[This digest is the copyright of the Move "Useless Information" Mailing List. Re-publication or re-distribution of "Useless Information" content, in any form whatsoever, is expressly prohibited without prior written consent.] USELESS INFORMATION The Move Mailing List Digest Issue #394 October 4, 2002 In this issue: * Song Of The Week (week of 9/30): "Lightning Never Strikes Twice" * BBC Radio 1 FAQ & sound clip * The Move On Radio 1 * Rock down Elaine * What was the A-side going to B? * Second hand record stores in London (UK) * Sharing Roy Wood's 1993 Christmas BBC show * The Roy Wood Big Band - Live In Session ============================================================== To POST TO THE LIST: Send an e-mail to: move-list@eskimo.com Move List Info & Archives: http://www.eskimo.com/~noanswer/movelist.html Join the ELO List: http://www.eskimo.com/~noanswer/showdown.html Other official websites: The Move: http://www.themoveonline.com Roy Wood: http://www.roywood.co.uk Face The Music (for all ELO & related news): http://www.ftmusic.com TO UNSUBSCRIBE: Send an e-mail to move-digest-request@eskimo.com with the word "unsubscribe" (no quotes) in the subject line ============================================================== Subject: Re: Song Of The Week: "Lightning Never Strikes Twice" Date: Mon, 30 Sep 2002 16:57:43 -0700 From: "Richard Kenworthy" John De Silva wrote... > A gem from the pen of Rick Price and Mike Tyler Does everyone else know that Mike Tyler is the real name of .... Mik Sheridan. This song also appeared on This is to certify that ... by Sheridan/Price later in 1970. where Rick and Mik do great harmonies to a less heavy backing that on the Move version. so both versions of this song were released in the same year, despite the Move version being recorded earlier >I've always liked the harmony singing - is this Rick and Mike Tyler? >Rick and CARL? Yes Rick and Carl sang on it before Carl left the band. Coupling this song with Brontosaurus as the two sides of a single was inspired. The two big heavy lumbering numbers together and both were sufficiently short to appear on a single. I wonder why this song never made it to the Looking On album. Presumably as Looking On was the first Move Album with Jeff Lynne and Roy had written several songs, as well as Bev's Turkish Tram Conductors Blues, (which I think was also Roy again) it was important for Jeff to feel part of the band and have his songs on the album and so this song was relegated to the single. Having said that as the song on the B sides of the single shares the royalties equally with the A side Rick can't have been too disappointed with his royalties. I'm gonna have to dig out my LP's from the cupboard behind the sofa later this week and have another listen and compare both versions... > Probably the best song Rick had a hand in writing (although I've not > heard his solo stuff but I can't imagine it being better than this). Rick's solo stuff was always very different from the music he played with the Move. He was with the band in its heavy phase. Rick wrote more poppy, Middle of the Road type songs. Typically 2.5 - 3 minutes long and like both Move early singles and Idle Race songs often told a story. I recall an old interview from when Rick was in Wizzard when he said that he liked the Carpenters music and now he sings and plays with Diane Lee of Peters and Lee. All in all it shows Rick's versatility. See Martin Kinch's website for long interview with Rick http://www.cherryblossomclinic@freeserve.co.uk Richard Lancaster UK ********** Subject: Re: Song Of The Week: "Lightning Never Strikes Twice" Date: Tue, 1 Oct 2002 00:00:31 -0700 From: kakman1 After I bought A&M's Best Of The Move back in 78-79, this became one of those songs I found myself singing out loud to myself. Maybe not a typical Move song (what is?) but is fairly catchy number. Kinda like an update or rewrite of "I'm Gonna Wash That Man Right Outta My Hair" from South Pacific. Nice vocal from Rick Price with accompaniment from Roy. Real cool sitar at end. Who was co-writer Mike Tyler? I know Rick reprised this tune on his solo album on Fly Records (still haven't heard this LP yet, anybody else on the list have it? How about a review of the LP sometime in the future?). Kevin Kunreuther Dallas TX ********** Subject: BBC Radio 1 FAQ & sound clip Date: Mon, 30 Sep 2002 15:12:44 -0700 From: Lynn Hoskins I almost forgot about this! Taken from: http://www.bbc.co.uk/radio1/faq/station.shtml When did Radio 1 begin?