[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 #384 September 1, 2002 In this issue: * Roy Wood in upcoming episode of BBC1's "Celeb" (cont.) * Celeb * Jellyfish cover I Can Hear The Grass Grow (cont.) * Roy Wood - 20th Century Guitar interview (Part 1) * What's in the FTM Shop... (cont.) * Lend me your ears... * Marston Moor - history lesson ============================================================== To POST TO THE LIST: Send an e-mail to: move-list@eskimo.com Move List Info & Archives: http://www.eskimo.com/~noanswer/movelist.html Join the ELO List: http://www.eskimo.com/~noanswer/showdown.html Other official websites: The Move: http://www.themoveonline.com Roy Wood: http://www.roywood.co.uk Face The Music (for all ELO & related news): http://www.ftmusic.com TO UNSUBSCRIBE: Send an e-mail to move-digest-request@eskimo.com with the word "unsubscribe" (no quotes) in the subject line ============================================================== Subject: Re: Roy Wood in upcoming episode of BBC1's "Celeb" Date: Fri, 30 Aug 2002 11:55:32 -0700 From: Lynn Hoskins I'll post another reminder closer to the airdate, but here's one to mark on your calendar: Roy is in Episode 3: "The Cast Member," which comes up on Friday, 20 September (9.00pm on BBC ONE). ********** Subject: Celeb Date: Fri, 30 Aug 2002 11:48:26 -0700 From: "Bill Krouwel" I think the Osbournes' lawyers are just playing games. "Celeb" has been a (consistently good) cartoon in Private Eye for years....and Harry Enfield, to judge by the trails and press coverage, is definitely taking the character from there, down to and including the celebrity's brattish kid. Maybe Private Eye should sue Ozzie? Incidentally, I should think that association with the Enfield/Private Eye crowd - taste makers all - would do RW no harm at all, especially if he plays it right and isn't being set up to look a fool..... ********** Subject: Re: Jellyfish cover I Can Hear The Grass Grow Date: Fri, 30 Aug 2002 11:48:30 -0700 From: Richard Brown Jeff (Simon Apple) wrote: > This may have been posted before, but...Jellyfish used to perform I > Can Hear The Grass Grow on their "Spilt Milk" tour in '93 (?). I cannot agree with Jeff more. Jellyfish was also my fav band of the 1990's. To get a 4 CD box set from a group that only released two albums is a godsend. In the great liner notes, the guys have some really nice words about The Move. But I also agree that this is not the place to start for the uninitaited (since this is a box of demos and live tracks). I'd suggest "Spilt Milk", their second album. ********** Subject: Roy Wood - 20th Century Guitar interview (Part 1) Date: Fri, 30 Aug 2002 23:20:53 -0700 From: Lynn Hoskins Finally had a chance to type this up. I've inquired about the possibility of list members being able to purchase the April issue directly from the magazine. Until I hear back, thought you'd like to read the cover story. Lynn ---- 20th Century Guitar April, 2002 by Larry Acunto Part 1 of 2 Cover [with photo]: Roy Wood's Army - New York's Invaded Again! (Only this time, it's friendly fire!) Story: It's late March in New York, the city is making a remarkable recovery from the attacks of last year, its residents unaware of another invasion, though this time far friendlier, in the guise of Roy Wood's Army, an imposing thirteen-piece ensemble well-trained in the art of the surprise attack, fully prepared to render the citizens defenseless. This time, the citizenry happily throws down their defenses and succumbs to the overpowering aural delight that emanates from the rather attractive troops. You see, this army, though supplemented with the traditional staff handling the drums, bass and guitar, is comprised of some very pretty musicians of the female persuasion. Not in itself that unusual, but to have so many (eight) at one time on stage made some occasionally forget to listen to the music. It's a tough job for Roy, but somebody has to do it. But wait, did someone just ask, "Who exactly is Roy Wood?" An unfortunate query to be sure, but far too often heard on this side of the puddle. In his native England, and most of the rest of the world, that question is rarely heard. For the last three and one half decades, Roy has topped the pop charts with hit after hit, either with one of his many bands or as a solo artist. But that is just one side of this multi-instrumentalist, songwriter