[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 #359 May 30, 2002 In this issue: * Topic Of The Week: "The History Of The First Move Album" * Review of Nancy's "California Man" * Was Split Ends shortsighted? * Song Of The Week (week of 5/20): "Ben Crawley Steel Company" * Jam House reviews * All Do Ya, All Day * Tell us the news about yourself... (cont.) ============================================================== 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: Re: History of the first Move album Date: Tue, 28 May 2002 22:38:20 -0700 From: Richard Messum David Friedman asked: >*In which order were the songs recorded (i.e.: Walk Upon The Water >appears as early as early '67, but doesn't appear on record until the >release of the Fire Brigade single in early '68)? I can't tell you the order in which all of the songs were recorded, but Bev Bevan has said that the first two songs they cut were "Night of Fear" and "Disturbance." I have a double vinyl LP entitled "The best of the Move" (A & M SP 3625, there's no date on it but i think it must have been 1973), disc one is their first LP in its entirety and there are extensive liner notes by Mr Bevan, from which i gleaned the above info. I may well regret this offer, but if anyone is unfamiliar with these liner notes, i'll post them. It won't be quickly, though, as i'm hopeless on the keyboard. Incidentally, i've never seen the original LP's Fool cover, either: anyone care to post that? ********** Subject: Review of Nancy's "California Man" Date: Wed, 29 May 2002 21:48:08 -0700 From: Lynn Hoskins This reviewer apparently thinks "California Man" is the best track on the album! ---- San Diego Union Tribune May 9, 2002 POP REVIEW Nancy Sinatra "California Girl" Operative words here: if only. If only they'd (or he'd, as in Daddy Frank) allowed Nancy to rock back in the '60s, she might have shown us something. But the swagger of "These Boots Are Made for Walkin'" aside, Nancy Sinatra was relegated to routine ballads and borderline-cheesy pop songs back then. This "new" release, mixing recordings from the past with a few fresh ones, continues to hammer home the point. But for a faithful rendition of Roy Wood's "California Man," Sinatra is mired in blandland. It must be said that she can't be blamed for "Hotel California" or "Saturday in the Park," which no one could salvage. -- David L. Coddon ********** Subject: Was Split Ends shortsighted? Date: Tue, 28 May 2002 12:51:08 -0700 From: Lynn Hoskins Mike Cross wrote: >Without reading any of the responses to this SOTW, I would predict a LOT >of less-than complimentary posts to BCSC. I guess you'd better get caught up on your reading then... ;) Here's something that continues to bug me. As I was reading Richard Cromelin's excellent "Split Ends" liner notes (that John DeSilva was kind enough to type up for us), I guess I'd forgotten that the American "Split Ends" release did not consist of the *complete* "Message From The Country" album plus singles. I was looking for his review of "Ben Crawley Steel Company," but it wasn't there. Nor was his review of "My Marge" and "Don't Mess Me Up." I think this was very shortsighted on the part of United Artists. Did they feel these songs would detract from the rest of the album? Were they right? My feeling is that America has always been very fond of "novelty" songs. How else did Spike Jones become so popular? "Split Ends" came out in when the Dr. Demento Show was one of the top-rated radio shows in the country. Maybe "My Marge" or "Ben Crawley" could have made the Dr. Demento Top Ten. We'll never know. Thankfully, a remastered "Message" (the whole album!) is scheduled for release sometime this year. Can't wait to read the reviews... ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 13:00:29 -0700 From: "Bobby Sutliff" I think the idea behind Split Ends was to insert all those wonderful singles along with what they considered to be the best tunes from MFTC. While I really love Message (even Ben Crawley Steel company) you've got to admit that Split Ends is a fabulous collection. ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 15:12:18 -0700 From: John DeSilva "Lynn Hoskins" wrote: > I think this was very shortsighted on the part of United Artists. > Did they feel these songs would detract from the rest of the album? > Were they right? Lynn (and everybody): Judging from the graphics of the original release of 'Split Ends', it appears that UA was doing two things above all: 1) pushing "Do Ya" as a single (note the amount of space given to the review of "Do Ya", as well as a permanently printed "Contains the hit Do Ya" label on the front cover), and 2) including the other most recent singles by the group, released in 1972. My guess is that they started out with those singles first, then tried to figure out how to include as much of 'Message From The Country' as they could with the time remaining. I can picture the marketing folks stating "anything that isn't the 'classic Move sound' is history!" Thus the dumping of the three songs. Interestingly enough Harvest did a similar repackaging of MFTC with the 'California Man' album. Fantasy thought for the day - what if the Move had stayed together into 1973 and recorded a 5th album? Would "Do Ya", "Down By The Bay", "Tonight", and "California Man" have been on that album? Or would it have been something altogether different? Food for thought ... ;-D JD San Jose, CA ********** Subject: Re: Was Split Ends shortsighted? Date: Wed, 29 May 2002 09:22:36 -0700 From: marmil I think (and I can certainly be wrong) that for alot of us in the US, "Split Ends" was where we came in. I know that I certainly did, although I had heard both Do Ya and CBC, Revisited on the radio - probably in spring of '73, and got Split Ends immediately (Do Ya being one of the most amazing things I had ever heard) and then got everything else. Marc marmil@muze.com ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 22:05:21 -0700 From: Bob Hughes As I recall Split Ends in nearly 30 minutes long on each side. No room for anymore tracks at all. As it is, I think I returned it three times before I got one that would play on my changer. I don't miss lps at all. ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 15:12:13 -0700 From: Mike Gough The omissions were corrected on the cd release The Best of The Move which contains the entire message l.p. & all the wonderful singles from that era. ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 18:24:34 -0700 From: "Tyler C.Sherman" Mike, Yeah, it was a nice job considering it was a US reissue but it was deleted very quickly. I don't think there is any Move stuff available here currently. Wizzards, Tyler ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 22:39:17 -0700 From: kakman1 John DeSilva writes: >Interestingly enough Harvest did a similar repackaging of MFTC with the >'California Man' album. Fantasy thought for the day - what if the Move >had stayed together into 1973 and recorded a 5th album? Would "Do Ya", >"Down By The Bay", "Tonight", and "California Man" have been on that >album? Or would it have been something altogether different? Food >for thought ... ;-D" Ah, if at that time, Jeff Bev and Roy got over the split from ELO and delivered one final Move album (which was owed to Harvest, but due to the success of both off shoot groups, Harvest was kind enough to release Jeff Roy and Bev from the obligation)! Bev describes in his book how when Jeff Roy and himself were brought together soon after Roy split and instead of the usual shouting match and recriminations there was just embarassed silence and eyes towards the floor. As magical and lovely as the idea sounds, due to the circumstances at the time, if EMI/Harvest held the Move to their one last album contract, I'm inclined to believe that the fifth album may have , oh, how shall I put it, may have sounded like a contractual obligation album. And absolutely no incentive for either party to promote the album, too. Best things worked out the way they did. Kevin Kunreuther Dallas TX ********** Subject: Re: Was Split Ends shortsighted? Date: Wed, 29 May 2002 09:22:43 -0700 From: John DeSilva Kevin wrote: > I'm inclined to believe that the fifth album may have , oh, > how shall I put it, may have sounded like a contractual obligation > album. And absolutely no incentive for either party to promote the > album, too. Best things worked out the way they did. Kevin: I agree with you - as it turned out, 'California Man' for all intents and purposes became that contractual obligation album (albeit put together by the label and not the Move). The trade off might have been that we wouldn't have heard the first Wizzard singles until much later (if at all), which of course would never do ... JD San Jose, CA ********** Subject: Re: Was Split Ends shortsighted? Date: Wed, 29 May 2002 17:02:28 -0700 