[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 #338 April 2, 2002 In this issue: * Time Out New York concert preview * Village Underground * Constructive criticism of critics * NY Times Woody review * Roy In NYC - review (cont.) * Questions About Roy Wood @ VU * Roy NYC pics ============================================================== To POST TO THE LIST: Send an e-mail to: move-list@eskimo.com Useful Web addresses: TheMoveOnline: http://www.themoveonline.com Official Roy Wood site: http://www.roywood.co.uk Face The Music Online: http://www.ftmusic.com Join the ELO List: http://www.eskimo.com/~noanswer/showdown.html 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: Time Out New York concert preview Date: Sat, 30 Mar 2002 23:51:13 -0800 From: Lynn Hoskins Time Out NY March 21-28, 2002 Preview: Roy Wood's Army; Village Underground; Thu 21-Sun 24 by Scott Schinder A star hit maker in his homeland of England and a beloved cult figure here, Roy Wood is the mastermind behind some of the most beguiling tunes of our time. And yet these four shows mark this pop-rock auteur's first official New York appearance since the mid-70's. Wood first made his mark in the late '60s as leader of the Move, whose fab mix of infectious songcraft and savvy media manipulation made it a consistent hit act in the U.K., where such Wood-penned singles as "Flowers in the Rain, "I Can Hear the Grass Grow" and "Fire Brigade" were top-ten hits. Those tunes merged Wood's penchant for Beatlesque melodies with a gently twisted lyrical sensibility, while the band's gear-smashing antics and media stunts kept its name in the papers. The Move's failure to dent the U.S. charts is an enduring mystery, but the group's best work - particularly its early singles and eponymous 1968 debut album - remains a cornerstone of any left-of-center pop library. In the early '70s, Wood and bandmates Jeff Lynne and Bev Bevan scrapped the Move to launch Electric Light Orchestra. Although ELO was initially intended as a more self-consciously arty expansion of the Move's baroque pop approach, Wood split after the new project's 1971 debut "No Answer." Lynne subsequently guided ELO to orchestral bombast and stateside stardom, while Wood had continued U.K. success with Wizzard, whose blend of glammy hard rock, '50s rock and roll and Spectoresque orchestration yielded memorable British hits such as "See My Baby Jive" and "I Wish It Could Be Christmas Everyday." Wood last played NYC in the mid-'90s, when he made a pair of guest appearances backed by Cheap Trick, who've always cited him as a major influence. This time around, he's bringing his English band, a 12-piece coed combo featuring a seven-woman horn section. Wood's promised a selection of Move and Wizzard classics along with some new tunes, so devotees are unlikely to be disappointed. ********** Subject: Village Underground review Date: Thu, 28 Mar 2002 17:58:03 -0800 From: Greg Weatherby I went two nights, and frankly had reservations about the whole horn thing. But I was happily proven to be wrong by the band. Their joy on stage was infectious, and converted me. Thursday night found our Woodrow seemingly a little nervous, and definitely a little bit 'lubricated'. He stumbled a few times on stage, but then with 12 people up on the small stage at the Village Underground, I suppose it's no wonder he stumbled... so OK, how was he?...the whole concept of trombones and saxes kinda put me off before I arrived, I mean "I Can Hear The Grass Grow" with trombones? Didn't seem right...but then he kicked off with "California Man", and you know what? It sounded great!...it worked (the horns) the best with the Wizzard songs, like "You Can Dance The Rock and Roll" (a much better song in person than on record). "See My Baby Jive", and "Ball Park Incident", and less well with the Move songs...highlights? "I Can Hear The Grass Grow", "Flowers In The Rain", "Blackberry Way" and "Fire Brigade"... lowlights? The drum solo. Woody, please, it's 2002, no drum solo! And I would have liked to have heard "Omnibus", "Beautiful Daughter", and even "Dance Round The Maypole". The whole band was a little unrehearsed sounding Thurs night, but on Friday they came together much better. I wished they didn't play the exact same set both nights, but they did, hey the same Woody is better than no Woody!...all in all Friday was a much better show...so, how was Woody? It was awesome, if you wanna know the truth...I certainly would have liked it better if it had been a 4 or 5 piece band rather than an Army, an orchestra, but considering, I liked it a lot better than I thought I