American Madness fans have always got the short end of the stick. Sporadic tours, loads of music unreleased on U.S. labels, and our general suffering from the band’s local reputation as a novelty ’80s one-hit wonder. But there is one notable category in which only the U.S. (and Canada) got the very best version of Madness. Because the North American edition of the 1984 Keep Moving album is infinitely superior to the original British release in every possible way. Fight me.

But before we step into the bloody ska-octagon to duke it out, let me rewind. Prior to Keep Moving’s appearance, “Our House” had made me a Madness fan, and I had tracked down the band’s domestic and imported back catalogue. In this interval I wondered what the future might hold for Madness. Would they go back to being an exclusively British phenomenon? I recall telling a friend my anxiety over possibly “losing” my new favorite band if they didn’t have more U.S. hits. “Do you think they’ll try again?” I asked with trepidation. At this point I would have had no idea of Mike Barson’s impending departure or the band’s internal tensions, but for some unfounded reason I feared there may not be a next Madness album.

Then one Saturday night in early 1984, as I watched Night Tracks on SuperStation TBS, I caught an unfamiliar piano melody being pounded out by an absurdly long-armed fellow. The piano spontaneously exploded, a distinctive rhythm section joined in, and my shocked brain sputtered “Wait, could this be Madness?” when Suggs McPherson himself appeared, singing in the rain with his sunglasses on. The music video credits gave me the lowdown:

MADNESS
“The Sun and the Rain”
Keep Moving
Geffen Records

Whoa! An unexpected new Madness song! A new Madness video! And better yet, a whole new Madness album! Unreal! I was so overwhelmed with sensory bombardment that I could barely absorb the song. All that registered was lyrics about inclement weather, that killer Barson piano riff, and the band wearing red bodysuits inside a mockup of Suggsy’s hollow head. How thrilling to see proof that Madness was indeed trying America again. One might say they were resolved to keep moving.

The next morning I mentioned to my dad that Madness had a new album out and I was anxious to hunt for it. I figured we’d need to run to Camelot Music in Hendersonville, where I had bought the One Step Beyond / Absolutely double cassette. Daddy ended up running some errands on his own that day, and to my surprise he called home from Pretzel’s Records in nearby Canton. He said he’d found a Madness tape at the store and wanted to make sure it was the right one. Yep, Keep Moving! That phone call was an unusual gesture from my dad, so I must have made a major impression about desperately I wanted this Madness tape. Teenage whining pays off sometimes.

Oh, how delighted I was with Keep Moving! This was my first time getting a new Madness album upon its release, and it was spectacular. The one reservation I had at first was that the style of the vocals was now… different. Suggs had begun crooning, with a velvety tone all whispery and soft around the edges, compared to his cockney croak from early Madness. Carl got more honey-throated too, on “Michael Caine” and “Victoria Gardens.” Initially I thought their smoothed-out serenading sounded a tad posh and phony, but I soon accepted it as a natural consequence of maturity. 

That’s really the defining character of Keep Moving: rich, complex, sophisticated. Less zany and madcap, more artistic without veering into pretentious, still genuine and fun. A mature Madness. I found Keep Moving to be better than 7 and The Rise and Fall, and today it still ranks in my top three alongside One Step Beyond and Absolutely. The finest Madness albums have a consistent level of creative quality, no clunky fillers, each song building strength upon strength in a harmonious flow. The cover of the cassette stated “Contains two bonus songs not available on LP,” and even those were good. Altogether, 14 lovely tracks that belong right where they are.

I finally got to hear “Wings of a Dove,” which had been intriguingly mentioned as their new UK single in a Trouser Press article. Madness plus steel drums plus hallelujah gospel choir? Totally loved it. The music video for that track became a lot more widely played in the U.S. than “The Sun and the Rain,” finding heavy rotation on Nickelodeon’s Nick Rocks video program. I remember their credits subtitled the song as “Wings of a Dove (A Celebrity Song)” instead of Celebratory. I think the gimmick with the van parachuting out of the plane helped to sustain the faint impression of Madness in the American consciousness, at least among teens and tweens. 

Funny thing about “Victoria Gardens” – listening to it, I thought the chorus sounded kinda like The English Beat, whose What Is Beat? greatest hits I had recently got. The liner notes cryptically credited “General Public: Back Vox,” which I thought literally meant they had recorded strangers off the street. It was a few months later that a catchy single called “Tenderness”  hit the airwaves, I learned the name of Dave Wakeling and Ranking Roger’s new band, and the penny dropped. 

Keep Moving has always been my Madness album for Sundays. Maybe in part since I actually got it on a Sunday, but mainly because it has that relaxed, easygoing lazy Sunday afternoon mood. Certainly compared to the caffeinated jump of most of their other records, Keep Moving is the one to chill out to. The album also has a pleasantly old-timey sound that’s hard to put in words. It reminds me of idyllic 19th century paintings of gents in barbershop quartet outfits on pennyfarthing bicycles and ladies with parasols strolling through the park, especially “Brand New Beat,” “March of the Gherkins” and “Prospects.” These are not typical pop songs of the ’80s. They are from another time. I remember many times mowing the yard with Keep Moving on my Walkman, and laughing to myself, “Man, no other kid in North Carolina is playing this kind of music.” I was proud to be weird, and still am.

