[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 #479 June 15, 2003 In this issue: * Brum Rocked On! * Mustard, anyone? * Great singers * What is Super Active Wizzo? * Super Active Wizzo LIVE? (cont.) * The S.A.W. discussion goes on... * Mojo's review of "ELO 2" * Due credit ============================================================== The contents of this digest are the copyright of The Move "Useless Information" Mailing List and may not be re-published or re-distributed elsewhere without permission and credit. 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 TO UNSUBSCRIBE: Send an e-mail to move-digest-request@eskimo.com with the word "unsubscribe" (no quotes) in the subject line ============================================================== Subject: Brum Rocked On! Date: Sun, 15 Jun 2003 15:40:33 -0700 From: Lynn Hoskins "Brum Rocked On!", the much-anticipated follow-up to "Brum Rocked", is now available via the Brum Rock website at http://www.brumrock.co.uk/ . The site offers worldwide PayPal ordering. In addition, if you're in the UK, you can get it direct from the Birmingham Post & Mail offices (info below.) "Brum Rocked On!", by Laurie Hornsby and edited by Mike Lavender (who was once in Roy's Big Band), is crammed full of photos, 98% of which are from band members' private collections and have never been published until now. The book covers Birmingham 1963-1969 so there are loads of great photos of The Idle Race, The Move (plus the members' early bands), and Electric Light Orchestra. I've previewed a copy and can tell you that the photos are an absolute delight and make this book a must-have. It's got a very good Index so you can turn right to the pages that feature your favorite Brummie artists. (I do have my favorite photos, but I won't spoil your fun...) Rob Caiger will be in the studio all week. When he re-surfaces, he'll post a detailed review of "Brum Rocked On!" to Face The Music Online (www.ftmusic.com) and The Move Online (www.themoveonline.com). Rumor has it he read the whole thing from start to finish in just three days' time and absolutely loved it. Here's the Evening Mail write-up from last Friday. (Thanks to Val B for typing it up!) ---- What's on: Laurie rocks back to 60s Birmingham Evening Mail June 13, 2003 Birmingham writer and musician Laurie Hornsby is rockin' on with a new book about the Birmingham music scene of the sixties. The 55-year-old's sequel to the sold out Brum Rocked, called Brum Rocked On, covers the Brum bands of 1963 - 1970. And Laurie, who lives in Cofton Hackett, says it was Evening Mail music writer Andy Coleman who persuaded him to put pen to paper a second time. 'Andy interviewed me about Brum Rocked, which featured the Brum Rock years of 1956 - 1963, then said I should write about the rest of the sixties. 'I said I wouldn't because there was just so much happening during that decade, not only in terms of personnel but also all the different types of music. 'But I then thought that somebody should write the book and it really should be me.' Laurie spent nearly two years researching and writing Brum Rocked On which, at 296 pages is almost three times the size of Brum Rocked. 'It was frightening,' says Laurie, who also wrote the music for the stage show Wallop Mrs Cox, 'but it was like going on a car journey, once I started I didn't want to go back.' The blossoming careers of stars like Roy Wood, Jeff Lynne and Carl Wayne are covered in the book, alongside details of a budding bassist and singer named Laurie Hornsby. 'I went on to join Raymond Froggatt's band and during the seventies I had constant work,' he recalls. 'It was great but it didn't have the same enchantment as the sixties.' Brum Rocked On is available from the offices of the Birmingham Post & Mail in Weaman Street at pounds 15 each. Alternatively, we can send a copy in the post to you. Send a cheque for pounds 15 plus pounds 2.50 p & p - total pounds 17.50, (made payable to Birmingham Post & Mail) and send to: Tracey Yates, Birmingham Post & Mail, Weaman Street, Birmingham B4 6AT. [Illustration] Caption: BOOKED UP: Laurie Hornsby has written about the Brum bands from 1963-70 Picture: John Reavenall Copyright © 2003 Birmingham Post and Mail Ltd. ********** Subject: Mustard, anyone? Date: Fri, 6 Jun 2003 23:31:32 -0700 From: DjengoMan hey Woody fans, I'm a new guy here on the list, so I just want to say first off that it seems like you guys are right on. Which makes sense, good taste = good