WE ARE THE YOUNG
Opening the album with a bang - a rock-solid manifesto for McFly, their fans and everyone else below pension age in 2006 Britain - a frenzied declaration that the kids are still alright.
Danny: This is a brilliant album opener. We've been wanting, for AGES, to make a real rabble-rouser for our fans, so here it is! And we're still quite young ourselves, even if we're getting on a tiny bit. It's also the quickest chorus we've ever written, it came out straight away.
Tom: We haven't written quite so much with James Bourne over the last couple of years but this song is one we heard when he came over one night and played me a verse he'd been working on. I thought it was just wicked, a really exciting anthem for rebellious or downtrodden youth.
Harry: We're going to have to change it to 'We're The Middle Aged' when we're all a bit older.

STAR GIRL
If only all long-distance relationships were this much fun: a thunderous gutter-to-the-stars tale of interplanetary love with sing-a-long harmonies and reliable McFly tuneage.
Dougie: This song's about an alien you've fallen in love with. A girl from another planet.
Tom: And obviously, you can't write a song about space and not feature the word 'Uranus'.
Danny: We found a new way of writing lyrics this time around, we'd think of our theme, and then brainstorm ideas around it. From pages and pages of ideas we'll then pull a song together. This is one of the songs on the album we did that with.
Tom: We really like coming up with ideas for songs which are a bit different, and where there's a clear sense of it being more than simply 'I love you, you don't love me'. Those songs can be great but we try to complement them with songs that go outside of that. Regarding the topic of this song I do want to go into space, I want to go on Virgin Galactic. Lance Bass from *NSYNC almost went into space but didn't make it, I'm going to pay the £200,000 to go on Branson's rocket.

PLEASE, PLEASE
Already familiar as the band's fifth Number One single from July this year, the track brilliantly captures the fun and energy of McFly with echoes of The Who and a mystery girl playing the female lead!
Danny: Although 'Star Girl' is the new single, it was important to come back and really start the new album campaign over the summer with a real bang, this song, which was on the soundtrack of 'Just My Luck', the film we starred in with Lindsay Lohan, really did the job and went to Number One. It's a really light-hearted track about a girl called Lindsay. Obviously, please don't make any connection between the Lindsay in the song and the Lindsay we met on set.
Tom: We had a real laugh making the video for this, after the last album we wanted to go back to having loads of fun again, which resulted in a Carry On-style hospital romp!
Dougie: We ended up naked in the video, and then again when we performed the song on stage a couple of weeks later. We're not getting our kit off any more, though, people will get bored!

SORRY'S NOT GOOD ENOUGH
Containing all the traits of a McFly classic (great hooks, instant melodies, beach boys harmonies) this is a massive pop song; upbeat, angry, confused and begging for forgiveness: 'sorry's not good enough for you, but everybody makes mistakes, that's just what we do'. From the opening hook 'good, good, good enough' you'll be singing along before you know it.
Tom: This is one of the first songs we wrote for the album so it set the tone for the rest of it: we knew we wanted to make an album which would put a smile on people's face as they listened to it. This track it's about a girl you're in love with, who you can't stop being in love with.
Harry: This reminds me slightly of 'Obviously', but a huge version of it. I like how at the start it teases the listener a bit and then by the time the chorus comes in it's like an explosion, especially with all the harmonies.
Danny: I guess lyrically this one shows how our outlook has grown up a bit, being able to say to someone, 'sorry's not good enough for you, but everybody makes mistakes, that's just what we do' is something you only realise as you get a little older.

BUBBLEWRAP
The album's big string-laden tear-jerker; an anthem for the broken hearted, replete with a tinkling music box for added blub factor and a few surprise twists and turns as the song unfolds into a modern rock epic.
Harry: A bit of an epic. For me, the way this track is sung is just amazing. It just works, there's a raw feel to it, emotionally and vocally, which is great.
Tom: It's not a song which has been written from any particular experience any of us have had, but that doesn't stop it tugging at the heart-strings every time I hear it! The music box on the track I think has to be the saddest riff I've ever heard!
Dougie: In twenty years this will be on every petrol station power ballads compilation.
Harry: This song works well in tandem with 'Sorry's Not Good Enough', you can imagine the characters in 'Bubblewrap' also being in the situation that's in 'Sorry's Not Good Enough'.

