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OK, so commentary on "I Must Move."
Like I mentioned when I first figured out the bass part, it's based on the D F# G A motive that Chris White uses a lot, although here the G and A are inverted, so it's D F# A G.
The chords over the first part of that bass motive are D F#m A (although almost all the chords in the song are broken up into arpeggios), which is sort of the opposite of the opening chords of "Hung up on a Dream" - G Em C. Each modulation changes only one constituent note from chord to chord. D major (D, F#, A) to F# minor (F#, A, C#) to A major (A, C#, E) in "I Must Move" goes higher, and G major (G, B, D) to Em (E, G, B) to C major (C, E, G) in "Hung up on a Dream" goes lower.
After that D F#m A G progression, there's a modulation from G major to G minor. A modulation like that (from the major to the parallel minor) is actually pretty common in Zombies songs. There's F major to F minor in "Walking in the Sun," G major to G minor in "How We Were Before," E major to E minor in "The Way I Feel Inside," and a whole slew in "A Love That Never Was" (D major to D minor, B major to B minor, and A major to A minor).
What makes that modulation interesting in "I Must Move" is that the humming part (and I think the melody too) arpeggiates those (already arpeggiated) chords. It seems like I've run across this in some other Zombies songs - where there's an ascending melody in the major followed by a descending in the minor (or vice versa), but the only example I can think of off-hand is "The Way I Feel Inside," during the line "I can tell the way you smile." However, I'm not sure if that's the same sort of situation. There's no major-to-minor modulation there (although there is one elsewhere in the song), and those notes might just be accidentals, not in an-other key. I have a feeling there's something like this in "Butcher’s Tale" (because at various points it contains both A major and A minor), but I'm not certain.
That modulation in "I Must Move" is also significant because of the lyrics that accompany it. In one verse, that modulation accompanies "good" in the line "But that won't be any good." In fact, there's a melisma there so that "good" is drawn out to a second syllable for that major-to-minor modulation. So the minor shift musically portrays how it "won't be any good." This is the opposite of what White later did in "This Will Be Our Year," where there's a minor-to-major shift to accompany the line "'Darling, I love you.'"
In an-other verse, that major-to-minor modulation accompanies "if" in the line "That I love you, and even if I do." It sort of emphasizes the conditional clause and seems to portend that "even if" the singer does love the girl, it won't turn out well, which is exactly what the lyrics indicate - "Even if I do / I must move." Again, this is a precedent for an-other Zombies' song; this time, it's Rod Argent's "I Want Her, She Wants Me." There, a key change (from G major to Eb major) accompanies the line "She told me to be careful if I loved her." It doesn't match up exactly with "if" (it hits "loved" instead), but it still draws attention to the conditional clause and the possibly-disastrous results.
"I Must Move" - through that G major to G minor shift - has that same sort of key change (at least, it does if my understanding of music theory is right). The song is (mostly) in D major, and G minor is the relative minor of Bb major. So - if I understand this correctly - that shift briefly moves the song's key over four spots to the left in the Circle of Fifths (from D major to G minor/Bb major), which is comparable to the G major-to-Eb major change in "I Want Her, She Wants Me." Additionally, there's the same G major-to-Eb major change in "Care of Cell 44" at the end of some of the lines ("Hoping you're OK," for instance). I don't think that really has any other bearing on the lyrics as is the case in "I Must Move" and "I Want Her, She Wants Me," although, as I've pointed out earlier, during the line "Thinking of me while you are far away," that key change does sort of emphasize the distance.
