[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 #375 July 30, 2002 In this issue: * Big Takeover reviews Roy Wood's Army in NY * Roy Wood makeup question * Just got this (Cliff Bennett) * Is there anybody out there? * Unlistenable * Irish Times Roy Wood article * Lynne Me Your Ears - disk 2 (cont.) * Was The Move a "pop" band or a "rock" band? * Family Tree Album * Tell us the news about yourself... ============================================================== 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: Big Takeover reviews Roy Wood's Army in NY Date: Sat, 27 Jul 2002 23:28:39 -0700 From: Lynn Hoskins The new issue of The Big Takeover (published quarterly) has a review of Roy Wood at the Village Underground. Issue 50 is the summer blockbuster issue, loaded with features, live reviews, and 120 pages (seriously!) of album reviews. It's quite good reading. Issue 50 also has a very positive review of "Lynne Me Your Ears." ---- Roy Wood Village Underground, March 24 The Big Takeover Issue 50 (Summer 2002) Though what we'd really like to see would be a reunion of the fantastic '60s lineup of the magnificent Move, or failing that, a backing band for Wood that would play his old Move and Wizzard songs in that style, his first New York shows in 28 years were at least a qualified success. Looking EXACTLY the same as so long ago, in trademark guru-esque repose (choppy beard, full fu manchu, tinted shades, birds-nest hair past his shoulders) - only twice as heavyset under his wide army coat, and with dark red streaks at the end of those haphazard hairstrands - the around-60-year-old, good-humored, former Ulysses Adrian Wood remains a mad prince of rock 'n' roll spirit with talent to match - even if this show was like the more innocent strain of rock's 1950s horn-squawking early days than the psychedelic-era strumming pop he helped take it to so smashingly a decade later. How else to explain the sheer pleasant perversity of hiring a nine-piece horn section (eight out of nine of them grinning, swinging women in black pantsuits at that!), crowding them into the tiny, two-tiered Underground stage, and them writing parts for them to blare what used to be the guitar parts like some nutty, overpowering Stax soul revue. You've never heard The Move's or Wizzard's songs like this! While entertaining, the effect was like a college marching band doing crazed covers of kooky cool songs that were once shot through with high energy rock power. (In their heyday, The Move were second only to their primary contemporary influence, The Who, in raw might and sheer flamboyant fun and publicity stunts.) How odd to hear these powerful, full-blast horns, arranged by Wood's famously intricate command (he plays dozens of instruments), drowning out his lone guitar, right from the opening "California Man?" Perhaps 35 years on, Wood prefers these Max Weinberg 7/Doc Severinson rave-ups of his own tunes to the heavy guitar-pop genius they once held. This retro-reposit of once classic Move moments, such as acid-trippy "Flowers in the Rain" and the lascivious pop of "Fire Brigade, or Brian Wilson-esque Wizzard faves like the closing "I Wish It Could Be Christmas Everyday," made them sound older than they already are - a double-nostalgia into the precipice of schmaltz that underscored this rare evening's unfulfilled potential, even though it was fun! The night was saved by the horn section's talent, blaring chops, and eagerness, as well as Wood's black-humored, profane good nature, with one crack after another about his drinking ("is this beer or my urine sample from last night?"), an unexpected bagpipe solo (gently making fun of the nine individual solos he'd just given the horn section on one number) and his endless requests for audience singalongs. In the end, for such a big production, he failed to take himself too seriously, and sang his old songs with relish. Plus, there WAS one song that brought back its original greatness: 1969 #1 smash "Blackberry Way" froze time, hearing the singer's wonderful upper range still so strong, tearing into the timeless tune's near-perfect verse melodies. Wow!! And "I Can Hear The Grass Grow" began with its original heft, when it was just Wood blasting out the curious signature opening chords (that would floor an elephant). There were such patches of this evening where New Yorkers were reminded what a completely unrated guitar player Wood was and is, as well