![]() The cooperation with the big company became one more significant event in the band’s biography. The gifted guys from All-American Rejects and the music they produced interested the management of DreamWorks Records interested. As a single, this hit entered four Billboard charts and brought the group a tremendous global popularity. ![]() Nevertheless, it was not the album, but its song Swing, Swing that made The All-American Rejects truly famous. It was released Octoand hit the Top 40 of the Billboard. The album was called The All-American Rejects right after the band and surpassed the expectations of the young musicians. The band signed the contract with this company to deliver the first long player. Their gigs drew the attention of Doghouse Records. In 2001, the musicians produced EP Same Girl, New Songs and went touring the Midwest states. The All-American Rejects were making the stylish pop music heavily supported by guitars which made it associable with indie. By 2001, the outfit had already accumulated a considerable amount of self-recorded material and amassed a regiment of faithful local fans. Music and lyrics writing became the responsibilities of Tyson and Nick. That was why the group received such a strange sounding name as The All-American Rejects. Since there were bitter disputes on the name of the band, it was decided to make it up from the proposed variants. They completed the formation after inviting Mike Kennerty and Chris Gaylor. The guys met at high school and, led by one passion for music, decided to launch their own project. ![]() Album DescriptionThe pop-punk band The All-American Rejects was formed in a little town called Stillwater, Oklahoma, by Tyson Ritter and Nick Wheeler. See more Your browser does not support the audio element. (A children's choir? Come on.) In other words, it's easy to like the All-American Rejects if you're looking for 21st century mainstream rock that takes very, very few chances but does offer solid melodies and easy to swallow take/break and night/flight rhyme schemes. The songs are also impeccably arranged, even if they're relentlessly processed and some of the instrumentation seems like overkill. Move Along has some memorable hooks, such as those on the title track or "Change Your Mind" - and, living up to its title, it moves along efficiently, usually keeping the pace at a snappy midtempo. There's also distortion somewhere in "Stab My Back," but it's buried under acoustic guitars, vocal overdubs, and mournful keyboards. (Fans of Wakefield, Something Corporate, Switchfoot, and American Hi-Fi should take note.) The Rejects rock out a little on "Night Drive," "Dirty Little Secret," and "I'm Waiting" - the guitars crackle anxiously, and Tyson Ritter and Nick Wheeler's breathy harmonies soar like they mean it. But the Rejects blend and sculpt those influences with keyboards, choirs, pianos - there's even a classical guitar on "Top of the World" - and the result is superficial midrange pop with appeal for a general audience of casual listeners. ![]() The earnest racket of an outfit like the Get Up Kids is also a component in Move Along's sound. The All-American Rejects' effervescent 2003 hit "Swing Swing" sounded like a pop-punk adaptation of Better Than Ezra, and their sophomore effort makes this mix even more apparent. Purchase and download this album in a wide variety of formats depending on your needs.
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