people. I thank all of you for the replies and info I've gotten. I was psyched today to find my copy of Wizzard's Brew came in. I had to order it from Germany. A little while ago my copy of Eddy & the Falcons came. Eddy had to grow on a couple listens. I think I might've been TOO excited to hear it. But Wizzard Brew really delivered in terms of my expectations of what Wizzard was like. That said, Eddy is great too. I love them both. I just think I tend to like the more bizarre side of things. Brew delivers in that department! I've got Exotic Mixture and Wizzard A's & B's coming in. I would like to throw something out there. Obviously, Boulders is a great album, I've never heard otherwise. But what's your take on Mustard, guys? It'll probably be what I buy next. Or maybe Looking On, I dunno. Keep the peas, Jada ********** Subject: Re: Mustard, anyone? Date: Sat, 7 Jun 2003 12:32:54 -0700 From: "Andrew Footman" Mustard is an ex album, Looking On is great too, but i would try to find the Jap 24 bit mini sleeve CD's with the Move stuff. It sounds a lot better. Bare in mind Rob is releasing all the Move and Roy Wood albums in 24 bit restored from the original Master and Multi Track or best sounding copy tapes. These are being spread out over a 5 year plan so you will replace them. If you like ELO get yourself the ELOII remaster, follow this you will find it www.ftmusic.com They remastered the first ELO album too, if you are lucky Rob may have a few left. Lynn Hoskins may be able to help. BOTH ARE AMAZING SO DO NOT MISS OUT! ********** Subject: Great singers Date: Mon, 9 Jun 2003 12:57:49 -0700 From: Lynn Hoskins There's an interesting discussion happening on the ELO-Showdown list that asks the question, "Is Jeff Lynne a great singer?" Thought I'd pose a similar question to the Move list. Would you consider any member(s) of The Move to be a GREAT singer? If so, why? ********** Subject: Re: Great singers Date: Mon, 9 Jun 2003 13:49:34 -0700 From: "cuselton" Lynn Hoskins wrote: >Thought I'd pose a similar question to the Move list. Would you >consider any member(s) of The Move to be a GREAT singer? If so, why? What a fun topic! My (totally biased) opinions: 1. Carl -- Awesomely powerful voice. Incredible range of expressiveness. For sheer star power, his voice commands attention. When he really connects with the emotional content of a song, it makes you melt just hearing him. Wow. Great singer. 2. Roy -- I realize that some folks, particularly Jeff Lynne fans who aren't Roy Wood fans, don't like his voice. However, I think that Roy's voice is like a vocal chameleon -- he changes the quality of his voice to fit the material extremely well. From hard driving and gritty, to boisterous, to humorous, to touchingly sad, to melodically sublime, to "time-period appropriate" 40ish and 50ish, to everything in between. Roy's voice doesn't seem to have the "polish" that Carl's voice has, but Roy really seems to drive his voice to extreme stylistic limits to incredibly good effect. For sheer stylistic versatility, I would rank him a great singer. 3. Ace -- He's the one with which I am least familiar. His voice tends to sound a bit thin and reedy to me, but maybe it's my problem - maybe I haven't listened to enough of his vocals. I'm thinking of "Last Thing on My Mind" as a primary example. Maybe Ace fans out there could give me better examples of his stuff, as I'm a bit more Ace ignorant than anything else. ;-) 4. Bev -- Yep! I think he's a bit underappreciated. In "Ben Crawley", "Don't Mess Me Up", I think he pulls of great impressions of Johnny Cash and Elvis. Not a great voice, but then again, deep voices are hard to find a niche for. Drumming is his great thing. Or maybe we could just consider him a baritone ahead of his time? (Crash Test Dummies/Godsmack?) Graciously?? ;-) My 2 cents... thanks! cu tornado alley, ok ********** Subject: Re: Great singers Date: Mon, 9 Jun 2003 16:14:13 -0700 From: Tremelo7 are we talking great rock singers or great singers or great voices...that makes it hard....jeff has a good voice and he is great rock singer, but not a great singer...Roy on the other hand has an ok voice, but i find him to be a great rock singer....I think Carl is great at all three.......mike ********** Subject: Re: Great singers Date: Tue, 10 Jun 2003 01:19:35 -0700 From: "Joseph Davolt" cuselton wrote: >3. Ace -- He's the one with which I am least familiar. His voice tends >to sound a bit thin and reedy to me, but maybe it's my