as a writer. From what I hear, there was a Move reunion in Britain in the last decade. Maybe they never came close to the chart success they enjoyed in their home country over here, but if Wood really wants to show us all something before he (and we) get too old... (c)2002 The Big Takeover ********** Subject: Roy Wood makeup question Date: Sun, 28 Jul 2002 12:53:43 -0700 From: PrimoChuck (Charlie) I have read on more that one occasion where Roy came up with the idea of wearing makeup with the Move but I am curious when Roy stopped wearing the makeup. Could anyone please say when he stopped and what song or TV show or concert coincided with the last time he wore it? Did he wear the makeup exclusively for any period of time, or did he make unpainted appearances between times when he made up his face? ********** Subject: Just got this Date: Sun, 28 Jul 2002 19:11:05 -0700 From: "Tom De Val" Just thought I'd share with the list a recent addition to my CD collection: A "2 albums in 1" CD by Cliff Bennett (the British soul + R&B artist of the 60s), and it is a sign of my addiction that I spent £12 purely for the one Woody song on it (although the other 23 or fine). This song is "You're Breaking Me Up (And I'm Wasting Away)" (a 1968 flop single), and is actually rather good. It's quite unlike anything Roy recorded with a strong Stax-type soul beat with raring funky saxes. Not sure how much input Roy had production-wise or how the song-giving came about...any help from the list?? Regards Tom De Val ********** Subject: Cliff Bennett Date: Wed, 31 Jul 2002 00:21:32 -0700 From: Lynn Hoskins Tom De Val wrote: >Not sure how much input Roy had production-wise or how the song-giving >came about...any help from the list?? Hi Tom, Roy was commissioned by Cliff Bennett to write a song for their upcoming "Cliff Bennett Band Branches Out" album (released in 1968.) He didn't perform on it. Not sure whether he helped out with the arrangement. ********** Subject: Is there anybody out there? Date: Sat, 27 Jul 2002 23:27:15 -0700 From: Richard Messum Things have been awfully quiet on the list lately. Has everyone gone away on holidays? Are you all off frolicking at the beach, leaving me stuck here in the city? Bastards! And you haven't even sent me a postcard.... Anyway, i thought i'd stir things up a bit, and suggest three Move / solo Roy Wood songs that i think are really rather unlistenable. Zing went the strings of my heart Ben Crawley Steel Company Miss Clarke and the computer I don't imagine i'll get many arguments about the first one, but i'm looking forward to the abuse being trowelled onto my head over the others. Do your worst! Richard & his amazing technicolour pussycats n.p. Fairport Convention, "My love is in America" ********** Subject: Unlistenable Date: Sun, 28 Jul 2002 12:54:07 -0700 From: Edward Morris > Zing went the strings of my heart > Ben Crawley Steel Company > Miss Clarke and the computer > > I don't imagine i'll get many arguments about the first one... Well, actually I have a soft spot for "Zing". No arguments from me about MC&tC though. Eeek! ********** Subject: Re: Unlistenable Date: Sun, 28 Jul 2002 12:54:39 -0700 From: "David Fatta" I'm still here, sweltering in the July heat of Upstate New York. These three songs certainly are not my favorites, but I enjoy them all as comic relief. I never listen to them by themselves (except for Miss Clarke), but in the context of their respective albums, they bring a smile to my face. The first two are impersonations, a great tradition that was often employed by the Beatles. ("Back in the USSR" = The Beach Boys, "Helter Skelter" = Jimi Hendrix). "Zing" is a take on the Skyliners 1959 hit, and it is typical of the R&B croons of the day. "Ben Crawley" is a tongue in cheek approximation of a typical Johnny Cash song. Nobody seems to complain that "California Man" mimics Jerry Lee Lewis, "See My Baby Jive" is inspired by the Crystals (Phil Spector), and "Forever" echoes Neil Sedaka. I guess these were more successful attempts at the same formula. Another tradition is for the bassman of a quartet to be a clown. These two songs showcase the comedic, over the top basso profundo of Bev "Bullfrog" Bevan. I always chuckle when I hear Bev's vocal part in "I Can Hear the Grass Grow". A third tradition is the contrivance of a song for the drummer to sing, even if his vocal style does not fit in with the bamd's usual style. Ringo used to