This sophomore album is far more arranged punchier melodic than the first and packed full of hooks; vocals, keyboard and guitar wise, You're my No 1 with it's sweet multi-Moog grooves and sugary bubblegum vocal melodies are an example of this while the quiet acoustic/piano moments deliver a bit emotional weight in between the lightweight strings laden parts. With the ballooning synths, the hand claps, airy production and effervescent harmonies make this like a cheap but enjoyable ELO lite, Call Me Round continues in that ELO tradition of romantic Beatles styled verses, clear-cut acoustic guitars, glistening arpeggios and ringing harmonies. 55° North 3° West is full of very animated Moogs with the dials used to full effect as they glide in an thick but bright major tone, sliding from note to note and fluctuating in sustains for a 'wishy washy' style set to a disco beat; it's like the Bee Gees meets Starbuck with the keyboard bass led rhythm of the former and the saccharine analogue synthesizer lines of the latter. Do Me Good has a fantastic hook, an ascending vocal line sung with David Paton's characteristic pinched high tenor and continues with Badfinger type of harmonies and more Beatles' styled piano marches, while Bad to Me has an even catchier set of pop melodies set to a sturdy beat as sweet strings, gutiars chime and stir in a Baroque/Prog Pop package.
Passion Piece is a very Beatles style mix of old timey, singalong music hall parody with 20s swing and growly, theatrical vocals and Beatleqsue harmonies; the topping are chirpy horns and strings that carry the tune along with the wonderful refrain of 'she get's the best of me'. Dear Artist is another plonking Beatles-ques piano ballad, more intimate with a gentle but hopeful vocal from Paton providing the foundation of the song and some great line deliveries such as 'paint me a picture call it HELL'. Dear Artist is the second best song on the album but the very best is without a doubt You're Devotion which starts with some urban piano and big snarling guitar work and some very Badfinger sounding vocals, it almost sounds like Come and Get It from that band, is it Tom Evans singing the soaring lead vocal with it's bratty nasality and matter of fact punch; only the warped bass synth groaning in the background and the backwards echoed vocals at the end occasionally remind us this was mid 70s prog and not a Badfinger outtake from their early 70s peak. Well there you go I don't no what to make of this album other than it's very Beatles sounding and very bubblegum light but not to special songwriting wise!
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