[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 #367 June 28, 2002 In this issue: * Carl Wayne on BBC Radio WM * Bad news for music fans * Topic Of The Week: Another look at "Shazam" * ELO 2 mention in Record Collector * Song Of The Week (week of 6/17): "Fields Of People" * US Singles Discography ============================================================== 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: Carl Wayne on BBC Radio WM Date: Fri, 28 Jun 2002 12:28:30 -0700 From: Lynn Hoskins Rob just got confirmation on several guests, and asked that I share this exciting news with the Move List. Your participation is needed, so please read on. Ace Kefford on the radio... wow... (and we get to ask him questions!) ----- Following the success of the show we did in May, BBC Radio WM have (foolishly!) let Carl Wayne take over Malcolm Boyden's lunchtime show (12-2pm) from Tuesday 2 July through to Friday 5 July. Malcolm is taking time off to star in a Birmingham musical drama and while he is away, the BBC have said "just do what you want for 2 hours." The exact schedule is still being finalised but should be ready this evening (Friday, UK time). There will be a variety of special musical guests from Carl's long career (every member of The Move will be featured during the week), non-musical guests, great music (including exclusives and previously unreleased material), competitions, laughs and good-natured Brummie banter from Carl and his many friends. Confirmed musical guests (so far) include: - Graham Gouldman - 10cc, Hotlegs, Wax and songwriter extraordinaire for The Hollies (Bus Stop, Look Through Any Window), The Yardbirds (Heart Full of Soul, Evil Hearted You), Herman's Hermits (No Milk Today) and Wayne Fontana (Pamela Pamela). - Dave Morgan - singer/songwriter and now lay-preacher, Dave will be talking about his career in music (including writing for The Move and playing with ELO) and the church. - Chris "Ace" Kefford - The Move's legendary bass player, will be talking frankly about the many illnesses and addictions that prematurely ended his musical career. - Don Gould - from The Applejacks, the first Birmingham group to have a UK hit single with Tell Me When - Danny King - another legend from Brum Beat's illustrious past. Regarded as having the finest voice of all the Birmingham singers yet Danny King & The Mayfair Set (featuring Trevor Burton) never made it. Find out why. More guests will be announced this evening and over the next few days. We would like you to participate by sending in song suggestions and your questions for Carl. These could be on The Move, his work as a solo artist with Roy Wood, his career in musicals, advertising, sessions and his current work as a member of The Hollies. Questions will be read out (please include your full name and where you are from) and answered by Carl on air each day. Please also send in questions for Carl's guests. [Please send your questions directly to lhoskins@earthlink.net. If you send them to Rob, he might not get them.] One of the subjects we will be tackling is Birmingham's musical heritage: Has it been ignored by the very City which spawned some of the greatest artists the music world has ever seen? Worldwide, Birmingham musicians are recognised and respected but where are the landmarks, the blue plaques, the tourist guides, the museums about Birmingham's music and important events? We are hoping to end the week with a panel debate, quizzing Birmingham Council, but would appreciate your views and questions, especially from local fans and from anyone who has visited the City as a musical tourist. What did you find - or not! Was there any Move or ELO memorabilia in the new Hard Rock Cafe? Did the tourist information centre know the location of Alex's Pie Stand or why it was so important? Each day will also have a feature on Midland Beat, including interviews with classic artists from Birmingham's rich musical history. Listeners will be invited to share their knowledge, tapes, experiences and memorabilia for inclusion in a forthcoming CD collection devoted to Birmingham's musical heroes from the 50's, 60's and 70's. The exact schedule will be published on The Move and ELO lists, both official websites for The Move - www.themoveonline.com and Carl Wayne - www.carlwayne.co.uk and there will be daily updates from the