Emmanuel Elone: I shouldn’t like this song as much as I do. The groove is decent yet uninspired, the lyrics are passable yet generic, and the singing is ok but nothing to call home about. “Move and Shout” isn’t much more than disco nostalgia, but I would be lying if I said that I wasn’t bobbing my head to the funky guitar riff or singing the chorus in my head by the end of the song. It’s not a great track nor is it an original one, but it is entertaining and catchy nonetheless. [7/10]
Timothy Gabriele: The bar has been raised on this brand of cosmic disco in the 21st century, but this is still a sufficient effort. Heard on the dancefloor, I would definitely not be sitting down, but it doesn’t exactly get to that pure, streamlined groove that those rubbery electro-bass squiggles at the onset promise. I’m not offended by the actual lyrics, which per the immutable bylaws of funk are supposed to be disposable and/or nonsensical, but the delivery is a touch enervated and joyless. There’s always a balancing act between cool and excited in these types of affairs, but the singer seems to be afraid to let loose to the extent that the song’s elasticity and rippin’ guitar solo would permit. [6/10]
Pryor Stroud: Splicing the synth-heavy pop of the Gap Band with the unabashed eccentricity of Prince, “Move and Shout” is an infectious, possessed-by-the-groove throwback jam that openly avows its debt to ’80s disco-funk. However, Jamil Rashad’s voice — a sly, partially slurred tongue-in-cheek flexion — doesn’t show enough range or variation to really elevate the track into the interminable dance marathon it wants to be. “Dance don’t ’til the parking lot / Groove don’t stop / Give me all you got,” he sings, trusting the Nile Rodgers guitar-chop behind him that there will be no coming sunrise, and, as he sings, another Chic-inspired song can be felt running parallel to “Move and Shout”: this is the same up-all-night physiological impulse from Daft Punk’s “Get Lucky”, but here the singer has found someone to dance with until the morning comes. The question lingers, though: will she still be there with him at first light? [6/10]
Chris Ingalls: Jamil Rashad is Boulevards, and this song, from the album Groove, is a delirious slice of ’80s funk, combining funky, airtight drums and synths with insistent electric guitar riffs, not to mention innocuous lyrics that just want to start a party. The song is a guaranteed to pack a dance floor, particularly if the crowd you run with wants to evoke a bygone era of timeless funk grooves. [7/10]
Chad Miller: The music here is pretty fun throughout, featuring some nice synths and a great ending guitar line. The chorus fits really well into these textures too. The verses on the other hand are relatively unexciting though, usually staying on one note for far too long. [6/10]
SCORE: 6.40