problem - maybe >I haven't listened to enough of his vocals. I'm thinking of "Last Thing >on My Mind" as a primary example. Maybe Ace fans out there could give >me better examples of his stuff, as I'm a bit more Ace ignorant than >anything else. ;-) Dude, wasn't Ace like way out of the picture by "Last Thing On My Head"?? Ace left in the spring of 1968, and Shazam was released in spring of 1970, Shazam's line-up being Carl, Roy, Rick, and Bev. I was under the impression that Ace was in the band on the singles "Night Of Fear", "ICHTGG", "Flowers..", "Cherry Blossom Clinic" (withdrawn), "Fire Brigade", the album "The Move", and the "Something Else From the Move" EP (recorded before he left, released after), and that the Roy-Carl-Trevor-Bev lineup lasted for two singles, "Wild Tiger Woman" and "Blackberry Way", before Trevor left and Rick came in. As to what Ace sang lead on, I think that includes "Yellow Rainbow", plus on numbers like "Walk Upon The Water" and "I Can Hear The Grass Grow", all the boys do a lot of line-trading...the "Beat, Beat, Beat" videos are good for showing which lines each sings, and from that knowledge, one grows more accustomed to the being able to recognize their voices on other songs. I'm pretty sure there's some sort of a list about this very subject on Watkins' "Move Information Station" website (sorry, I don't have the address handy...). As for their voices, I was singing "Whisper In The Night" the other day and thought to myself "hmm...Roy really is a GRRRRReat singer", then comes this discussion...hehe...but yeah, for evidence there's Whisper, "Any Old Time Will Do", "Forever", "Fire Brigade", and of course "You Sure Got It Now" really shows off his range abilitie, even if he did have to play with it some...:) I thought Carl's credentials for such a title were generally accepted...and yes, I believe that Jeff, Bev, and Rick (see "This Time Tomorrow") are all great singers and I would have to include Ace and Trevor, though neither of their voices ever really stand out...though that is more than likely due to the aforementioned lack of evidence.. Oh, by the way, to make this thing even longer, I began a listing of all Roy's appearances on other's works/compilations, discounting pre-Move Brum bands (seperate list), Move, ELO, Wizzard, solo, Wizzo Band, Helicopters, Rockers, and Big Band. I hope to post this list on a website soon. So far I've got 58 seperate songs, plus 2 albums, with Roy appearing in the capacity of musician, singer, producer, or songwriter (of course covers aren't included, save for when the cover was recorded/released prior to Roy's rendition). Any help with this would, of course, be much appreciated. Ta, Shaz, an' All That Jazz! Joseph ********** Subject: What is Super Active Wizzo? Date: Thu, 29 May 2003 23:00:12 -0700 From: Plastic Ono Dream "kakman" wrote: >the problem with 'super active wizzo' i find, as a "jazz rock >fusion" >album, it's awfully boring & unexciting." perhaps that's looking at it the wrong way, it's a "roy wood" album! ********** Subject: Re: What is Super Active Wizzo? Date: Fri, 30 May 2003 11:30:10 -0700 From: "Michael J. Cross" Our bud in NYC wrote: >perhaps that's looking at it the wrong way, it's a "roy wood" album! Did Roy deliberately set out to do a jazz fusion album, or is that that label which music critics and/or fans decided to slap on SAW? I agree, in essence, with Bob Hughes and Kevin K. that at a jazz fusion outing, it isn't very successful. My point, to echo B.C.'s above, is that it may not ever have been touted as such by Roy, but rather was another in the string of interesting places that Roy took (takes?) us musically. And bully for him for having the fortitutde to do so. That's why I'm a Roy fan, after all. Has anyone ever seen Richard Thompson's official site? On the front page there's a statement that is, I think, attributed to his fans: "They're worse than critics; they're AMATEUR critics." I chuckle every time I read that. Reminds me of me. Keep 'em coming, you SAW detractors! Mike Cross, Rochester, NY ********** Subject: Re: Super Active Wizzo LIVE? Date: Fri, 30 May 2003 11:30:32 -0700 From: "Tyler C.Sherman" Bob, I personally LIKE the drums way up front on SAW. Dave Donovan is an outstanding drummer and I think Roy was "showing him off" on this record. Roy tends to work with drummers who are absolute madmen at pounding the skins and, generally, mixed the drums up front in most of the records he made on purpose, I think. As