studio and a full listing of all music played. We are hoping the BBC will broadcast the show over the internet and will let everyone know as soon as we hear. Rob Caiger - assistant producer 28 June 2002 ********** Subject: Bad news for music fans Date: Thu, 27 Jun 2002 17:03:33 -0700 From: John DeSilva Folks: I hate to be the bearer of such bad news, but it just hit the newswire that John Entwistle, bassist for the Who, died in Las Vegas sometime this morning. He was at the Hard Rock Hotel and Casino, where the Who was kicking off their summer tour starting tomorrow. Obviously my thoughts and prayers go out to his family and friends. It's yet another sad day for music fans - I've always felt that "Ox" was the best bassist in rock. JD San Jose, CA ********** Subject: Re: Bad news for music fans Date: Fri, 28 Jun 2002 12:29:48 -0700 From: marmil (Marc) Also, Timothy White, editor-in-chief @ Billboard died yesterday! ********** Subject: Re: Topic Of The Week: Another look at "Shazam" Date: Tue, 25 Jun 2002 21:01:00 -0700 From: "Michael J. Cross" Hi Movers, here goes: Almost all that follows are merely my opinions; please keep that in mind! >1) Many fans consider "Shazam" to be the band's tour de force. >Agree? Or >does that honour go to "Message From The Country"? I happen to like MFTC a lot more than any other Move LP release. Still, there's something special and enduring about Shazam and it occupies a very fond niche in my heart. >2) Was "Hello Suzie" a precursor to Electric Light Orchestra? Hmmmm....never thought of it that way. I think "Beautiful Daughter" hits nearer the mark. >3) Hindsight is 20/20, but what if "Shazam" had been The Move's first >album release... If Shazam had been the first release, I wonder if there would ever have been a subsequent release at all. I think the Move released two albums AFTER Shazam only on the strength of their hit-making abilities so aptly demonstrated on the first LP. The tunes on Shazam were too quirky and too long to break on (U.S.) radio, and I'm not sure if the label folks would gamble on a band not making singles. I'm sure it would have garnered some critical acclaim. However, as Richard Thompson demonstrates, critical acclaim doesn't translate into sales or label support. >4) A long-time list member once remarked that The Move was lacking >in >originality, and this was most evident on "Shazam." The >interview >segments? Previously done by the Bonzo Dog Band. Violence on >stage? >Already done by the Who. Adding the "sitar" sounds? >Beatles. Were >The Move truly innovators, or just a bit slow to react? The staged violence wasn't their idea, but that of the promoter. Many may not see the value of an original band doing cover songs, but sometimes those cover songs are so good that they become the definitive version (like ELO's Roll Over Beethoven). I think the Move oozed originality....and their covers were VERY imaginative takes. Ever hear the Dolly Parton/Porter Wagoner duet of "Last thing on my Mind"? Not bad, but not imaginative. P.S. I LOVE that long raga at the end of "Fields...". It isn't too long at all. Maybe I'm more frequently in a state of "readiness" for musical passages such as that ;-) >5) Whatever happened to the tracks Roy wrote for "Shazam" that had >to be >put aside in favor of the cover songs? Beats me. Perhaps they were transmorgified into other Move/Roy/ELO/Wizzard tunes. Like "Second Class" becoming "She's too Good for Me". Any feedback here, Rob? Martin? >6) Did the cover renditions (Side 2) strengthen the album, or weaken >it? >How so? Referring back to the comments to question 4, I think the three covers are masterful. Carl's vocals are fantastic. FOP is a fun romp with a tongue-in-cheek seriousness about it, DMMBB is just so heavy and psychadelic, and LTOMM is packed with emotional intensity. >7) About the Movements box set liner notes... "a hard album to >listen to." >Does anyone concur? In terms of production quality and vocal clarity, I find Shazam to be the MOST listenable of the Move albums. John Platt can stick it in his (obviously deaf) ear. Reading his other comments about the sound of Shazam confounds me even more. How does he come by such notions? Balderdash, I say. He must've been smoking ho-ho's. >8) Half the album was covers, while the whole thing seemed to be an >excuse for sidelining original vocalist Carl Wayne." Hmmmm... Sounds like someone is trying to assign non-existant motives to the band's (or the promoter's) decisions to do 1/2 an album of covers. I'm not even sure what Doggett means here. It's the same sort of unsubstantiated rubbish as Platt's comment in the previous section. I think Carl and the rest of the band simply went in different directions....I'm not sure that should neccessarily be perceived as "good" or "bad". Unfortunate, mayhap. >9) When you run into someone who has never heard The Move, do >you >instinctively reach for "Shazam" as a way to introduce them to >your >favorite band? 