and producer. He is a musical chameleon, changing styles, instruments and even his own voice as he sees fit, which is quite often. His songs can be as fluffy as The Hollies or as heavy as Led Zeppelin. He has lead a raw power trio and groups lush with violins and cellos. If ever there could be a lead rock oboist or bag pipist (piper?), Roy is it. He is as proficient on the drums as he is on the cello, as accomplished on the saxophone as the guitar and give him a banjo or a bagpipe and there is not telling when the fun will end. Roy Wood started on his way to fame and fortune in the mid-1960's when he founded the legendary group, The Move. It was not long before he began topping the charts with hits such as "I Can Hear The Grass Grow," "Night Of Fear," "Flowers In The Rain" and "Blackberry Way." The Move were the darlings of U.K. pop radio, but as countless English groups saw their fortunes rise in America, nary a peep was heard from them here. As the sixties came to an end, Roy made a left turn with The Move, producing what surely would be the album that would break them in America. Shazam featured the perennial fan fav, "Hello Suzie," the delightful "Beautiful Daughter" and the epic "Cherry Blossom Clinic Revisited," the later dropping subtle hints of what was to come with its not-so-subtle lifting of classical themes, though very tastefully, and rather humorously, done. And that was just the first side of the record! But alas, Shazam was but a blip on the American radar. By this point, much can be blamed on The Move's management for not getting the band over here, only one tour of the States was ever embarked upon by the group. Personnel changes in The Move allowed for the recruiting of Jeff Lynne from The Idle Race, and it was at this point Roy began formulating his next venture. But The Move were far from finished. The follow-up to Shazam, Looking On, has been said to be one of the heaviest albums ever recorded. Quite a jump from the pop days of the sixties. Looking On is loaded with gems but none so stunning as the slow-driving, kick-you-right-in-the-face "Brontosaurus." Still, there were moves afoot to once again completely change his approach to his music and Roy continued to plan. The Move took another 180 degree turn for the next release. Message From The Country, which brought to the fore the talents of Lynne, sharing much of the spotlight, and singing and song writing, with Roy. A straight-through listen to Message is not advised unless under a doctor's care. It contains so many twists and turns, one may become dizzy and should not operate heavy machinery. My favorite? "It Wasn't My Idea To Dance." Two bass guitars, drums and oboe (at least, I think that's what's on there). It doesn't get any better than that! While Message From The Country was being recorded, Roy was working on what would become his first solo album, Boulders. This album allowed Roy to stay on the pop charts while he formulated, and recorded, the next project: The Electric Light Orchestra. Almost simultaneously, Roy released Message, Boulders and the first ELO album. Not a bad year. Of course, The Move were not quite finished, later releasing the classics "Do Ya" and "California Man." Well, that's about it. No, wait. We're only up to 1972, or there abouts. Honestly, a book is called for here, not just an article, but space is limited, so I must move things along. Exit Roy from ELO after the first album. "See My Baby Jive" and "Ballpark Incident" would be the first of many hits for Roy's new "horn" band, Wizzard. Over the next two decades Roy would continue to hit the charts with Wizzard, Helicopter, Wizzo and as a solo artist, not to mention his Christmas classic, "I Wish It Could Be Christmas Everyday" which not only gets its share of air time every year around the holidays, it actually charted in two different decades. In the early nineties, Roy formed Roy Wood's Big Band, later changing the name to Roy Wood's Army to avoid anyone thinking this was a swing band. Sure, this band swings, but it is rock and roll to the core, only more so. A thirteen-piece powerhouse of sound, distinguished not only by its leader, but by the aforementioned eight beautiful, and very talented, women that make up the horn section. The new century saw the release of Main Street, recorded in 1976 and shelved by the record company when the first single failed to chart. This CD is