would! And I got to meet the Man briefly at a bar next door after the show Friday night (the Fat Black Pussycat). It was cool meeting Rob Caiger, who had come over for the shows, seemed like a nice guy...says he may bring the Hollies over, and that the live at the Fillmore West CD WILL come out, and it will be awesome, also a cleaned up "Message From The Country"...And it was excellent getting to meet Lynn, San Jose John D-, Joe Ramsey, Tim Emerich, Joe Doyle, Plastic Ono Dream, Dr Bob, Big Larry, and everyone else...after 35 years, I finally got to see Roy Wood...yea, it was good! ********** Subject: Constructive criticism of critics Date: Sat, 30 Mar 2002 16:31:03 -0800 From: Marston Moor Hey all, I know, discussion groups were born for universal commentary, opposing views, sharing thoughts, offering fresh info, etc etc. And all those things indeed give this specific move-list quite an enjoyable read. But I really don't understand the ongoing tendency to question so many of RW's basic professional decisions; a la venue, itinerary, arrangements, song choices and sequences, etc etc. Village Underground was simply the place that was booked, like it or not. One could say it was the wrong choice for the Army, or instead view it as ideal. One could go on forever about its size and layout, but why? That's show biz, it was a brief USA junket, I doubt Roy and his company spent a lot of time shopping around NYC rockclubs for 100% satisfaction. You take what you can get. There's so many variables involved. I thought VU was unusual but perfect. You'd think he would prefer more of a theater-type space, but whatever. It was sublime. Someone asked, why 4 nights in a row? Huh? Again, this is what transpired... he even added the extra Thurs night at the last minute. He didn't have the luxury of shuffling dates, taking a 1-day break, etc. Hectic! Isn't that obvious? We and he were SO lucky to have had the experience and opportunity. Period. One could question: why no other cities? Boston? Chicago? Atlanta? Cali? Again, who is anyone to create debate? Roy lives, Roy decides, Roy travels, Roy performs, Roy goes home. I am grateful. Obviously, carting over such a large contingent must be a heavy task, both financially and organizationally. One would think that, hey, while you're all the way over here, might as well set up as many gigs as possible. It was simply not to be. Woody's heavy brass concept was absolutely incredible IMO, but one might guess that there are folks who question that as well. A matter of taste. I was thrilled, fantasizing Ed Shaunessey and Doc Severinsen, BST, early Chicago, Chase, and all the great blaring trumpet groups. Harry James forever... The Army would shine on Leno, Letterman or Conan, wouldn't they tho! (sigh) Drum solo? What's wrong with that? I loved it! Somebody told me "'Rescue Me'? Why'd he waste valuable stage time with that??" Come on! Sharrup! And one review stated something to the effect of 'the crowd probably could have used less of his new material, since he hasn't been here in 28 years...' That's total nonsense. Let the man do his thing! It's not our place to selfishly trump his way-too-many options. I was really hoping to hear that new salsa song "Spektacular' (?), but he didn't do it. OK. Do I dare gripe? Rob Zombie! HA! [One more related thing: it remains a shame that Mr. Zoom and his pompous ELO spaceship prevented many of us from basking in the glow of a similar JLynne Army show. I firmly believe Roy made the ideal decisions in bringing his vision to American fans, keeping it downsized and small scale. Jeff could (and should) have played VU just exactly the same! And we would have LOVED that.] But as I've noted, why question? This is the story of our love! Shit happens. Ya cannot rewrite history... and it's naive to even try to predict better outcomes through better planning. It's a circus out there. Stop playing manager/agent. A week later and I'm still in rock and roll ecstasy! Cor! Much Falcons love to all, RSM http://www.rsteviemoore.com/RWANYC.html ********** Subject: Re: Constructive criticism of critics Date: Sat, 30 Mar 2002 21:06:07 -0800 From: Lynn Hoskins Stevie wrote: >Village Underground was simply the place that was booked, like it or >not. One could say it was the wrong choice for the Army, or instead view >it as ideal. One could go on forever about its size and layout, but why? Hi Stevie, Because it's what concert-goers do. ;) As you said, the band took what they could get. And I felt honored and privileged to be there. It's my hope that positive press will enable Roy to step up to the Bottom Line