'Round these parts, that would make just about everybody! Seriously, it would entirely depend on my perception of the other person's taste. In one instance I did turn a friend on to Shazam, even though he despised the first LP. I usually reach for "Looking On" for would-be fans. Or Split Ends (I know, I know, it's not an original LP). >10) Many feel that Bev's drumming on "Shazam" was the high-point of >his >career. Perhaps the same could be said of Rick Price's bass >playing? Nahhhhh, the ELO 2 LP was the high water mark of Bev's bashing, IMHO. However, there was something special going on in that particular rythm section that neither could hope to achieve with anyone else. As a (seemingly former :-( ) bassist, I've always been enamored with RP's sound and style. Tried to emulate him, I did (insert voice of Yoda). Shazam: best Move album? Well, not to me, but still a damn sight better than most other artists' best efforts. Thanks for reading 'til the end! Mike Cross Rochester, NY, USA ********** Subject: Re: Topic Of The Week: Another look at "Shazam" Date: Wed, 26 Jun 2002 20:07:45 -0700 From: Richard Messum Is "Shazam" a difficult album to listen to? Absolutely not, except in the sense that Beethoven's 9th symphony is "difficult." As John remarked, here we are raving about it thirty years on. It certainly isn't background music, it pulls the listener in and demands to be attended to. But the quotation was taken out of context, anyway. John Platt, who wrote the liner notes to "Movements," was letting his prejudices show through by comparing "Shazam" unfavourably with the first album (which he loved) (who doesn't?), and complaining that not much of "Shazam" reminded him of it: sort of like complaining that "Sgt. Pepper" isn't particularly reminiscent of "A Hard Day's Night," to my mind. ********** Subject: Re: Topic Of The Week: Another look at "Shazam" Date: Thu, 27 Jun 2002 17:04:17 -0700 From: Mike Gough Shazam is my favorite collection of Roy Wood compositions and covers. Wood, Price, and Bev clicked perfectly on that record, and Carl Wayne's swan song was a nice way to go out. Looking On really sounds like it should have been an Electric Light Orchestra record. This is close to what I expected the ELO to sound like. Message from the Country also fits this description, but the longer cuts on Looking On really fit it perfectly. All in all this period in general is my favorite Roy Wood era. Peace, Mike Gough ********** Subject: Re: Topic Of The Week: Another look at "Shazam" Date: Tue, 25 Jun 2002 13:06:29 -0700 From: "David Fatta" "Shazam" is certainly a landmark album in anyone's estimation. However, it is an "album" and it contains "album-oriented rock", later called "adult-oriented rock" or AOR. It is a big departure from their tenure as a singles band, a period of their history I completely missed until after the fact. "Shazam" is where I came in. I have always thought of The Move in similar terms as The Who. They both began their careers as streetwise club bands with a large grass-roots following. Indeed, The Move even succeeded The Who as the house band at the Marquee. Both bands were successful at producing a steady stream of poppish, mop-top, flower power hits, that sounded innocent enough on the surface, but had a dark, irrevernt side upon closer inspection. At the time "Shazam" was made, many British pop bands felt compelled to progress into a more substantive style. Older teens and young adults had turned their backs on 3 minute pop singles, AM Radio was becoming FM. The prime output of rock bands was now the "concept album": The Beatles' "Revolver" and "Sergeant Pepper", The Who had "The Who Sell Out" and "Tommy" (which, to me, don't even sound like