packed with Roy gems and is as fresh today as the day it was recorded (although I'm only guessing because I wasn't there when it was recorded, but it seemed like the right thing to say). It is certainly great to get some new Wood music and hopefully there is more to come. These days, Roy is facing a two-pronged problem: record companies are stupid and it's inherently hard to get a contract for such a big band. This brings us to March 21, 2002. Four nights of the Army at the rather cozy Village Underground in Manhattan. Far more band than stage, far more sound than sound equipment, but a show that clearly demonstrates why Roy Wood is, well, Roy Wood. He is a legend and deservedly so. To quote the man himself, "Brilliant!" ...And then we chatted for a little while... [Part 2 will be the interview.] ********** Subject: Re: What's in the FTM Shop... Date: Thu, 29 Aug 2002 15:20:55 -0700 From: Guttpat In einer eMail vom 28.08.2002 23:28:31 Westeuropäische Sommerzeit schreibt lhoskins@earthlink.net: >And I'd hate to have someone here miss out on hearing Roy play cello >on "Great Balls Of Fire"! Hmmh, Roy Wood is not playing cello on the Great Balls Of Fire Live 1972 Set Of Six performance!!! He's playing the (low sounding) baritone Saxophone! If you all listen very closely you could hear it in the low sounding background. And look at Unexpected Messages page 14. You will see this saxophone item standing near by Bev's drumkit at this very first E.L.O. Tour from spring 1972 Enjoy it all Bye Patrik Face The Music Germany FTM Newsletter Service Author of Unexpected Messages ELO Fan ********** Subject: Re: What's in the FTM Shop... Date: Thu, 29 Aug 2002 15:23:56 -0700 From: Lynn Hoskins Patrik wrote: >Roy Wood is not playing cello on the Great Balls Of Fire Live 1972 Set Of >Six performance!!! > >He's playing the (low sounding) baritone Saxophone! Patrik, didn't your mother ever teach you that it's not nice to shatter someone's illusion? ;) I know that Richard Tandy is on keyboards, and Bill Hunt is on piano, and I'm sure Roy is playing saxophone (as he was playing it on everything back then). But do we know for sure that Roy, known for playing several instruments on stage almost simultaneously, wasn't also playing cello? I shall investigate this and report back... ********** Subject: Lend me your ears... Date: Sat, 31 Aug 2002 00:16:45 -0700 From: Bernardo Quiroga Hello, y' all!! First of all, I'd like to thank Lynn for working hard on this whole list, that make her the genious of all this thingy. I didn't know you were ill, so, please, recover soon, friend. Secondly, a quick note to support Rob Caiger. He has received so much bitching lately, I don't think he deserves any of it. I think it's plainly unfair for somebody who has devoted his whole life to get us great releases from the whole ELO family. KEEP THE LIGHT ON, ROB!!! Third, and the main subject of this post: I've just received "Lynne Me Your Ears" (from an angel who's on this list ;), and it's just so awesome! I was reluctant at first about a tribute album, but this one is so respectfully done and with oh so many gems. I had avoided any previous reviews of this album, just to get a first hand impression, and believe me, I don't regret at all (if you don't have this set yet, and want to do the same as me, stop reading NOW! ;-) Many artists I didn't know about made great contributions, while the historical "dinosaurs" mostly were let-downs. For all tracks, I like the ELO version best, but there are plenty of nice surprises. I reviewed all of the songs for the ELO list. Here is a shorter version for the Move list. * "10538 Overture": A classic track performed very classically. It sounds very fresh, "newer" than the ELO version. Perhaps this is how would sound a 2002 studio version. The vocalists weren't as bright as one could expect, but a great work all the while. Overall, a very good job. Never heard of these artists before. Very respectful version. One extra commentary about the electric sitar lick at the end: It was interesting to listen to that extra bit, and makes me wonder how would it sound a real electric guitar solo right there....cool. * "Do Ya": Powerful, funny, it makes me wonder who could make a bad version of this track. Great version, similar to ELO's version, but different enough to be a welcome addition to the collection. Good. * "No Time": The gates of Heaven open