far as being a "jazz" album, granted SAW is not "jazz" in any conventional sense. But since when has Roy EVER done ANYTHING in a conventional way? He has ALWAYS puts a different spin on things and challenges his audience to put on different ears to hear what is happening in the music that sets it apart from the "conventional". I often think of Jeff Beck's transition into "jazz rock" as, perhaps, inspiring Roy to try it. There are parallels between the two. What Beck did was certainly not "jazz" either but some jazzy flourishes are present in the music. And much of what Beck did during this period was misunderstood as well. In fact, George Martin, who produced both "Blow By Blow" and "Wired", has been quoted as saying he had a difficult time doing it, especially "Wired", because he couldn't understand where Jeff was going with the music. Many folks have the same problem with SAW...I know I did at first. And so the great debate continues... Wizzards, Tyler ********** Subject: Re: Super Active Wizzo LIVE? Date: Fri, 30 May 2003 14:11:06 -0700 From: John DeSilva Tyler C.Sherman wrote: >As far as being a "jazz" album, granted SAW is not "jazz" in any >conventional sense. But since when has Roy EVER done ANYTHING in a >conventional way? Tyler: Here here! I agree very much with what you and my friend Mike Cross have said regarding SAW, and Roy in general. I'm not sure I can categorize SAW as jazz, rock, or anything in-between, simply because it is so different from what was out at the time, and what was ever released before or since. My pal Plastic Ono Dream said it best - it's "roy wood" music, and defies categorization. I do think your comparison with Jeff Beck is very apropos, as Jeff is another iconoclastic musician - just as original and brilliant in his way as Roy is in his. >I often think of Jeff Beck's transition into "jazz rock" as, perhaps, >inspiring Roy to try it. I would also draw a parallel between Roy in 1976 - 77 and another of my favorites, Procol Harum. By 1976 Procol Harum was burning out, and in danger of becoming irrelevant in late 70s rock 'n' roll. In fact their long-time producer Chris Thomas was producing the first Sex Pistols album - moving away from their sound in a big way. So they went to Florida and recorded at Criteria Studios with Ron and Howie Albert, the guys involved with Clapton, the Bee Gees, etc. They had 18 songs ready to be recorded for their next album (Something Magic) - Ron and Howie chose 6, mainly because they didn't get what PH was trying to do with this music. The album sold poorly, was panned by the critics, and shortly thereafter Procol Harum broke up. The parallel with Woody was that they were trying to do something that was new for them, but it wasn't in step with the times. I feel like that is what SAW is all about - music that "wasn't made for these times" to quote Brian Wilson. Kevin made a great point about how the discovery of "Main Street" helped to make sense of SAW, once one realized that "Main Street" was recorded before SAW. But that context is for us to appreciate here in 2003 - it wasn't available in 1977. By the way, I like both "Something Magic" and "Super Active Wizzo" much more today than I did when they first came out in '77. I think "Earthrise" is one of Woody's best songs, repetitiveness notwithstanding! >And so the great debate continues... I'll be selling the next installment in my lecture series "Woody and the Decline of Western Civilization" in the lobby after the show tonight ... ;-D Thanks (to those of you who read down this far) for hanging in there. JD San Jose, CA ********** Subject: The S.A.W. discussion goes on... Date: Wed, 4 Jun 2003 11:41:48 -0700 From: "Martin Nielsen" Mike Cross wrote...: >I will toss this out there: is it the fact that it's just so darn >strange, even by Roy's standards? I find ithard to fathom how anyone >can enjoy "Wizzard's Brew", "Eddy and the Falcons", and "Boulders", yet >not find it in their hearts to also enjoy SAW. Mike, I think it has something to do with the fact that those earlier albums include a wider variety - and a larger number of - tunes than SAW. Shout it out loud: TUNES! SAW is a great record in terms of musicianship and inventiveness, but it relies more on riffs than on tunes, which makes a great difference. It isn't really before the final track, "Earthrise", that Wood comes up with those melodic lines that he masters. The rest of the stuff, groovy as it may be, is basically just repetitive riffing