/What was the first song played on Radio 1? Radio 1 first went on the air at 7am, September 30th 1967. The first DJ was Tony Blackburn, and the first record played was 'Flowers In The Rain' by The Move, followed by 'Excerpt From A Teenage Opera' by Keith West, then 'Reflections' by Diana Ross And The Supremes. Find out more about the history of Radio 1 and the BBC, at the [History of the BBC] site. You can hear the start of Radio 1 [here]. ----- I haven't listened to the RealAudio clip yet because I have to download an 84MB (!) software update first. But I plan to do so a little later. The URL for the History of the BBC site is: http://www.bbc.co.uk/thenandnow/history/index.shtml If you click on "1967" you'll find a mention of BBC Radio 1: "Radio 1 was launched on September 30, 1967 with the help of Tony Blackburn, Dave Cash, Kenny Everett, Pete Murray, John Peel, Keith Skues, Ed Stewart, Terry Wogan, Jimmy Young and Bob Holness among others." It's a pretty interesting site! ********** Subject: The Move On Radio 1 Date: Tue, 1 Oct 2002 02:30:37 -0700 From: "garybytheway" Hi Lynn, I have the audio tape of the opening of Radio 1 and The Move (quite rightly!) open Radio 1. The second record played was Massachusetts by the Bee Gees and then The Tremeloes Even the Bad Times Are Good, so you've got me wondering now ! Cheers ! Gary. ********** Subject: Re: The Move On Radio 1 Date: Tue, 1 Oct 2002 02:31:13 -0700 From: Lynn Hoskins Gary wrote: >The second record played was Massachusetts by the Bee Gees and then >The >Tremeloes Even the Bad Times Are Good, so you've got me >wondering now ! Gary, that's really strange. Did you listen to that RealAudio file on the BBC Radio 1 website? The clip is here: http://www.bbc.co.uk/radio1/faq/station.shtml I listened to it, but it cuts off right before any music starts. I'm wondering, is it the same spoken intro that you have on your tape? A mystery unfolds... ********** Subject: Re: The Move On Radio 1 Date: Thu, 3 Oct 2002 01:12:50 -0700 From: "garybytheway" Hi again Lynn, I've just listened to the audio file on the Radio 1 web site you mentioned and yes it's the same clip, so I can't understand why they say that Keith West and then The Supremes followed The Move as it says in the accompanying write-up on the web-site. Something's wrong somewhere along the line. There was an article in the Daily Star not so long ago which gave a list of the first ten records played on Radio 1; 1 Flowers In The Rain - The Move 2 Massachusetts - The Bee Gees 3 Even The Bad Times Are Good - The Tremeloes 4 Fakin' It - Simon And Garfunkel 5 The Day I Met Marie - Cliff Richard 6 You Can't Hurry Love - The Supremes 7 The Last Waltz - Engelbert Humperdinck 8 Baby Now That I've Found You - The Foundations 9 Good Times - Eric Burdon And The Animals 10 A Banda - Herb Alpert And The Tijuana Brass This list coincides with the order of the records on the tape I've got except that the news followed Eric Burdon and after the news it was "I Feel Love Comin' On" by Felice Taylor, although he was talking over an instrumental for 20 seconds which must have been the Herb Alpert song just before the news. While still on the subject of Radio 1, in Tony Blackburn's book "The Living Legend", his autobiography, he says "To open I chose a big hit by The Move called Flowers In The Rain because I wanted an up tempo catchy number to start the show". This coincides with what Linda said in an earlier posting. The plot thickens! Cheers ! Gary. ********** Subject: Rock down Elaine Date: Wed, 2 Oct 2002 11:49:26 -0700 From: "Martin Kinch" A while ago some people were talking about the begining of "Rock Down Low" and what it was. As mentioned at the time, it is part of the vocal backing to "Dear Elaine" backwards which features Roy's voice at various speeds. To save anyone busting ther turntables I've downloaded it here for you to have a listen to http://www.cherryblossomclinic.freeserve.co.uk/rockdownelaine.wav Enjoy ********** Subject: What was the A-side going to B? Date: Tue, 1 Oct 2002 02:31:07 -0700 From: kakman1 I'm listening to the ELO live At Winterland release and during the 10538 Overture/Do Ya medley this thought crosses my mind: if 10538 Overture was originally going to be a Move B-side before Roy added the cello bits thus creating the first ELO record, what Move song was going to be the designated A-side? Kevin Kunreuther Dallas TX ********** Subject: Second hand record stores in London (UK) Date: Mon, 30 Sep 2002 18:52:25 -0700 From: MontyDaman Does anyone have any addresses of second hand record stores in London (UK) they can recommend to me? If so could you e-mail me privately at: montydaman@aol.com Thanks in advance Harold ********** Subject: Sharing Roy Wood's 1993 Christmas BBC show Date: Fri, 4 Oct 2002 13:06:17 -0700 From: Dan Ream Back in 