in ecstasy!! Wonderful, almost naive, but absolutely marvelous. It does perfect justice to the original Move track. The vocal performance is almost flawless (except for not attempting to reach the high note at the end of the chorus). Amazingly great!! * "Steppin' Out": Bloody marvelous! Carl Wayne delivered a ranking worth version of this track. What a wonderful voice he has!!! He just has to lean on his beautiful voice, and the rest is just an addition. An ocapella version would have been as welcome as this. It makes me wonder how he sounds singing the Hollies classics. * "Mr. Blue Sky": Tony Visconti is one of my favorite producers (second only to Jeff Lynne). "Mr. Blue Sky" is one of my favorite tracks off OTTB. So, I must confess, my expectations were high. The resulting product was very poor, IMHO. A dancefloor version full of clichés. A speech part instead of real singing. Annoying. Bad. * "Message From The Country": 'The Balls Of France', who are these guys? I could have only dreamt for a similar arrangement for this wonderful track. Marvellous. One of the guys, according to the liner notes, is the same artist who performed CGIOOMH on CD1. This was really a brilliant thing, deserved single status!!! * "The Minister": Continuing with the Jeff Lynne saga of MFTC (The only track not covered was "The Words Of Aaron"), this was a very faithful reproduction of the Move original. Pretty much welcome, even though it's not very different from the original. * "Bluebird Is Dead": Todd Rundgren was, along with Carl Wayne, one of the few historical acts who delivered strong versions to this album. Up to his well known standards, the leader of Utopia recorded a beautiful bossa-nova tinged version of BID. Very well done, an absolutely nice departure from the classic original from "On The 3rd Day". Overall review: 8.5 stars out of 10. Awesome, being a tribute album. I'd like to thank again the pretty little angel that gave me this beautiful gift!! Best regards, Bernie Santiago - Chile ********** Subject: Marston Moor - history lesson Date: Thu, 29 Aug 2002 15:16:43 -0700 From: "chris roberts" Hello All, I was just doing a bit of 'surfing' and found this - all you need to know about the 'real events of July 2, 1644. Happy history lesson.... Regards Chris THE BATTLE OF MARSTON MOOR Long Marston, Yorkshire Royalist troops under the Marquess of Newcastle and Prince Rupert vs. an allied army of Parliamentary and Scottish troops led by Sir Thomas Fairfax and Lord Manchester The Civil War was going badly for Royalist forces in the north of England. The Marquess of Newcastle was forced to fall back on the fortified city of York, where he was besieged by Parliamentary armies under Sir Thomas Fairfax. Prince Rupert led a relief force of perhaps 7000 cavalry and as many footsoldiers north to the relief of the city. Fairfax broke off the siege and marched his men south to prevent Rupert from reaching the approaches to York. The ever-daring Rupert surprised the Parliamentary generals by marching around their position and reaching the city anyway. The Battle: Never one to pull back from a fight, Rupert now ordered his tired men out from York to surprise the enemy. They met a numerically superior force numbering perhaps 27,000 men. By the time the armies were in position it was late in the day, and Rupert, convinced that his foe would not attack until the morning, left the field in search of his supper. Lord Newcastle, perhaps more reprehensibly, retired to his coach for a quiet smoke. The Parliamentary army surprised the royalist totally by an attack which must have begun just as dusk was falling at 7pm. The fierce fighting lasted for several hours, eerily illuminated by a harvest moon. The royalist cavalry under the returned Rupert was ousted after fierce fighting, but it was the infantry that won the day (or night, in this case). The Result: The Royalists lost as many as 3000 men, plus their artillery train. York was forced to surrender to Parliament and the north of England was effectively lost to the king. Prince Rupert lost his glowing reputation of invincibility in battle, but Marston Moor made the reputation of another man; Oliver Cromwell made a name for himself for his role in defeating the Royalist cavalry. So now you know :O) End of Useless Information #384 ******************************* [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.]