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Moving

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Editors’ Notes

Punk was long over in 1983 England when The Raincoats released their third and final studio album, Moving. Softening the art-school inclinations of Odyshape, the four young women used the rough-edged folk of their first album and a confident vision of forward-thinking pop in crafting the songs on Moving. “Ooh Ooh La La La” was the original opening track, and its careful layering of Middle Eastern and reggae-influenced flavors and nuanced vocals produced a sound that's delightfully cool and sophisticated, yet still skewed to off-kilter musical tastes. “Dance of Hopping Mad” works in the same ethnicity-melding mode, with guitars tweaked to sound like Chinese instruments and funk bass lines weaving in and out of sustained violin notes quivering like hummingbird wings. With vibraphones, piano, and saxophone on board, The Raincoats cemented their place in the timeline of critical developments in the post-punk era; Moving closed out their first chapter. Future re-releases deleted several original tracks and added others, such as the opener here, “No One’s Little Girl," and a cover of Sly Stone’s “Running Away,” both of which make this version truly indispensable.

Customer Reviews

Running Away! The Raincoats!

Really one of there best songs! Love it!

This album still holds up...

This is an amazing record. A friend turned me on to it, telling me that Kurt Cobain was a huge fan. Listening to it, you can see why. The songs are great, and there is a real vibe throughout the record that makes you feel like you're walking around a cool, overlooked part of London. You'll want to live in this record. It has the stuff that great albums are made...

The Raincoats Moving

I became obsessed with the Raincoats because of an out-of-print Spin Magazine Alternative Record Guide that I found at the public library. This tome introduced me to a lot of artists I would not have listened to otherwise, The Raincoats were one of the All-Female Post-punk bands whose import only records did not have sound clips back in 2006. The albums were available through Rough Trade Records in Great Britain Pounds and I purchased their back catalouge through them before the recent reissue campaign in 2010 and after the DCG versions had gone out of print. Each album was inspiring with the off-kilter, propulsive, atonality of their organic musicality, Moving was the one album that received less unanimous critic praise. I recall reading a review that compared it to Kate Bush because it explored world music with a technical proficiency absent from their earlier shambolic albums. The thing about Moving is that in any format, except for the original vinyl, we only get a partial reissue of the material and no explanation is put forth. Missing from the initial vinyl pressing of their last album are songs: Dreaming of the Past, Honey Mad Woman and Avidosa. Perhaps Gina Birch and Ana da Silva could not secure the rights to this material because it was co-authored by their drummer Richard Dudanski or in the case of Honey Mad Woman was written by Vicki Aspinall, who did not participate in the reformation of the band. Of course that fact that Rough Trade released the original album posthumously, so perhaps the sequencing was done by the label without consulting the band....perhaps when Kurt Cobain coerced DCG to release the Raincoats they were so frequently cited as feminist influences on the riot grrrl movement, that releasing material the band wrote with a male musician would tarnish their political reputation? Glad that the band did include 7-inch feminist anthem "No One's Little Girl" on the reissue, however another track gets substituted on the digital version ("the Body" another song with male vocals contributed by Richard Dudanski is replaced by the Sly Stone cover "Running Away"). Despite issues over abbreviated reissues the music on this album is brilliant, inspiring the signature sound of tUnE-yArDs.

Biography

Formed: 1977 in London, England

Genre: Alternative

Years Active: '70s, '80s, '90s, '00s, '10s

One of the more unusual bands to rise from the British punk explosion of the 1970s, the Raincoats were post-punk before punk's first act had fully played out; they had little interest in the speed or velocity of the Clash or the Sex Pistols, instead embracing a more open and dynamic approach which incorporated purposefully chaotic arrangements that made the members' lack of instrumental experience a virtue rather than a drawback. They also occasionally employed acoustic instruments (particularly...
Full Bio