1993, when the Move-list was young, one of the UK list members shared with me a copy of his cassette recording of The Roy Wood Big Band doing a Christmas season afternoon broadcast on the BBC. It consists of the interviews and performances by The Roy Wood Big Band of the songs "See My Baby Jive", "Kiss Me Tonight, Boadicea", "Blackberry Way", "House of Love", and "I Wish It Could Be Christmas Every Day". The songs and interview segments total 30 minutes. Although only one Christmas song is played, there is definitely a Christmas party atmosphere throughout and the excitement of everyone at Maida Vale Studios hearing Roy play and sing (and extremely well) is plain throughout. Every December since then I've enjoyed playing this show and it's become a personal holiday tradition that I'd like to share with my fellow Move-listers. Last year I converted this tape to CD and I'd like to share it with my fellow listmembers via a CD "tree" . This is a distribution method which I've grown fond of on other music fan discussion lists. How it works is this... My CD is the "seed" that I share with 5 to 10 "branches", those branches then share it further with 5-10 "leaves". No one should profit from these exchanges. Branches can get a copy of this show from me either by sending a blank CD and return postage (this is called B&P) or by trading me a CD of their own (nothing commercially available though-only unreleased material). Branches then do the same with their leaves. Branches must agree to take "B&P" requests. I'll try to set up branches in each part of the world we have participating Move-listers to reduce postage costs and confusion. Branches obviously must have the ability to copy the CD--leaves need not have a burner. Please don't sign up as a branch unless you can quickly copy and send this CD to your leaves. HERE'S HOW TO SIGN UP. Send a e-mail to me at dream@vcu.edu with the subject heading "Roy Wood Christmas Tree-branch" if you wish to be a branch and help share this show with others or "Roy Wood Christmas Tree-leaf" if you cannot burn copies or cannot do so quickly. If I get more than the needed number of volunteers as branches, some branch volunteers may become leaves on this tree. The deadline for signup is October 15th so we will have time to get this out to everyone before December. After the signup deadline, I'll send out the tree structure and leaves can then contact their branches to arrange B&P or trades. To reduce the chance of this recording showing up somewhere (like E-bay) for sale, this tree will be restricted to current Move-list members--please use your Move-list e-mail address when signing up so we can recognize that you are a member of this group. Please do not forward this offer to non-list members. By signing up for this tree, you are promising not to share this recording with others for sale or profit of any kind. If you have questions, contact me at dream@vcu.edu --Dan Ream ********** Subject: The Roy Wood Big Band - Live In Session Date: Fri, 4 Oct 2002 13:24:44 -0700 From: Lynn Hoskins When Dan told me what he wanted to do for the Move List, I dug up a review of the performance in an old issue of Face The Music Magazine. As I was reading it through (to correct my typos ;) I got a sense for what it must have been like to be a part of the magic that filled the room. How I wish I could have been there... Lynn ---- The Roy Wood Big Band - Live In Session Face the Music Magazine; Issue 17 What is this stranger they call "morning"? Nine-thirty a.m., Wednesday 22nd December 1993, and The Roy Wood Big Band tour bus pulls up outside BBC's Maida Vale Studios in plenty of time for their live session on Jakki Brambles' lunchtime Radio One show. This curious, long, low building has played host to many a famous band since Radio One began in 1967, not least The Move and The Idle Race (both of whom recorded in the celebrated Studio 4 with Bernie Andrews for Top Gear), and is still the source of sessions featured by the likes of the legendary John Peel. Originally built as a roller-skating rink in 1909 (oh yes, this is research!), the building came into the hands of the BBC in 1934, and has been developed and upgraded ever since. It houses the enormous Studio 1, large enough to take an entire orchestra, the slightly smaller Studios 2 and 3, and the recently re-designed Studios 4 and 5, the latter in which Roy will have played many times before, though will probably find hard to recognise, as they were converted into a single studio complex in 1989. It is precisely the new complex to which Roy's band are now heading, and, after entering the building via the wrong entrance (it's early!), walking