing for Sesame Street. When I hear the whistling at the intro, I think of Sing a Song from that show. The horns at the end perpetuate that association. It's almost a lullaby, letting you know the ride's about over.

• Everyday Drone

Vocals and harmonica are weak on this track, but that might have been the effect Stockdale was going for. It's an appropriate wrap-up to the album. I like the synth under-layering the chorus and the banjo counterpoint in the bridge. 

I can't tell if Andrew Stockdale left the apparent missteps in this album on purpose, to increase his Lo-Fi cred. I do know that if you are a fan of Lo-Fi, or Garage, or Wolfmother, or any of a number of late-'60s-to-mid-'70s bands, you will like this album. Take the top off the International Scout, throw this on the stereo, and take the gang down to the river for some fun.

Listen DC: 15