cover Carl Perkins songs. I really like "Miss Clarke and the Computer". Of course it is a tribute to "2001, a Space Odyssey", with HAL 9000's death scene singing "Bicycle Built for Two". Roy brilliantly expands on the concept: a computer that is so developed that he feels emotions, including the heartbreak of unrequited love. Besides, "Boulders" is a home for Woody's songs that would not fit in with the Move, ELO, or Wizzard. Keep cool, David Fatta ********** Subject: Re: Unlistenable Date: Sun, 28 Jul 2002 15:48:45 -0700 From: Richard Messum I understand the rationale behind "Ben Crawley...," that it's an ironic take on Johnny Cash, etc., i think that these pastiches are in general very clever, but not always successful -- but then i'm not a big Johnny Cash fan, either. "See my baby jive" is one of the best songs in the canon, though: quite utterly joyful and brilliant. "Zing" was (probably) intended as a piss-take, and i imagine that they had fun recording it, but that doesn't necessarily make for a pleasant listening experience. I know what you mean about the bassman of a quartet being a clown: i mean, look at Paul McCartney. Almost every time he opens his mouth lately, he comes out with a groaner. He'll be claiming that he was the brains behind the Beatles, next. (Oh, wait, he's already done that.) (Has anyone heard all these rumours floating about, that Paul McCartney is alive?) Re: "Miss Clarke & the computer," i understand about computers feeling emotions: i have one. What mine has mostly, is hatred for me. I wonder if Bill Gates knows the song? And on that note.... ********** Subject: Re: Unlistenable Date: Sun, 28 Jul 2002 19:11:47 -0700 From: "Robert Sutliff" I guess I'm the only guy in the world who actually loves "Zing".... And as for Paul McCartney - what kind of moron are you? ********** Subject: Irish Times Roy Wood article Date: Sun, 28 Jul 2002 19:12:10 -0700 From: Lynn Hoskins While Richard contemplates an answer to Bobby's burning question, thought you'd enjoy this article about Roy that appeared in yesterday's Irish Times. It's a curious piece, as Roy's name was never Ulysses (it was a roadie's joke many years ago that quickly took on a life of its own!) But it's always great to see Roy's name in the news. ---- Roy Wood Irish Times; Dublin July 27, 2002 by Tony Clayton-Lea It mustn't have been easy to go through early life with a first name of Ulysses, but UK musician/songwriter Roy Wood is nothing if not a survivor. He's also one of the great unsung, underrated and uncelebrated songwriters of the past 30 years, a man who once had many chart successes through a succession of pop groups (The Move, Electric Light Orchestra, Wizzard) yet whose last Top 10 hit was in 1974 with Wizzard's Are You Ready To Rock. Born in Birmingham in November, 1946, Wood soon abandoned Ulysses for the more down-to-earth Roy. Wood formed The Move, one of the UK's premier pop/rock/art bands of the late 1960s and early 1970s. Continuous tussles with the media (giving television sets a right seeing-to with an axe became a regular occurrence) and stunts that included burning effigies of UK prime minister Harold Wilson put paid to any lasting success for him - although 1972 was surely his annus mirabilis, a 12-month period when he enjoyed three Top 10 hits in three different bands (Wizzard's Ball Park Incident, The Move's California Man and Electric Light Orchestra's 10538 Overture). In a short space of time he dissolved The Move, formed and left Electric Light Orchestra and founded Wizzard. His aim was to match his fertile pop imagination (which ranged from rock 'n' roll and pop to psychedelia, rock 'n' roll revivalism, heavy metal and classical rock) with musical outfits that were inventive, experimental and quirky. Inevitably, the public tired of his constant changes and by the late 1970s Wood was floundering in bands such as Wizzo, Rock Brigade and The Helicopters, while his erstwhile band, Electric Light Orchestra, sold millions and played all over the world. Yet, it's his solo material (solo, that is, in that he plays all the instruments: guitar, bass, drums, piano, banjo, trombone, flute, bagpipe, violin, accordion, sitar) that has confounded bargain-bin hunters and delighted pop/rock aficionados. His first pair of solo records, 1973's Boulders and 1975's Mustard, are each undiscovered gems, two albums fit to bursting with the ideas of a multi- instrumentalist, engineer, producer