its lengthy labyrinth of corridors to collect passes at reception, then all the way back again, the doors of Studios 4 and 5 are finally swung open by an excited crowd of musicians eager to start work. As the gear is set up, Roy introduces himself and his band to the studio manager, Miti Adhikar (don't ask!), who will be controlling the mix and balance of sound. The complex comprises of one small and one large control room, along with a main performance area, which itself includes several small booths and baffled(!) areas for individual musicians, and is overlooked by a gallery conveniently sized just right for a Radio One Christmas Party! Miti will today be working from the large control room, which boasts - nay swaggers - an SSL G Series desk with computer-controlled mixing, costing around a cool £100,000, plus two Studer A80 24-track recorders, and a pair of speakers the size of the Starship Enterprise (so don't say I never tell you anything technical!). From behind the desk, Miti can see through the windows into the performance area, and is in communication via the talk-back system. The gear all set up, the musicians take their places; Phil, Sharron and Roy (with his own private baffle!) in the main room, whilst Michelle takes a singing booth, the brass section have a spot of bother fitting into another booth, and Griff is ensconced in a special little drumming room all to himself. Roy Directs With Animation The first job is a soundcheck to make sure all instruments and vocals are coming through, then the overall shaping of the sound, which Roy directs with animation, requesting variations on EQ, balance and effects. The entire performance will be broadcast absolutely live with no pre-recorded tapes or other such technical sleights, and, with the pride of the band at stake and around 18 million listeners, Roy requires every aspect to reach perfection. Each musician must be able to hear a suitable balance through their own headphones, and this, at first, causes problems. As Miti points out, The Roy Wood Big Band probably sets the record for the largest number of musicians to perform live, simultaneously, in this studio, and sharing out the mix is not the easiest of tasks. As the band runs through various chunks of the five songs they will be airing, things eventually come together. Everyone has their own special parts to consider, some of them solos, some tricky runs written especially by their leader just to tie them in knots, and, as "live-on-air-time" approaches, the atmosphere tenses like an overblown balloon! "Can I have a coffee please? I don't mind if it's horrible," asks Roy sweetly! "Can we have one, too?" chorus the rest ... which proves to be a bit of a sod, really, as the vending machine just outside the door is out of order, and the canteen is right at the other end of the building - along the corridors, through seven sets of swing doors (all of which open in the wrong direction), and up two flights of stairs... Never mind, the smiles on their little faces when they see each tray arrive is worth every step! The Show Goes Live On Air It is around noon when the show's presenter, Jakki Brambles, arrives in a flurry. Usually remaining at Broadcasting House to host the live sessions, it seems Jakki is something of a fan, and has come down to the Maida Vale Studios today especially to see Roy's band, and to join in the Christmas Party, along with guests Trevor and Simon (dubious comedy duo), Piers Morgan (dubious journalist), and Rent-a-Crowd from the offices of the BBC, along with certain famous-for-ligging record company execs. With impeccable timing, Carl Wayne arrives, complete with young son, Jack, to join the fun. Twelve forty-five, and The Jakki Brambles Show takes over the airwaves. A scramble of current sounds, jingles and uptempo chat blurs past the ears, and the mild flutter of butterflies metamorphoses into a herd of snorting rhinoceri as Jakki announces to the listening nation: "...and can we have a rowdy welcome please, for Roy Wood's Big Band, live in the studio!" (Roars and applause from the gallery). Roy steps up to his mic, for a little preliminary chat with this host before introducing their first number, the classic SEE MY BABY JIVE. Adrenaline pumping, the band absolutely rip through the song, horns a-honking and drums a-thundering. Penny storms the baritone sax solo, whilst superb backing vocals support an inspirational lead. Has this man ever hit a bum note in his life? I'd bet my record collection he hasn't! A sigh of relief swoops around the studio as that all-important first number is well and truly conquered in probably its best ever live performance. As