or even the Bowery Ballroom the next time he plays NY. My complaints about the venue have to do with what the band had to contend with the first night. I don't think you were there to witness all the sound and monitor problems. The VU simply isn't wired to accommodate a band the size of the Army. And the musicians suffered because of this. By Sunday, the monitor problems still hadn't been resolved (because they were not resolvable), so Roy could not hear himself sing. He persevered despite this. His sound man, Roger, spent the greater part of Friday trying to compensate for the venue's technical shortcomings, and I'd say he pulled a rabbit out of his hat judging by that evening's show. So, yeah, I do feel I have the right to complain about the venue. Just like you complained about "Mr. Zoom" being at fault for there being no ELO tour last year. You should know, however, that you're placing the blame with the wrong person(s). But that's another topic for another list, eh? :) Nice photos, by the way. Looking forward to seeing the "improved" versions! ********** Subject: Re: Constructive criticism of critics Date: Sun, 31 Mar 2002 13:23:35 -0800 From: "Leigh Woolford" I was most interested to read the comments of RSM 'Marston Moor' and although I understand to a certain extent the points he is making, I feel inclined to respond to a few of them. RSM Marston Moor wrote: > But I really don't understand the ongoing tendency to question so many > of RW's basic professional decisions; a la venue, itinerary, > arrangements, song choices and sequences, etc etc. These pre-supposes that Mr Wood had something to do with decisions on venue and itinerary. I strongly suspect that he did not! I would imagine Roy's decision making ends with the music and that aspect was just fine. Therefore, I still think that the person or persons who actually did book the venue and arrange the itinerary (ie. not the performers, but the 'management') were the ones who did not get it right. But then perhaps they have other agendas aside from the comfort of the band such as financial considerations. > I doubt Roy and his company spent a lot of time shopping around NYC > rockclubs for 100% satisfaction. As I said above, I doubt Roy spent any time shopping around for the right venue as it surely isn't his job to do so! I strongly feel that someone else should have done it more carefully than they did. It can't be rocket science! > Someone asked, why 4 nights in a row? Huh? Again, this is what > transpired... he even added the extra Thurs night at the last minute. He > didn't have the luxury of shuffling dates, taking a 1-day break, etc. > Hectic! Isn't that obvious? We and he were SO lucky to have had the > experience and opportunity. Period. It was me who asked 'why four nights in a row' and I still think I was right to ask. Roy's voice was suffering by the end of night two and four in a row was too much, no question. I do agree that WE were the lucky ones, but under these conditions the band most certainly were not! > Obviously, carting over such a large contingent must be a heavy task, > both financially and organizationally. One would think that, hey, while > you're all the way over here, might as well set up as many gigs as > possible. It was simply not to be. It is precisely this organisation (or lack of it) that I am questioning. Nothing more, nothing less. I feel the phrase "It was simply not to be" is a lame epitaph to bad organisation. Why wasn't it to be? Again, it's not rocket science. > OK. Do I dare gripe? Yeah, why not? If 'gripes' are heard then it could be even better next time! Also, this list would be boring if we didn't have both friendly agreement and friendly disagreement. Also, I am sure the musicians would air any gripes they had! > I thought the VU was unusual but perfect. Unusual; Most certainly YES. Perfect; Not in a million years. Remember, for us fans it was easy...we relaxed, we enjoyed a Bud, we listened to a great show that we really wanted to see and we met a whole load of great people with a common interest! However, as far as the band is concerned, I wouldn't be a bit surprised to hear them say that it was hell on earth! > Ya cannot rewrite history... and it's naive to even try to > predict better outcomes through better planning. First part is spot on, you can't re-write history. My posting wasn't an attempt to try. The second part however is nonsense! Of course you can achieve better outcomes through better planning! If you resign yourself to second best then that's what you'll get? > A week later and I'm still in rock and roll ecstasy! Cor! I