the same band that did "Can't Explain"), The Kinks had "Arthur" and "Lola vs. the Powerman and the Moneygoround" to name a few. These bands all radically changed their sounds to suit their new, more mature material. The live music venue was changing from the club circuit to large theaters and arenas. A big sound was needed to be taken seriously in a large concert. Jimi Hendrix had arrived in England, and British rock musicians responded with more power and depth in their sounds than ever before. The Yardbirds slowly metamorphosed into Led Zeppelin. In the midst of this turbulent revolutionary period in British rock history, the Move is falling apart due to artistic differences n the band. Roy Wood seizes the opportunity, steps forward as the clear leader for the first time, and produces "Shazam", (to my mind) the greatest concept album of all time, the ultimate FM record. Few people take notice, at least in the states, because the band is in chaos and cannot tour. The British radio audience still has a dependable demand for pop singles from "The Move", so it seems like a likely stategy to keep cranking them out. This does nothing it advance their cause in the US, where singles-oriented music is not taken seriously, so few people in America who would have appreciated "Shazam" ever got to hear it. In my book, the first side of "Shazam" is every bit as wonderful as the second side of "Abbey Road". I do not know how accurate my historical account is, but this seems to me to be a likely explanation of how the terrific material that The Move produced has gone unheard and unheralded by so many. Pardon my long-windedness, David Fatta ********** Subject: ELO 2 mention in Record Collector Date: Thu, 27 Jun 2002 11:06:50 -0700 From: Lynn Hoskins The new July issue of Record Collector has a teaser for the forthcoming ELO 2 remaster and a nice photo of Marc Bolan. Full details of the album will be posted soon. Meantime, here's the RC piece that includes some Move-related details as well: Marc Bo-Lynne: As flagged up exclusively in RC272, a previously un-documented track featuring Jeff Lynne and Marc Bolan has been unearthed from the ELO leader's archives. We can now reveal that it is a Lynne original, "Everyone's Born To Die," which lasts for three-and-a-half minutes, followed by a 90-second jam. The track was recorded in April 1973 at Air Studios with Bolan providing a guitar solo (as well as contributions to two other un-named cuts). "Everyone's Born To Die" was re-mastered at London's Abbey Road studios in January and will appear on EMI/Capital's 2-CD remastered version of ELO's second album, ELO 2, in August. The slip-cased edition will expand the set from five tracks to 22, with eight bonus cuts on the first CD, and nine on the second. Of these, 11 are previously unissued songs or takes (including a hidden track), others are taken from BBC sessions, and three feature Carl Wayne of The Move. The booklet will contain many unpublished photos, including Bolan and ELO together on stage at Watford in 1973. EMI/Capital will release a remastered version of The Move's 1971 album Message From The Country, later this summer, featuring bonus B-sides, session material and a colour booklet. From Record Collector Magazine issue 275 (July 02). ********** Subject: Re: Song Of The Week: "Fields of People" Date: Mon, 24 Jun 2002 11:23:16 -0700 From: "george mackenzie" Fields of People is a classic song from probally the best Move album. The style of the song puts it away ahead of it's time and we've got to thank Roy & Carl for that. I know the song was not written by Roy Wood but you would think that the song was written for him. Does any one know who sung the original, or anyone else who has sung it, as I would love to know, as I am trying to get the originals of all songs that the Move have covered. many thanks. ********** Subject: Re: Song Of The Week: "Fields of People" Date: Mon, 24 Jun 2002 16:46:11 -0700 From: "stephen mulcahy" george, the original is by ARS NOVA and can be found on their self titled album from 1968. ********** Subject: US Singles Discography Date: Mon, 24 Jun 2002 18:35:14 -0700 From: "Joseph Davolt" Alrighty then, here's a US singles discography, compiled from liner notes and web sources. I believe it is complete, but there could be mistakes and some information is missing. Anyone