Meriwether - Make Your Move
Record Label: Suretone Records
Release Date: July 11, 2005; October 16, 2007 (re-release)
Oh, how I do so vividly recall the day during which I learned this very website, as humble and inconspicuous as it may seem, had at some point in my membership installed some sort of mind-reading device somewhere in my person. I was listening to Baton Rouge sensation Meriwether's online album preview while the basketball game that had previously hosted my attention (but, in its maturation had become a blowout) played the part of a neglected silent film on my television. I began thinking to myself how this upcoming release, now loosely titled Sons of Our Fathers, had the potential to put the group on the grand map of the musical community and how, upon its release, I would surely write a thorough review. At the pinnacle of this very thought, I received an email informing me that Meriwether's earlier release, Make Your Move, was up for review on the website. Now, I hope that my praise of its succeeding release does not dilute the to-be-verbalized opinion of Make Your Move, for I insist that I do enjoy it in itself and have done so since I first spotted the band some two or three years ago.
Seeing as Meriwether are composed of four men who compliment their passion for music with a burning sense of pride in the fact that they are indigenous to the dirty south, it is more than appropriate that their debut album's first track be titled "New Orleans, R.I.P." and in relation revolve around the destruction caused by Hurricane Katrina. The track that will no doubt attract the best reception from most listeners, however, is the third track, "B Quiet." While some of the album's other songs tend to drag on in their musical pace while others rely too heavily on the constant inclusions of worn-out choruses, "B Quiet" stands above the rest as catchiness, beauty, and strength (all of which appear throughout the album, though usually in their own distinct sectors) combine to form one hell of a single.
As far as highlighting favorite tracks goes, two others that I can especially point out are the eighth and fourteenth, respectively titled "Godzilla vs. Rex Kwon Do in the (R)Octagon" and "And Tonic E.R.," with the latter being a hidden track which is inconveniently preceded by seven minutes of silence within its own time slot. The former (which is what I'll refer to it as, given the arduous nature of actually typing its title) is one of the album's heavier songs which allows it the momentum to have staying power over some of the other tracks but also maintains a great hook giving it some pleasant pop-appeal. "And Tonic E.R." (which I've also seen labeled as "The Ghost") is the album's only definitively soft song as it is a piano ballad. Lyrically, the track hooks the listener early the direct mention of teenage suicide and refuses to let go as it sports what is perhaps the catchiest chorus on the list complete with always-irresistible usage of woahs.
Having already alluded to a few of the album's faults, one of my favorite aspects of Make Your Move is the production. The inclusion of special dramatics within the songs, such as the cocking of a gun or the sound of birds chirping, adds a certain stylistic quality to the album without becoming an hyperbolic annoyance.
Without taking away from the quality of Make Your Move, I maintain through it all that the album, as attractive as it may be, only touches upon the potential of its creators. I can however, in all due honesty, recommend the album to any pop rock fanatics out there. But, all this potential that I have spoken of is but a word: assumptions aside, I can only hope that Meriwether can tap into that pool. To take a very lame and so tastefully cliché discourse, we will have to wait on that answer until they, you know, make their move.