From: "Tyler C.Sherman" Kevin & all, Or it could have gone the other way. If obligations dictated that Roy & Jeff had to produce more Move material even though they wanted to end it, the prevailing acrimony and tension during the sessions could have translated to some very interesting music. John Lennon was ready to break up The Beatles after Brian Epstein died but due to contractual obligations and Paul McCartney's desire to continue, it didn't happen for two more years. They began to dabble in solo work while producing some of their greatest stuff. In fact, the "White Album", rife with songs reflecting the tension of the period, was really a collection of solo pieces with the individual writers using whoever happened to be around as backing musicians. And that album is regarded as one of their best. So it could have been for The Move. I thought at the time, "What are they crazy? Packing it in when they're just beginning to crack the US market?" If they could have put aside their differences long enough to do another album & single aimed at the US market and got it together to back it up with a tour here,they would have finally broken thru. I believe they were on the cusp of being as big here as they were in the UK. Then their subsequent solo/side projects would been much more successful, particularly for Roy. Of course, with incessant touring and jumping on the disco band wagon, ELO eventually were very successful here but it might have been easier for them if the Move had been successful first. And certainly Roy would have benefited tremendously if the Move had hung on a bit longer and had a hit here. Oh well, it's interesting to speculate but what is, is. Wizzards, Tyler ********** Subject: Re: Was Split Ends shortsighted? Date: Tue, 28 May 2002 22:05:12 -0700 From: PrimoChuck (Charlie) Lynn Hoskins writes: >My feeling is that America has always been very fond of "novelty" >songs. How else did Spike Jones become so popular? "Split Ends" >came out in when the Dr. Demento Show was one of the top-rated radio >shows in the country. Maybe "My Marge" or "Ben Crawley" could have >made the Dr. Demento Top Ten. We'll never know. I started listening to Dr. Demento around 1973 and never heard these tunes on his show. This was when his show was only heard in LA. I think someone on this list posted Roy Wood (and members of Wizzard) were guests on the Flo and Eddie show (I know at one time, Flo and Eddie's show followed Dr. Demento on KMET). I think it's interesting for people to pigeon hole Roy Wood. Critics and websites try to place him in many different categories. I remember one critic back in the 70's compared him to Spike Jones (I believe the critic referenced Goin' Down the Road.) By the way, one local station in Los Angeles, KFI, is using Nancy Sinatra's version of California Man as bumper music for one of their talk show hosts (Bill Handel). Roy's music is rich in potential bumper themes (all those great B sides especially). I plan to write a few selected hosts and see if they can play his music. ********** Subject: Re: Song Of The Week: "Ben Crawley Steel Company" Date: Wed, 29 May 2002 09:22:52 -0700 From: "Michael J. Cross" I wrote: >Without reading any of the responses to this SOTW, I would predict a LOT >of less-than complimentary posts to BCSC. Lynn noted: >I guess you'd better get caught up on your reading then... ;) No-one could be more pleasantly surprised than I am to have been shown wrong. I still wonder how Ben Crawley woud have fared on the American Country charts as a single. ********** Subject: Re: Song Of The Week: "Ben Crawley Steel Company" Date: Wed, 29 May 2002 21:47:06 -0700 From: kakman1 "Michael J. Cross" writes: >I still wonder how Ben Crawley would have fared on the American >Country charts as a single. Johnny Cash should have recorded it back in '72 or '73, it would have been Roy's first big American hit. Kevin Kunreuther Dallas TX ********** Subject: Jam House reviews Date: Wed, 29 May 2002 11:00:47 -0700 From: Lynn Hoskins Don't know if anyone from the list made it to this show. Here are reviews from the Birmingham Post and the Birmingham Evening Mail. ---- Review: New recruits join up to rock with living legend Roy Wood's Army, The Jam House St Paul's Square, Birmingham Birmingham Post (UK) April 25, 2002 By Emma Brady For a true Brummie music legend like Roy Wood, walking into a bijou venue like the Jam House must have been a surreal experience. About 