who has corrections or more information, it is greatly welcome. The Move: Night Of Fear / The Disturbance - Deram DEM 7504 - Feb 67 I Can Hear The Grass Grow / Wave The Flag And Stop The Train - Deram DEM 7506 - May 67 Flowers In The Rain / (Hear We Go 'Round)The Lemon Tree - A&M 884 - Oct 67 Fire Brigade / Walk Upon The Water - A&M 914 - Mar 68 Yellow Rainbow / Something - A&M 986 - Aug 68 Weekend / Blackberry Way - A&M 1020 - Jan 69 CANCELLED Blackberry Way / Something - A&M 1020 - Jan 69 Hello Susie / Weekend - A&M 1028 - Feb 69 CANCELLED Curly / This Time Tomorrow - A&M 1119 - Sept 69 Brontosaurus / Lightnin' Never Strikes Twice - A&M 1197 - June 70 When Alice Comes Back To The Farm / What? - Warner Bros - Oct 70 CANCELLED Tonight / Don't Mess Me Up - Capitol 3126 - July 5, 71 Chinatown / Down On The Bay - MGM K14332 - Nov 12, 71 Chinatown / Down On The Bay - United Artists 50876 - Dec 8, 71 California Man / Do Ya - United Artists 50928 - June 23, 72 Tonight / My Marge - United Artists UA-XW202-W - Feb 14, 73 Wizzard: Ball Park Incident / Carlsberg Special - United Artists UA-XW160-A - 1972 See My Baby Jive / Gotta Crush (About You) - United Artists UA-XW272-W - 1973 I Wish It Could Be Christmas Everyday / Rock & Roll Winter - United Artists - 1974 CANCELLED Are You Ready To Rock / Marathon Man - Warner Bros K16497 - 1974 Roy Wood: Songs Of Praise / Dear Elaine - United Artists UA-XW320-W - 1973 Forever / Woodbe - United Artists UA-XW394-W - 1973 Any Old Time Will Do / Why Does Such A Pretty Girl Sing Those Sad Songs? - United Artists UA-XW792-Y - 1976 Roy Wood & Annie Haslam: I Never Believed In Love / Inside My Life - Sire - 1976 That's it. Oh, and the "Forever" b-side, "Woodbe", is appearantly the same thing as "Music To Commit Suicide By", only it was somehow mistitled. I also have a US albums discography, but it is pretty similar to the UK albums, only the first Move album and Super Active Wizzo weren't issued (there were test pressings of SAW tho), two Move compilations were issued (Split Ends and the 2LP Best of the Move, with the entire first album plus singles), On The Road Again was issued here, of course, and Mustard was re-issued in 1981 as "One Man Band". Oh, and Looking On was re-issued in 75, but it was very similar to the original issue. ********** Subject: Re: US Singles Discography Date: Tue, 25 Jun 2002 10:41:22 -0700 From: marmil (Marc) Where did you get the info about the Alice single that was supposed to come out on Warner Bros? ********** Subject: Re: US Singles Discography Date: Thu, 27 Jun 2002 20:38:24 -0700 From: "Joseph Davolt" I got all the Move release info from the discog in "Great Move!" ********** Subject: Re: US Singles Discography Date: Wed, 26 Jun 2002 20:07:19 -0700 From: "chris roberts" Amongst his discography (oh and jolly well done by the way) Joseph wrote: > ......... and Mustard was re-issued in 1981 as "One Man Band". Wound this be the same the UK release 'The Wizzard'? The UK one has a close-up head & shoulders photo of 'warpainted' Roy on the cover. Is the US "One Man Band" the same in content & decoration? ********** Subject: Re: US Singles Discography Date: Thu, 27 Jun 2002 20:38:42 -0700 From: "Joseph Davolt" Hmm...I don't know for sure, I've never actually seen this one. The covers might be the same or similar, but "The Wizzard" had OWAS and RR added to "Mustard" and the track listing I found for "One Man Band" has only "Mustard", no bonus tracks, but like I said, I've not seen it so I don't know for sure...in fact, I must admit, I've NEVER seen ANY Roy vinyl in person in my life, just photos on the internet...with the exception of my copy of "Ole ELO", with Roy on 10538... ********** Subject: Re: US Singles Discography Date: Thu, 27 Jun 2002 09:32:01 -0700 From: "Bob Coulter" Chris asked about "One Man Band": >Wound this be the same the UK release 'The Wizzard'? The UK one has a >close-up head & shoulders photo of 'warpainted' Roy on the cover. Is >the US "One Man Band" the same in content & decoration? No, it's a totally different design with a red sleeve and a picture of Roy without make-up. It also has only the songs from the "Mustard" album without any bonus tracks. Bob Coulter, Mississauga, Ont. End of Useless Information #367 ******************************* [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.]