The mavens will know this stuff, but it merits a recap: the Move were a vital link in ‘60s British rock between the R&B-influenced early ‘60s scene and the hard rock and prog that were to come. They distinguished themselves not just with heavy sounds, but with violent stage antics that made the Who look like featherweights—most notoriously, singer Carl Wayne was noted for destroying TV sets with axes. As hard rockers from Birmingham, the Move surely had an impact on the young men who’d form Black Sabbath, and indeed, Move drummer Bev Bevan turned up in that band’s lineup years later, on the tour in support of the Born Again album. But ultimately, despite their notoriety and influence in their day, the Move became best known in the early 1970s, when a later member named Jeff Lynne shepherded the band through its transition into the slick, orchestral-pop juggernaut Electric Light Orchestra, and they remain best known today under the long shadow cast by that enormously popular group.
Here’s a 1966 television interview that captures the young band at its most manic—this is the original lineup of Wayne, Bevan, founding bassist Ace Kefford, and guitarists Trevor Burton and the band’s de facto leader Roy Wood—mugging, goofing off, and generally just being silly young men on speed. When they (OK, not really “they,” mostly just Carl Wayne) manage to let off any serious answers, the origin and creative intentions of the band are discussed, but things really heat up when the band gets to playing. The mugging ends, their faces get serious, riffs get mangled, notes get bent out of shape, fires get lit, and a TV set is handily reduced to scrap. This is the band at its most insane, in the sort of performance that made its reputation as a live must-see.
Much gratitude is due to Craig Bell for this find!
The Move—vocalist Carl Wayne, guitarist/vocalist/songwriter Roy Wood, bassist Trevor Buton and drummer Bev Bevan—performed a ten song set on Colour Me Pop, one of the BBC’s earliest color shows, on January 4, 1969. Due to the BBC’s penchant reusing videotapes most of the Colour Me Pop programs, including a set by the Kinks and a Strawbs outing that featured David Bowie doing mime, have been lost to history, although a small handful survive, including outings from Moody Blues and The Small Faces performing selections from their Ogdens Nutgone Flake concept album. Thankfully this stellar set from The Move also escaped the BBC’s degaussing magnet.
1. I Can Hear The Grass Grow
2. Beautiful Daughter
3. The Christian Life
4. Flowers In The Rain
5. The Last Thing On My Mind
6. Wild Tiger Woman
7. Goin’ Back
8. Fire Brigade
10. Blackberry Way
(“Blackberry Way,” which is Wood’s sardonic answer to “Penny Lane” was one of The Move’s best numbers, great to see it included here)
Although they were inarguably one of the top British bands of the era—they scored nine top ten singles—The Move only ever played a small handful of American gigs including an October 1969 opening set for The Stooges in Detroit, a show in LA and and two shows at the Fillmore West in San Francisco.
One of my all-time favorite bands, The Move giving a truly incendiary performance of “Watch Your Step,” at a concert in Holland from 1966.
Lead singer, the late great Carl Wayne takes an ax to a TV set; while the genius composer Roy Wood keeps out of the way, playing guitar; and drummer Bev Bevan keeps beat, as Ace Kefford and Trevor Burton keep rocking. This is a great piece of theatrical anarchy—like Hendrix setting fire to his guitar, and far better than The Who smashing instruments, for there is a sense that anything could happen.
Watch out too for the fire blazing at the side of the stage—this was the kind of exuberant behavior that led to The Move being briefly banned from every venue in the UK.
The first single I bought was “Snow Coach” by Russ Conway. It was at a school jumble sale, St. Cuthbert’s Primary, sometime in the late 1960s. I bought it because I loved winter, and Christmas, and the idea of traveling through some snow-covered landscape to the sound of jingling sleigh bells . I also knew my great Aunt liked Russ Conway, so if I didn’t like it….