100 people - mainly couples dining on the terrace - had gathered at Jools Holland's club to hear what the former ELO, The Move and Wizzard artist had to offer. Not being an ardent fan I was surprised that I knew the words to more than just one song - probably through osmosis and occasional Radio 2 exposure. Roy and his 12-piece band opened with California Man, with their performance immediately throwing up images of the Commitments, all jostling for space on a tiny stage. A string of hits followed including Ball Park Incident and Fire Brigade, but as the set continued his strong 1950s jive sound gradually encouraged more revellers to sedately bop around and clap along. Flowers In The Rain and I Can Hear The Grass Grow also sounded vaguely familiar, but when Roy and the band launched into Are You Ready To Rock the dance floor began to serve its purpose. However, despite his best efforts - especially the bizarre bagpipe playing - the biggest cheers were reserved for Roy's final two songs. Blackberry Way went down a storm but the indisputable feelgood factor of his perennial hit - I Wish It Could Be Christmas Every Day - filled the club with an early dose of festive cheer. It is unlikely I will ever see any other living legends perform in such an up-close and personal manner, but I doubt many would perform as passionately as Roy Wood and his new recruits. (c)2002 Birmingham Post and Mail Ltd. ----- Review: Poor turnout for Roy's wizzard homecoming Roy Wood's Army, the Jam House, Birmingham Birmingham Evening Mail (UK) April 26, 2002 By Graham Young It says much for Roy Wood's talent that his was the first singing voice heard on Radio 1 in an era when The Beatles and Rolling Stones were in their pomp. And, that 35 years on from The Move's Flowers in The Rain, he should be having just as much fun at an intimate venue where his 12-strong band almost outnumbered the pounds 10 per head audience. 'It's like playing in someone's living room - how weird!' quipped the star who also inspired Wizzard and ELO. Perhaps only in Birmingham could one of the city's favourite sons be 'honoured' in this unlikely way, and nobody mind a jot. Woody blasted through a rip-roaring 90-minute set including everything that was old, new, borrowed and Big Girls Blues which was introduced as: 'We've just been to America to do some gigs and we wrote this song, but half the band didn't come so they don't know this one!' You'd never have guessed. It was as tight and well received as everything from Ball Park Incident to Blackberry Way and, of course, I Wish It Could Be Christmas Everyday. 'We don't care what season it is!' said the hairy beast in pink specs whose appearance seems to have been preserved in aspic. With a set this strong ending on such a high, more's the pity it's not being seen by heaving masses nationwide every December. (c)2002 Birmingham Post and Mail Ltd. ********** Subject: All Do Ya, All Day Date: Thu, 30 May 2002 02:10:38 -0700 From: David Librik If you got on the mailing list for Not Lame records after ordering their spiffy Jeff Lynne tribute set, you might have recently seen this bizarre example of "high concept": > The Move - Tribute To "Do Ya" - 7" Single - $6.50 > Wow..here's a new angle on the rash of Tributes.....do > it on a classic song that lives on forever. The excellent > new Tall Boy Records has ushered this wonderful idea > via The Move's classic "Do Ya" and found 4 great bands > to offer up their versions of this rave up....the bands > here are: Kenny Howes And The Yeah!, Linus Of > Hollywood, Parallax Project(ex-Cherry Twister) and > Einstein's Sister, all artists are favourites here at Not > Lame and all this on lively clear vinyl to boot! 4 song 7" > Vinyl EP like non other. To Order: http://www.notlame.com I've heard of concept albums before, but this is the first time I've seen a concept 45. Sure, it's obviously a promotion for a tiny record label's acts -- most independent tribute discs are -- but, hey, I'm an American Move fan, so OF COURSE I went ahead and bought it! (We barely see any recognition of our favorite band from anyone, and we've got to support fellow fans, right?) Quick summary: an enjoyable bunch of takes on a great Move song, with some surprises. I know some people don't like SPOILERS ... so I'll insert some space here before the review. [SPOILER] [SPOILER] [SPOILER] [SPOIL ME AMADEUS] [SPACE] [SPACE] [SPACE] OK, this really is a 7 inch vinyl record. Good