and sleeve designer. The major irony of Wood's creative career is that he has lived richly off the royalties of his most well-known song, I Wish It Could Be Christmas Everyday, since its release in 1973. He remains a man with the distinct inability to market himself, a figure from the past who has never made the jump from cult hero to global pop star. Blame his artistic integrity, blame his method of baffling the public, and blame his reticence towards fame. "I don't write about myself," he said in the mid-1970s in a rare interview. "They're not personal songs. I'm basically a quiet sort of bloke, not exciting at all." (c)2002 Irish Times Ltd. ********** Subject: Re: Unlistenable Date: Mon, 29 Jul 2002 12:10:37 -0700 From: Richard Messum >And as for Paul McCartney - what kind of moron are you? Why, the best kind, of course! ********** Subject: Re: Unlistenable Date: Mon, 29 Jul 2002 12:10:21 -0700 From: "David Fatta" Actually, "Miss Clarke and the Computer" does not work by itself at all. It depends completely on your familiarity with "2001, a Space Odyssey", and without that reference, it must sound pointless and annoying. ********** Subject: Re: Unlistenable Date: Mon, 29 Jul 2002 12:10:28 -0700 From: "Michael J. Cross" All right then, why all the ZWTSOMH bashing? The last time John D. took a pot shot at it, I threatened him off-list with the prospect of a 4:00 am phone call featuring a drunken rendition with me on vocals and Chris on kazoo. He's probably still tossing and turning every night awaiting that dreadful event. And Ben Crawley....it just happens to be one of my faves. I always love tongue-in-cheek genre crossover novelty pieces. Maybe it's my parents' love of country and that fact that I was brought up listening to a lot of it, but I'm always tickled when brits take a stab at country (and yes, I really enjoy Down Home Town, of course). As for Miss Clarke...I never liked it much as a stand-alone tune, but it just fits in so well with the rest of Boulders that I wouldn't change a note. Ahh, but there is a bit of prescience in Roy's writing that tune, though, waaayyy before anyone could predict how prevalent PC's would be in today's world. How many computers even existed in 1972? And was Miss Clarke merely performing an upgrade? Will Roy ever write Miss Clarke and the Computer version 2.0? Mike Cross Rochester, NY ********** Subject: Re: Lynne Me Your Ears disc 2 Date: Fri, 26 Jul 2002 12:28:44 -0700 From: Poisongold John DeSilva writes: >Message From The Country - The Balls Of France: pretty faithful to >the original, but with harder edged guitars (do you see a pattern here >to the kind of guitar I like? ;-D ). One question: is it possible >that this is a hybrid band from the original Balls of the late 60's? >Maybe the guitarists are named Denis Laine and Trevoire Burton? ... >I didn't think so ... Sorry, no. TBOF is a project of Nashville-based Christian pop artist Jerry Chamberlain and his wife, Sharon Ayres. It IS a great cover, isn't it? MJC ********** Subject: Was The Move a "pop" band or a "rock" band? Date: Mon, 29 Jul 2002 17:11:59 -0700 From: Lynn Hoskins An interesting Topic Of The Week has been suggested: Was The Move a "pop" band or a "rock" band? Please share your personal viewpoint (including regional perspective) as well as how you feel The Move is perceived by the public and the media. Feel free to do a "then & now" comparison - 1960's vs. 2002. ********** Subject: Re: Was The Move a "pop" band or a "rock" band? Date: Tue, 30 Jul 2002 02:46:37 -0700 From: "Bobby Sutliff" > Was The Move a "pop" band or a "rock" band? In those days the terms pop and rock were pretty much interchangeable. I think the Move covered both bases quite nicely. ********** Subject: Re: Was The Move a "pop" band or a "rock" band? Date: Tue, 30 Jul 2002 02:46:49 -0700 From: "Mark Jarman" For me, The Move were definitely a pop band. And good for them. I'm sick of people getting on their high and mighty horses, saying how pop is somehow less important than other forms of music. Pop songs are one of the ways I have always marked and remembered important events in my life. The great Move songs are some of the best pop I know. I still remember what I was doing when IWICBCE came out! Mark (Ipswich UK) ********** Subject: Re: Was The Move a "pop" band or a "rock" band? Date: Tue, 30 Jul 2002 10:49:03 -0700 From: "Tyler C.Sherman" To paraphrase an old TV commercial, The