LITTLE JOANNA
A bouncy, summer-scented tale of forgotten romances, in a miniature pop opera taking in influences from the Beach Boys and Queen to musical theatre, all with a healthy hint of McFly!
Dougie: This song comes from around the time we locked ourselves in the flat to write for the album. The song was all over the bloody place, that's a technical musical term, and I was trying to think of topics for the song. I've still got lizards in my room and I had all my tanks there, glowing, and the crickets were bleating. It reminded me of being on holiday and I thought 'summer romances are awesome'. Holiday romances are always really good, aren't they? It's the honeymoon period and you never get bored or them, and they never get bored of you. So Tom and I sat down and spent ages on trying to paint a picture of what a holiday romance is like.
Danny: We were literally up ALL NIGHT doing the lyrics to this.
Tom: This is one of my personal favourites on the album; every time it starts it makes me smile.

TRANSYLVANIA
One of the oddest pop songs you'll hear this year: starts off sounding like Pink Floyd, turns into a medieval folksong, thinks for a brief moment about being a Spinal Tap song, then swerves into Queen territory.
Tom: This is Dougie's masterpiece.
Harry: This is a bloody good song.
Dougie: It's set in medieval times; it has a very dark atmosphere, and it's about a member of the royal family falling in love with a farmboy. They plan to run away together where these things don't matter. The verses are narrated, the bridge is the guy singing and the chorus is the crowd singing.
Danny: This would be worth having as a single, if only for the video!

WALK IN THE SUN
Danny takes on solo duties for this pensive, laid-back and breezily confident meditation on life and future plans. Destined to be something of a favourite among McFly's fans, the track brilliantly showcases the band's expanding ever-changing influences and expanding horizons.
Danny: This is about being a kid. I've always looked at things and wondered how they work. I was probably quite an annoying kid 'why is that doing that?', 'Why is the sky blue?' but I just like to understand things. This song particular is just about wondering, and also wandering, in the sun. I didn't want to write about stuff in my life, AGAIN! so I went back to when I was a kid.
Tom: It's like a chill-out track on the album, it reminds me of Jack Johnson. You can imagine listening to this on a beach in Hawaii.
Danny: I wanted some pedal-steel on this track so I got a guy to come in and contribute, he was so amazing that I got him to do a solo! Really unbelievable.
Tom: This is also the song you can shag to on the album.

FRIDAY NIGHT
With chugging guitars and half-rapped, half-sung vocals reminiscent of 90s rockers, (this track, like most of the album, was produced by two of the band's key members) this track sounds, as is, in fact, about fighting in the street on a Friday night. As usual it is all over a girl.
Tom: 'Friday Night' is a song we collaborated quite heavily with our producers for. We wanted to try something that was quite different and for the verses here they're not actually sung, melodically, like we usually sing our verses. It's almost a Beastie Boys-style cross between rapping and shouting. The chorus is part of another song that Danny had come up with; it was actually the middle eight in the other song, which is a really hooky chant that we all loved.
Harry: This is another example of one of those songs we've tried to do something different with; there are still some really poppy moments on it, but it's just something slightly unusual to keep things interesting.
Tom: It's about going out with a girl at the weekend and fights kicking off all over the place. The lyrics are themed towards the script of a movie we might be giving the song to! But beyond that our lips are sealed, unfortunately!

LONELY
The track on 'Motion In The Ocean' most reminiscent of McFly's earliest work; with an added sophistication which makes it sit perfectly on this third album. With a feel close to 'Obviously', Tom begs of a lost lover: 'I'm so sick of being lonely, this is killing me so slowly, don't pretend that you don't know me!'
Tom: This is the other song on the album that I wrote with James Bourne; it's a typical, back to basics McFly song which sits alongside 'Unsaid Things' and 'Obviously'.
Danny: This is the only song on the album which wasn't produced by Julian and Jason; for this one we went to our old producer, Steve Power, because it seemed to fit in with his style.
Tom: For those reasons it's the most old-school McFly song on the album; it's really chilled out, though.

HOME IS WHERE THE HEART IS
Mid-tempo and deceptively low-key for the first minute, this anthem-in-waiting explodes into an arms aloft, sing-a-long terrace chant for a poignant and memorable final track.
Dougie: The emotional album-closer!
Tom: This is actually one of the older songs on the album because it was written around the second album, I love it's anthemic chorus.
Danny: We had Wembley Stadium in mind when we wrote this, we probably should have kept it for our seventh album because the place might be bloody built by then.