am really glad you enjoyed the shows so much! I did too. I just really wish you could hear Roy sing and the band play when they CAN hear themselves and they are using their own gear! Who knows, someone who matters may even read this and sort a better venue if there is a 'next time' in the USA! On a personal note, why not come on over to the UK for an Army gig? I'll get the beers in! Cheers, Leigh ********** Subject: NY Times Woody review Date: Sun, 31 Mar 2002 13:17:48 -0800 From: "Tyler C.Sherman" Herewith, for all fellow Movers, a transcription of a review of the Sun. show that appeared in the 3/28 NY Times: RETURNING AFTER 28 YEARS LEADING AN ARMY OF BRASS by Jon Pareles Bigger means better to Roy Wood, the English rocker whose four shows at the Village Underground were his first New York City performances since 1974. His music has always equated blare with rock 'n' roll bliss. Electric guitars rang out when he led the Move in the late 1960's; cellos took over when he founded the Electric Light Orchestra with Jeff Lynne in 1971; and saxophones and voices buttressed Wizzard, his next band. Roy Wood's Army, the band he brought to the Village Underground, backed him with 12 musicians, including an eight-member horn section. Most of the band members were women. Mr. Wood looked much as he did in the 1970's, bearded with brightly dyed long hair. Sunday's set was a brass-pumped retrospective of Mr. Wood's catalog from the Move to the present. Sung in his high, nervous tenor while female backup singers gestured in sync, the songs were the work of a songwriter proclaiming his love for an imagined 1950's paradise, full of pretty girls jiving to jukebox rock, or a man in thrall to the fearful power of women's charms. The Move's "Fire Brigade" calls for firemen to cool him down; a newer song, "Kiss Me Goodnight, Boadicea," begs the ancient warrior queen to "take a break from your pillage and destruction." The songs often harked back to grand Phil Spector marches or a swinging rockabilly two-beat, but they weren't pure revivals; they threw in odd key changes or skipped beats, while Mr. Wood took guitar solos that swiveled their way toward brash dissonances. Other songs took Beatles-style pop and added extra crimps. The Army also played the Move's psychedelic artifacts "I Can Hear the Grass Grow" and "Flowers in the Rain," which showed Mr. Wood's ear for plant life. With the horns hooting away, the Army came across like a mixture of a soul revue and a Las Vegas show band, conveying a skewed nostalgia. For "Are You Ready to Rock?" Mr. Wood piled on one more element: he marched onstage playing bagpipes. Proud of his eccentricities old and new, he had clearly decided that nothing succeeds like excess. ********** Subject: Re: Roy In NYC Date: Mon, 1 Apr 2002 00:02:27 -0800 From: John DeSilva Leigh Woolford wrote: > I suspect I am going to take a bit of a stick for saying this but I > felt that the size and layout of the Village Underground didn't > really allow the Woody starved US contingent to see the Army in all > it's usual glory. Leigh (and all): As I've never seen the Army before last weekend I can't really comment on whether the band was in "all it's usual glory", but I imagine that a larger venue with a more expansive sound setup would have served the Army well. Speaking as a "California Man" who never thought he'd ever see Roy perform live, all I can say is that the band and the shows I saw (especially Friday night) exceeded all expectations. As my friend Greg Weatherby said in his post, it was a pleasant surprise to hear just how much the horn arrangements added to the presentation of the classic songs. My guess is that what we didn't see was the Thunderbirds "letting it all hang out" so to speak onstage, as they barely had enough room to play their instruments, let alone integrate dance moves without dropping off the stage (poor Gemma actually did lose her footing onstage as did Roy due to the lack of square footage per musician). I spoke briefly with Becca (one of the trombone players) after the Saturday show (poor girl had practically lost her voice), and she said that she and Carol kept just missing people in the front row with their trombone slides. Obviously not an environment conducive to letting the music flow through. Given all that, we all had a great time, and as you said Leigh, it was easy for us - we just sat back and reveled in hearing our favorite songs performed with such gusto and freshness. As Lynn said, maybe next time Roy can book into the larger venues such as the Bottom Line (Roy, you know we have some great venues in both