Move were "two-two-two groups in one". They were both a rock and pop band. Their musical schizophrenia is part of what makes them so enjoyable but also what caused most folks here in the USA to scratch their heads and go "Huh?". Here in the states they were (are) viewed as a sort of mysterious, cult, underground rock band. In the UK they probably were known more as a pop band, largely due to their string of hit singles, which they did not have here. Keep in mind the first record most Americans were exposed to was "Shazam!" , a musical tour-de-force that gave us samplings of their pop side ("Beautiful Daughter") hard rock side ("Hello Susie", "Don't Make My Baby Blue") psychedelic side ("Last Thing On My Mind") experimental side ("Fields Of People") and a taste of things to come ("Cherry Blossom Clinic Revisited" with it's neo-classical themes). The Move really covered most of the bases musically and that's why their records are still great fun to listen to. Wizzards, Tyler ********** Subject: Family Tree Album Date: Tue, 30 Jul 2002 10:49:53 -0700 From: "Borja Ferrer" I didn't know the existence of this album until last week. Here is a review of this album: http://www.artistdirect.com/store/artist/album/0,,377259,00.html I would like to know if this album is available anywhere. Is it good?? ********** Subject: Re: Tell us the news about yourself... Date: Tue, 30 Jul 2002 14:55:21 -0700 From: "James Towill" >Your name, age, location, occupation. James Towill, 24, Erskine (Scotland), Visitor & Publicity Officer for Wildlife Conservation Organisation >How long have you been a Move and/or Roy Wood fan? Move fan since I was about 12 >What was your first Move related experience? Watching old Top of the Pops footage of the Move on a music programme, Sounds of the Sixties, on BBC2. I saw Fire Brigade and Blackberry Way and thought I must buy a tape of this lot! Bought a tape 'The Best of the Move' which was almost constantly on my Hi-Fi. >Tell us about your top 5 favorite Move related tracks. In no particular order.... Do Ya Tonight Lightning Never Strikes Twice Cherry Blossom Clinic Revisited Flowers In The Rain Outstanding....and then there's Hello Suzie, When Alice Comes Back to the Farm, Brontosaurus, Blackberry Way.......great stuff! >What's your favorite Move related album, and why? Probably Looking On or Shazam is my favourite...great rock albums. Message From The Country is great also...if it didn't have the Ben Crawley Steel Company or My Marge (sorry lads...quality control was out when these were recorded!) it would be a masterpiece. >What topics would you like to see discussed on this list? How long are we going to have to wait for the Live at Fillmore CD that has been talked about for 3 years! :-) >If you've seen the Move or any member of the Move in concert, tell us >about that show. Not applicable. Unfortunately! Will probably see the Hollies with Carl Wayne on vocals at some point soon (seen them twice before Allan Clarke left). >Tell us about an amusing or interesting situation that has happened >as a result of you being a Move/Roy Wood fan. Having one of my mates in secondary school continually recite the spoken intro to Cherry Blossom Clinic Revisited and nobody else knowing what the hell he was going on about! >Who are some of your other favorite artists/bands? ELO, ELP, CSN&Y, Rush, Pink Floyd, Uriah Heep, Manfred Mann's Earth Band, Hollies, Eagles, Deep Purple, Led Zeppelin, Camel, Lindisfarne, Kinks, Joe Walsh, Procol Harum, Train, The Who, Puressence and loads of others.....! >Which Move related song do you wish one of your favorite bands >would cover? I've thought that I would like to hear Tonight done by a band now. Unfortunately, it would be a band like soppy Travis or Oasis that would do it and it would be a poor version! >What is the one burning question that you have never had answered >in relation to Move/Roy Wood history or music? Would the Move with Roy Wood AND Jeff Lynne AND Bev Bevan AND Rick Price never consider getting back together again, even for a one off live recording? >Are you having trouble finding any Move related music on CD? Would love to hear some live material from Shazam onwards..... Otherwise, I've got all I want. Looking forward to the Message From The Country remaster in September! Best wishes to all, James End of Useless Information #375 ******************************* [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.]