Junk Box Jury

“Forget About You” taken from the album ‘Approved By The Motors’ (Virgin Records VV-33 001) April 1978

The Motors | Approved By The Motors | (Virgin) | THIS Is the biggest surprise I’ve had since my mother’s leg dropped off. I had certain concrete preconceptions about the Motors. That they were a thick-wristed top-heavy bunch, guitar crash-bang merchants. That they made dense, treacly records that sounded like they were recorded and mixed In a cotton wool factory. That they were slightly talented but not terribly inspired.

These dumb notions, based on personal experience, have been exquisitely blasted from under my feet. Before you keel over with shock . . . steady on there . . . don’t believe for a moment that the Motors have ditched their muscle. ‘You Beat The Hell Out Of Me, and ‘Mamma Rock ‘n’ Roller’ are stuffed with the plutonium level of heavy metal dramatics. Status Quo meets King Kong, gigantic chords crashing behind tough yells.

But that is only what’s to be expected. Always the Motors forte. Their problem was always versatility, light and shade The problem Is solved.

One side of the Motors that I never knew about, never suspected is revealed on ‘Approved By’. They certainly never gave any inkling of it onstage.

What is remarkable is the pop craftsmanship on this album. ‘Airport’, the opening cut, is one of the most delicate commercial constructions I’ve heard all year with it’s clever shuffling of materials and irresistible hook lines.

If Virgin have the gumption to push it as a single, it will be a big hit no question about it, maybe even a number one. And the Motors, are the first band I ever thought I’d say that about.

The Motors | Approved By The Motors | (Virgin)

Then, on side two, there’s ‘Today’ so gentle and naive it could have sprung from the pen of a schoolgirl rather than Andy McMaster. It’s not my favourite track but its a pointer; the Motors are branching out, and branching out successfully.

Even the lyrics have developed an awareness that was utterly missing last year ‘Dreaming Your Life Away’ is a clever and ironic condemnation of ostrich in the sand types — old hippies and the like. It’s sad and bitter all at once, an immaculate creation.

Think of the Motors as a Chinese fan . . . stop giggling lads that has always remained shut until now exhibiting an attractive but extremely limited exterior. Suddenly, with ‘Approved By The Motors’ it’s slid quietly open, revealing designs and colours that no-one could ever have guessed at.

Actually, I didn’t like the Motors very much. Heavy-handed is what they were. No more though, no more. I approve. wholeheartedly. + + + + (Record Mirror, April 1978)

THE MOTORS | Approved By The Motors (Virgin)

REMEMBER THE Motors? A band that reminded many people of a weird cross between The Byrds and Status Quo? A band that others considered a sort of New Wave Heavy Metal act?

Well, forget them. They no longer exist. Those Motors obviously put themselves through their own M.O.T. test, decided that they didn’t make it, and took themselves off the road.

Now, it’s true that there’s still a group called The Motors, and that they happen to consist of exactly the same four individuals. But there the similarities end. This is a whole different class of Motoring. Depending on your point of view, it’s the difference between an Alfa-Romeo and a Rolls-Royce. Or, conversely, the difference between an Alfa and a family saloon. The point being that your attitude towards the nature of pop and rock will strictly determine the way you respond to the band’s new style.

Personally, I subscribe more to the Rolls metaphor. This is one of the most stylish, immaculately designed, beautifully constructed albums I’ve heard all year. The new Motors have got nothing much to do with The Byrds or Status Quo. They’re a weird cross between The Beatles, The Beach Boys, Roxy Music, Alex Harvey, Neil Sedaka, The Hollies, the original Bee Gees, Procol Harum, The Foundations, and almost any other major pop group you care to recall.

These Motors play pop music with a range and talent that few other contemporary operators can offer. Since it’s pop performed with a lot of power, then no doubt I’ll get tagged with that tedious over-worked label. But really this album transcends that kind of category. A comparison with Nick Lowe will perhaps suggest itself. To be honest, The Motors make old Basher sound like an old Banger.

The Motors | Approved By The Motors | (Virgin)

The first clue that this is a whole new band comes straight away, with the opening cut “Airport”. Not just no 12-string guitar, but no guitars full stop. The entire song is based on keyboards. Synthesisers and a concert grand Rule OK. The resulting effect is remarkable, even though it might sound like a recipe for a disastrous loss of credibility.

Synthesisers have been entirely rejected by the New Wave because of their odious association with the aged rock millionaires. Here, though, they gain a whole new sense of purpose. There’s no loss of energy. The song hurtles along at the familiar Motors pace. It just sounds entirely distinctive, that’s all. What’s more, there’s a great hook, featuring subtle deployment of vocal harmonies in a way that will start all those comparisons churning through your mind.

Next up is a great ponderous guitar song “Mamma Rock ‘n’ Roller” with brutish vocals that suggest John Lennon’s style circa the double ‘White’ album. Not that there’s a hint of those nasal Merseyside tones; it’s more to do with the spirit of the thing.

Then there’s a thoroughly cute pop tune called “Forget About You”. Rock purists are liable to be somewhat offended by this cut – a dead cert to win the Eurovision Song Contest, if they’d entered it. “Do You Mind” is a truly bizarre ballad with twisted, sadistic lyrics, and a vocal delivery that Alex Harvey might be proud of. If it had turned up on ‘Motors 1’ it would have been entirely out of place. On this set, it’s just further evidence of a wide-ranging eclecticism.

“You Beat The Hell Out Of Me”, the last but one single, and “Breathless” are the closest link with the original Motors sound. Both cuts have much of the force of “Dreaming Your Life Away” and it’s ilk, but there’s a harder edge to the band’s attack. The songs rock rather than glide.

The Motors | Approved By The Motors | (Virgin)

“Soul Redeemer” is a further cut that edges dangerously close to Eurovision. It’s got the sort of sweet hook that would make tony Blackburn drool, but the quality of potential admirers should not detract from the song’s achievement.

The album’s only let down is “Dreaming Your Life Away”, a somewhat sluggish ballad, though even in this case the skill on display goes some way to redeeming it.

All in all, ‘Approved By The Motors’ is a largely unqualified success. One of the bravest changes of direction you’re ever likely to hear from a new band. The risk, however, is that people who consider pop to be an inferior form to rock may well want to reject the entire thing without reservation.

In fact, the only way that anyone can fail to respond o this remarkable album is on the basis of such prejudices. And that would be a pretty dumb thing to do. (NME, 29/04/78)

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cost of record: £2
from: British Heart Foundation