The Move was effectively a dead band walking when Lynne joined in February 1970 after fronting (and producing) The Idle Race. Wood had wanted to launch a new group with Lynne that would feature rock and strings and retire the Move immediately. According to Wood, none of the members of The Move had any interest in the band at this point; Lynne in particular had joined the band solely so that he could get the separate orchestral project started with Wood.[3] But contractual obligations and management pressure kept the band name kicking, regardless of the drastic changes in sound and the unwillingness of the personnel.

Wood and Lynne took the opportunity to begin work on the embryonic Electric Light Orchestra (ELO) project in the studio and get the Move off the road, for the most part—the occasional live set in 1970 usually featured most of the tracks on Looking On, a cover of The Beatles' "She's a Woman," and one of The Move's singles, "I Can Hear The Grass Grow".

The album ends with an (uncredited, but usually attributed to Wood and Lynne together) doo-wop-style coda, "The Duke of Edinburgh's Lettuce".

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Octahedron is the fifth full-length studio album by American progressive rock band the Mars Volta, released on June 23, 2009. The album was released by Warner Bros. Records in North America and Mercury Records worldwide. It is the last studio album to feature drummer Thomas Pridgen and guitarist John Frusciante, and the first not to feature contributions from keyboardist Isaiah "Ikey" Owens and multi-instrumentalist Adrián Terrazas-González.
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The song "With Twilight as My Guide" appears to take place during the Salem Witch Trials, which is revealed through an interview with opera singer Renée Fleming, who covered the song on her album Dark Hope: "I was especially fascinated by the Mars Volta song, 'With Twilight As My Guide', which is operatic in its scale and musical complexity. I was however a bit concerned about the text, specifically the reference to 'devil daughters'. I said, 'As much as I love this song, I really can't sing it for that reason.' Peter Mensch offered to contact Cedric Bixler-Zavala and asked if the text could be changed, since the overall meaning of the song wasn't completely clear anyway. Cedric responded, "Sure, she can change it. I would just like it to be known that in no way is the lyric supposed to paint women in a bad light... The song feels like it was written during the Salem Witch Trials, and it sarcastically takes the religious right wing slang of how all women were treated. Our last album, Bedlam in Goliath, was one huge metaphor for the way women are treated in Islamic society (honor killings, etc) not just a story about a ouija board... it's meant to make you question the way things are."

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