Northern and Southern California - come check us out sometime! ;-D ). And by the way Leigh, it was great meeting you - I just might take you up on your suggestion to visit Britain to see the Army in it's "element"! John DeSilva San Jose, CA ********** Subject: Re: Roy In NYC Date: Mon, 1 Apr 2002 12:01:14 -0800 From: Greg Weatherby John DeSilva wrote: > As I've never seen the Army before last weekend I can't really comment > on whether the band was in "all it's usual glory", but I imagine that > a larger venue with a more expansive sound setup would have served the > Army well. Speaking as a "California Man" who never thought he'd ever > see Roy perform live, all I can say is that the band and the shows I > saw I may be the odd man out on this one, but I enjoyed seeing RW at the VU. It was such an intimate setting! Let's face it, I never thought I would have a chance to see RW, let alone from 10 feet away! I realize it wasn't all that great from the band's stand point, but for a fan to be that close was incredible! And it was interesting from a historical stand point too, as the VU is the old Gerde's Folk City, where Bob Dylan, and others played in the early 60s. Pretty cool, eh? John continued: > And by the way Leigh, it was great meeting you - I just might take you > up on your suggestion to visit Britain to see the Army in it's > "element"! And I just might be in the seat next to you John! And who knows? In the row behind us might be the rest of the known Cali contingent, Tim Emerich and Joe Ramsey (if I missed another fellow Cali, all apologies!) It's not that far fetched, in all honesty! ********** Subject: Uh Oh Date: Mon, 1 Apr 2002 12:01:47 -0800 From: Greg Weatherby Right after I hit the 'send' button, I realized that I left off one of the most important, highly regarded, venerated, influential, and beloved people, our list moderator! Lynn, I'm sure that you will be on the plane with us as well! Greg Sheesh, what was I thinking!! ********** Subject: Questions About Roy Wood @ VU Date: Mon, 1 Apr 2002 12:00:55 -0800 From: Alfred Masciocchi Can anyone tell me the title of the pre-recorded instrumental that preceded the recent shows; at least, it preceded the Saturday show? And then there was an instrumental opening to California Man, performed by the Army? Is that considered a part of CM or is a separate song that I can't place? Thanks for any help. ********** Subject: Re: Questions About Roy Wood @ VU Date: Tue, 2 Apr 2002 00:11:52 -0800 From: "Leigh Woolford" It is based on the old Move song 'Brontosaurus' but I don't know if it has a title! ********** Subject: Re: Questions About Roy Wood @ VU Date: Mon, 1 Apr 2002 17:15:27 -0800 From: John DeSilva I'm not sure what the opening song is - it sounded like some kind of Army marching song, or maybe a lift from an old Monty Python episode (Fanfare for the Ministry of Silly Walks? ;-D). The instrumental was Brontosaurus - beginning with the main riff, continuing with a variation on the verse, to the end bit when Roy's slap-back echoed guitar riff mightily heralded the arrival of "California Man"!!! Man I miss that sound!!!!! JD San Jose, CA ********** Subject: Re: Questions About Roy Wood @ VU Date: Mon, 1 Apr 2002 17:16:35 -0800 From: "Leigh Woolford" Oops, you meant the "Thunderbirds" theme didn't you!!! Thunderbirds comes first then the band go into the Brontosaurus thingy! Just so you know.... it is the theme tune to the Gerry & Sylvia Anderson puppet TV series of the same name. It was original aired in the 60's but is still being repeated on UK TV. (It was a successor to 'Fireball XL5' and 'Stingray' and a predecessor to 'Captain Scarlet'. How sad am I? ********** Subject: Re: Questions About Roy Wood @ VU Date: Mon, 1 Apr 2002 18:54:54 -0800 From: John DeSilva > How sad am I? Leigh: You're awesome! I haven't thought about that show in many years - I have a version of that song as done by the Shadows. Is that the original version? Should have known that one given the name of the brass section ... Thanks, JD San Jose, CA ********** Subject: Roy NYC pics Date: Mon, 1 Apr 2002 00:03:03 -0800 From: Marston Moor See Your Babies Jive. http://www.angelfire.com/pop/patdou/roywoodnyc.html WHOA! Pull up a chair! ********** Subject: Re: Roy NYC pics Date: Mon, 1 Apr 2002 11:59:31 -0800 From: "Leigh Woolford" Thanks for sharing the pics. They convey the atmosphere of the VU for sure! Compressed chaos maybe the phrase! lol Incidentally, lots of VU pics also now on www.woodyworld.com End of Useless Information #338 ******************************* [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.]