around, with the music primarily serving as a showcase for Dave Donovan's busy drumming. ...Or maybe I'm just not keen on jazz fusion with bursts of steel guitar ;-) Martin, Denmark ********** Subject: Re: The S.A.W. discussion goes on... Date: Thu, 5 Jun 2003 18:54:11 -0700 From: Mike F Martin Nielsen wrote: >SAW is a great record in terms of musicianship and inventiveness, but >it relies more on riffs than on tunes, which makes a great >difference. It isn't really before the final track, "Earthrise", that >Wood comes up with those melodic lines that he masters. I am one of those who likes Super Active Wizzo but I think Martin makes a good point. When I listen to this album, I am not paying any attention to Roy's singing. The vocal melodies don't grab me on these songs. Instead I am listening to the guitars and especially the saxes. For the most part, the intricate sax parts are carefully arranged by Roy not improvised. (According to the sleeve, Roy is playing tenor, baritone, soprano, and alto saxes and Billy Paul is playing alto and baritone saxes.) I realize that it won't be everyone's cup of tea, but I think listening to the arrangements is the key to appreciating SAW. Regards, Mike F ********** Subject: Re: The S.A.W. discussion goes on... Date: Fri, 6 Jun 2003 00:26:36 -0700 From: PrimoChuck One thing I forgot about when there was a thread about Roy Wood airplay in the US is that there was a show on Sunday nights in Los Angeles in the late 70's on KLOS FM where this DJ would play the latest imports. This DJ played the complete Super Active Wizzo album. This was probably one of the few broadcasts in the US of this complete album, let alone a song from it. I probably haven't heard the complete album in years and I can understand why some people may not like it. I think this is probably that last time that Roy peaked in trying to be really different. I happen to like the arrangements, the songwriting and the performances, but agree that the album repeats some riffs too often. I wonder what Roy thinks of this album, or maybe he doesn't want to think about his records that were less than successful. On another note, has anyone seen the female Cheap Trick tribute band Cheap Chick? Do they happen to do California Man? Charlie Long Beach, CA ********** Subject: Mojo's review of "ELO 2" Date: Thu, 5 Jun 2003 18:59:40 -0700 From: Lynn Hoskins This is a really strange review. Jim Irvin is a huge ELO fan. He wrote a lovely piece about the "Light Years" 2CD in September 2001 that was detailed and informed. This one has completely skipped past some major points, such as the Marc Bolan tracks. Strange! At least they mention Carl Wayne's involvement, just barely. (Mojo must really be hurtin' for space these days.) Mojo will print letters that are civil and to-the-point (quick and snappy, not rambling) so if you are so inclined, here's their e-mail address for Letters To The Editor: mojo@emap.com. ---- June 2003 - Issue 115 ELO ** (out of 5 stars) ELO 2 (EMI) Their weakest album, bolstered with a generous disc and a half of outtakes, including lost songs Your World and Get A Hold Of Myself fronted by Move-man Carl Wayne and four (!) takes of Roll Over Beethoven. A treat for dedicated fans only. - Jim Irvin ********** Subject: Due credit Date: Sun, 15 Jun 2003 20:42:00 -0700 From: Lynn Hoskins A request from me, and others on the list... I know a number of people on the Move List ("Useless Information") have Move-related Web sites and/or Move-related chat groups that sometimes re-publish items from this list. Whenever you use information from the Move List ("Useless Information"), would you please 1) ask the author of the post if it's alright to re-publish any portion of their post, and 2) credit the author and the Useless Information mailing list? Here's the Move List website address so you can create a link: http://www.eskimo.com/~noanswer/movelist.html (More stuff to be added to this site soon, by the way.) Or, link to The Move Online: http://www.themoveonline.com/movelist.html Most folks are already giving proper source credit - thank you. If you aren't, please realize that everyone who posts, myself and Rob included, put a lot of time and effort into researching and writing. Permission and credit are essential. Thank you!! Lynn End of Useless Information #479 ******************************* [This digest is the copyright of the Move "Useless Information" Mailing List. 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