Years later, when compact discs came along, I was in for a long-overdue discovery. Getting a batch of Madness import CDs through mail order, I found to my dismay that the songs on Keep Moving were totally screwed up. And the two biggest songs, the ones with the great music videos, weren’t even on there at all! What the hell? What kind of lousy botched job had I got cheated on? Ridiculous!

And that’s when I figured it out. The original official Keep Moving had a totally different running order than the one I knew and loved. Most significantly, “The Sun and the Rain” and “Wings of a Dove,” which had been released as UK singles in 1983, were not included on the album. This was the dreadful truth. The real “two bonus songs” included on my Geffen cassette weren’t “Time for Tea” and “Waltz into Mischief” at all. AAAarrrghghhh! NOOOOOOO!

Well, damn. All I can say is that whoever the Geffen executive or producer was who assembled and packaged their release of the album, they were a total genius. They didn’t just arbitrarily scramble the running order, they clearly put constructive strategy behind it. Because like I said, the North American edition of Keep Moving album is infinitely superior to the original British release in every possible way. Just take a look.

🇬🇧 1. Keep Moving	🇺🇸 1. Keep Moving
🇬🇧 2. Michael Caine	🇺🇸 2. Wings of a Dove (A Celebratory Song)
🇬🇧 3. Turning Blue	🇺🇸 3. The Sun and the Rain
🇬🇧 4. One Better Day	🇺🇸 4. Brand New Beat
🇬🇧 5. March of the Gherkins	🇺🇸 5. March of the Gherkins
🇬🇧 6. Waltz into Mischief	🇺🇸 6. Michael Caine
🇬🇧 7. Brand New Beat	🇺🇸 7. Time for Tea*
🇬🇧 8. Victoria Gardens	🇺🇸 8. Prospects
🇬🇧 9. Samantha	🇺🇸 9. Victoria Gardens
🇬🇧 10. Time for Tea	🇺🇸 10. Samantha
🇬🇧 11. Prospects	🇺🇸 11. One Better Day
🇬🇧 12. Give Me a Reason	🇺🇸 12. Give Me a Reason
	🇺🇸 13. Turning Blue
	🇺🇸 14. Waltz into Mischief* * U.S. cassette only

• “Keep Moving,” “Wings of a Dove,” “The Sun and the Rain.” Boom, that’s an epic trilogy of an album opener. I’ve heard UK fans remark that the two singles clash with the tone of the album and don’t belong. Nonsense. I think they mesh splendidly with the band’s refined new sound.
• The last fading notes of “Brand New Beat” ring in “March of the Gherkins” without a pause, like “Heartbreaker” segues into “Living Loving Maid,” or “Sgt. Pepper’s Lonely Hearts Club Band” into “With a Little Help from My Friends.” Separating them is sheer folly.
• “Michael Caine” gets a comfortable buildup before its cinematic atmosphere unfolds. It’s a good song, but I don’t think shoulders the weight of the album’s #2 position. Sharing a sense of spy novel intrigue, “Time for Tea” feels right as an off-kilter epilogue. 
• “Prospects” is a quintessential Side 2 starter, resetting the table for the album’s next movement. The song’s languid outro nicely tees up Dave and Roger’s merry bounce into “Victoria Gardens.”
• The brooding “Samantha” turns the corner into the dark heart of Keep Moving, leading off a suite of four minor-key-type tunes that mean serious business. The emotional catharsis of “One Better Day,” the suspense-thriller soundtrack climax of “Give Me a Reason,” the urgent denouement of “Turning Blue.”
• “Waltz into Mischief” supplies the much-needed cooldown and signoff, as a raucous pint-raising singalong chorus gives way to chuffed strings and brass winding down to a stop.

I just can’t listen to the UK Keep Moving. It doesn’t make sense to me, and the beautiful flow is not there. It’s amazing how much difference the sequencing of songs can make. When I gained the technology to burn my own CDs, the first thing I did was create a disc of the American Keep Moving. Geffen eventually issued it on CD in the U.S., thank goodness, almost matching the old cassette but with “Time for Tea” inserted as track 13 instead of track 6. Not perfect, but close enough to be serviceable.

All that being said, and as much as I relish chanting “USA! USA!” in this specific context, I freely admit that it’s all subjective. When a creative work comes in multiple variants, in films or books or music, you’ll always prefer the version that you fell in love with, whether it was the original or altered or what. I’ve actually had the exact same experience with another landmark British pop album from 1984: I’m biased toward the Style Council’s American My Ever Changing Moods album, even though Paul Weller fans almost unanimously revere the original Café Bleu. Fair play to all the other Madness fans who likewise feel their treasured edition of Keep Moving is flawless and unbeatable.

To borrow a phrase from the pen of Lee Thompson: Star-shaped badges that shine around, called “Wings of a Dove” and “The Sun and the Rain,” come free in your U.S. Keep Moving bumper pack. But if a different tracklist is left around too long, it’ll burn right through to your heart and your soul.

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