年輕氣盛是現(xiàn)在英國所有新青年樂隊所具備的基本氣質(zhì)，含量多的樂隊做出來的音樂就越瘋狂，越大膽。像The Metros這種喜歡一段一段的來組合音樂，他們的音樂絕對談不上什么連貫和流暢。這種斷斷續(xù)續(xù)的節(jié)奏很顯然已經(jīng)成了 The Metros 用來炫耀的基本條件，演唱也是，新時代時期的復(fù)古風(fēng)貫穿著整張專輯，從這樣的節(jié)奏，這樣的演唱來看，The Metros 的現(xiàn)場絕對足夠火暴，足夠隨意，隨性演唱的主唱Saul Adamczewski 在現(xiàn)場有著絕對自己發(fā)揮的潛力。“Talk About It ”的Music Video竟然用瘋狂奔跑來完整MV內(nèi)容，所以說呢，The Metros這樣的專輯很適合處于躁動時期的青年，張揚，暴動。誰讓年輕就是資本呢。 Signed to James Endeacott's 1965 Records when all five members of the band were under 18, The Metros cite influences asdiverse as Squeeze, Ian Dury and The Beastie Boys. More Money, Less Grief was preceded by several strong demos producedby Ian Dury's son, Baxter. The Metros have been described as 'Punk 'n' Roll Urchins' and are known for their rowdy behaviour, after being kicked of a tour with The Metros have beendescribed as 'Punk 'n' Roll Urchins' and are known for their rowdy behaviour, after being kicked of a tour with The Coral for smashing a bottle into the crowd.