Jakki continues to broadcast the usual cacophony of daytime radio, Roy and the band use the time to rehearse their next number, KISS ME GOODNIGHT, BOADICEA, which, for many listeners, will be the first taste of Woody's new material - another reason for this one to be spot on, too. Of course it is; a showcase for Woody's wonderful grasp of full-blown rock'n'roll, and a chance for Sharron to shine during a dazzling trip across the keyboard, whilst Terry has free reign to weave his vivacious sax playing throughout. And so, as the soldier finally gets his way(!), the BBC suddenly lose all sense of responsibility and wheel in several crates of lager, presumably for the Christmas Party, which is already swinging from (not "on") the gallery. Time for squiffy photos and sloppy coffee trips (actually, FTM don't drink, they just get over-excited!). Over The Moon, Brian Next to be revealed to the enraptured masses, basking in the haloed light of its new arrangement, is the flag-waving pop anthem, BLACKBERRY WAY. As Roy approaches the mic, to open the song with lone voice and guitar, he must be feeling like the bloke who has to take the last kick in a penalty shoot-out at the World Cup finals. But he scores a glorious goal, and the entire performance is absolutely over the moon (Brian), with those fabulous fanfares of brass bouncing airily above the melody. Skating Brass And Funky Rhythm More rehearsals, more coffee, and a somewhat dippy interview with Trevor and Simon, during which the girls in Roy's band are invited to shout out their names to the kitchens, offices, and traffic jams of the land. Is that Sue and Helen Thunderbird we spy waving merrily at the microphone, in a "Hello Mum" kind of cheesiness, whilst Trevor and Simon sitter on about blowing their own trumpets?! An interview with a none-too-endearing Piers Morgan is made all the more fascinating for radio listeners as the band's rehearsal can be heard in the background, along with disembodied bits of banter like, "'Scuse me, Mr. Engineer Man, but I've got no thingy on the wotsit!" There are several excursions through the penultimate number, HOUSE OF LOVE, its devious combination of skating brass and funky rhythm track challenging the players to be at their tightest (musically speaking, of course!). Once again, our host D.J. chats with Roy before the band launch into another fine rendition of what should be a very serious contender for the band's first single. Griff grabs hold of that devilish drum fill, and only a mysteriously disappearing guitar solo spoils an otherwise rousingly perfect version - but that is what happens when one has too many buttons to press! Twiddling Knobs! Throughout the proceedings, Miti is in the control room continuously setting and resetting the faders and pots (twiddling the knobs, OK?), with help from his assistant, and under the watchful eye of Paul, Roy's sound man. Communication is the essence here, and Miti is in constant conversation, particularly with Roy, checking that everything is OK out there amongst the mics and baffles, and that the creator of the music is happy with the way it sounds today. As the glow gallops homeward, the Christmas Party in the gallery has become a frothing, bubbling barrel of mayhem, and rowdy requests for "THE CHRISTMAS ONE" are hurled at the band. As the final word belongs to Roy, he duly obliges, and allows the chorus of his song to be swamped by the swaying crowd upstairs (one half of FTM would like to deny all involvement, whilst the other is overtly proud of his toneless contribution!). Party! The broadcast over, at last it is time for the band to relax and party. The control room is filled with triumphant hugs and exclamations as a recording of the set is played back over the gigantic speakers, and each musician picks out his or her individual moment of glory amid the overall jubilation. As the girls have a "bit of a boogie" round the mixing desk, Roy can be seen at the back, smiling to himself in the knowledge that his band have just delivered a brilliant performance to a massive audience all around the country. FTM are smiling too, delighted to have been present at a very special event, and high on the great atmosphere that now pervades Maida Vale Studios 4 and 5. © Copyright Face The Music Magazine With very special thanks to Roy and the band for allowing us to share their day! End of Useless Information #394 ******************************* [This digest is the copyright of the Move "Useless Information" Mailing List. Re-publication or re-distribution of "Useless Information" content, in any form whatsoever, is expressly prohibited without prior written consent.]