thing I've got that record player. The front cover has photographs showing you how to play those famous three chords on your guitar. Maybe Mel Bay could add "Do Ya" to his teach-yourself book, alongside "Go Tell Aunt Rhody" and "Twinkle Twinkle Little Star." Side 1: 1. Kenny Howes and the Yeah! This guy goes for the full-on rock approach. He covers the original Move version; there's no police playing with their guns, but there is a plane a-comin'. There's also phased vocals, echo, and a general garage-band sound to this faithful cover. A big Yeah! to Kenny Howes. :-) 2. Linus of Hollywood (a/k/a The Effects of Heavy Drinking) Every tribute has to have its weirdo track mixing disparate styles, and this one can only be described as The Turtles Attack The Move. If you've heard "Happy Together" you'll have an idea of what this sounds like.... This song makes me grin. He's a cheeky bastard, but his musical shotgun marriage works. Side A: 1. Parallax Project What is this? Sounds like the Human League team up with Love for the '80s electropop dance take on "Do Ya." Or perhaps it's just a guy in his basement with nothing but a guitar, a Casiotone, and an electronic drum machine. The description above says that Parallax Project is a Cherry Twister side project, but I don't hear their trademark harmonies. 2. Einstein's Sister OK, acoustic guitars and handclaps. Think "ELO covered by a gang of buskers down on State Street." This seems like the least interesting song on the record, or maybe I'm just finally tired of hearing "Do Ya" over and over again. :-) In summary: none of these bands are going to blow Jeff, Roy and Bev out of the water, but it's a pleasant novelty that I've been playing a lot lately. Come a-runnin' just to get a listen, unless you don't give a damn. ********** Subject: Re: All Do Ya, All Day Date: Thu, 30 May 2002 02:11:55 -0700 From: Lynn Hoskins >If you got on the mailing list for Not Lame records after ordering >their spiffy Jeff Lynne tribute set, you might have recently seen this >bizarre example of "high concept": Today I received an e-mail from Anna Borg, executive producer of the above mentioned 7" single, and head of Tall Boy Records. She asked me to let fans know that you can also order the single direct from http://www.tallboyrecords.com I think it's a little less if you order direct from Tall Boy. Plus, for $1, you can order a cute little blue button that says, "DO YA?" For overseas fans, Anna is in the process of setting up a PayPal account for Tall Boy so that they can accept credit card orders. I'll post that info. when I hear back from her. Not Lame offers credit card ordering via the Web or by phone. (But I'm not sure if Not Lame has "DO YA?" buttons...worth inquiring about.) I just received this single (and button) from Tall Boy - it's on clear vinyl. Very stylish! My own review is forthcoming. ********** Subject: Re: Tell us the news about yourself... Date: Mon, 27 May 2002 09:45:59 -0700 From: "Paul Watkins" > Your name, age, location, occupation. Paul Watkins, 36, Neath, Wales, Technical Clerk and Part time Webmaster for The Move Information Station. > How long have you been a Move and/or Roy Wood fan? Since 1967 when I had my first Move Single 'Flowers in the Rain' (I was only 3 years old) > Tell us about your top 5 favourite Move tracks. 1. Flowers in the Rain 2. Beautiful Daughter 3. Fire Brigade 4. Blackberry Way 5. Down on the Bay > What's your favourite Move related album, and why? It has to be 'The Birthday Party' from the Idle Race, It is such a refreshing and dynamic production. > What topics would you like to see discussed on this list? Why are there no official or fan-club releases of Move video's tv apps > Who are some of your other favourite artists/bands? The Beatles, Slade, The Sweet, Amen Corner, Abba, Wings, Blur > Which Move related song do you wish one of your favourite bands > would cover? I Think that Blur should cover 'Flowers in the Rain' > What is the one burning question that you have never had answered > in relation to Move/Roy Wood history or music? Where is the missing Move Album that Bev has referred to in some of his interviews? > Are you having trouble finding any Move related music on CD? No Paul Watkins Web site:: http://www.watkins1.freeserve.co.uk/index.html (The Move Information Station) End of Useless Information #359 ******************************* [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.]