I bought it together with a dog-eared copy of a Man from U.N.C.L.E. paperback (No. 3 “The Copenhagen Affair”). These were the very first things I had chosen and bought for myself, with a tanner (6d) and thrupenny bit (3d). I played the single from-time-to-time on my parents’ Dansette Record Player - its blue and white case and its BSR autochanger, which allowed you to play up to 7 singles one-after-another. My brother had a selection of The Beatles, The Stones, The Kinks, The Who, Elvis and The Move, which he played alternating one A-side with one B-side like some junior DJ. It meant I didn’t have to buy singles, as my brother bought most of the things I wanted to hear, so I could spend my pennies on books and comics and sherbert dib-dabs. It was a musical education, and though Conway was a start, the first 45rpm single I really went out and bought was John Barry’s The Theme from ‘The Persuaders’, which I played till it crackled like pan frying oil.
As this documentary shows 45rpm singles were an important part to growing up: everyone can recall buying their first single - what it looked like, its label, its cover, the signature on the inner groove - and the specific feelings these records aroused. With interviews from Norman Cook, Suzi Quatro, Holly Johnson, Noddy Holder, Richie Hawley, Paul Morley, Jimmy Webb, Jack White, Neil Sedaka, Trevor Horn, Miranda Sawyer, Brian Wilson, The Joy of the Single is a perfect piece of retro-vision, that captures the magic, pleasure and sheer bloody delight of growing-up to the sound of 45s.
Audio of The Move playing a selection of cover versions, recorded live at the Marquee Club in London, and later released as Something Else from The Move, a 7-inch EP, in 1968. The line-up was Roy Wood (guitars, vocals), Carl Wayne (vocals), Trevor Burton (guitars, bass, vocals), Chris “Ace” Kefford (bass, vocals), and Bev Bevan (drums, vocals).
It’s a great recording which mixes old and (for the time) new songs, ranging from The Byrds’ “So You Want To Be A Rock ‘N’ Roll Star”, Arthur Lee’s “Stephanie Knows Who”, Eddie Cochrane’s “Something Else”, Jerry Lee Lewis’ “It’ll Be Me” and Spooky Tooth’s “Sunshine Help Me”.
Alas, no genius compositions from Mr. Wood, but at least we have The Move.
01. “So You Want To Be A Rock ‘N’ Roll Star”
02. “Stephanie Knows Who”
03. “Something Else”
04. “It’ll Be Me”
05. “Sunshine Help Me”
Not going out tonight? Then stay in and enjoy over 2 hours worth of compilation footage of the Blizen Jazz Festival, from 1969. The concert includes performances by Deep Purple, The Move, Humble Pie, Shocking Blue, The Moody Blues, Soft Machine, Marsha Hunt, leading up to a joyous set by The Bonzo Dog Doo Dah Band.
Here’s the listing as posted on YouTube in no particular order:
Shocking Blue - August 22, 1969
“Venus” + interview
Deep Purple - August 22 1969
“Wring That Neck”
Bonzo Dog Doo Dah Band - August 22, 1969
“You Done My Brain In”
“Quiet Talks And Summer Walks”
“I’m Forever Blowing Bubbles”
“Canyons Of Your Mind”
Taste - August 22, 1969
“Blister On The Moon”
Moody Blues - August 22, 1969
“Have You Heard” (Part 1)
“Have You Heard” (Part 2)
Soft Machine - August 22, 1969
“Moon In June” + interview
Marsha Hunt & White Trash - August 22, 1969
“My World Is Empty Without You Babe”
Brian Auger & The Trinity - August 22, 1969
“I Just Got Some”
Steve Shorter & Tilly Set - August 22 1969
“Move On Up”
Humble Pie - August 24 1969
“The Sad Bag Of Shaky Jake” /” I Walk On Gilded Splinters”
Life - August 24 1969
“Baby Please Don’t Go”
Blossom Toes - August 24 1969
The Move - August 24 1968
“Sunshine Help Me”
Roland and The Bluesworkshop - August 23 1968
Belgian TV - BRT
Various clips from this concert have appeared on the web over the years, but when placed altogether like this, it is a fab 2 hours. Enjoy!
Happy Birthday to Roy Wood - musical genius and founder member of The Move, the Electric Light Orchestra and Wizzard.
From the moment the needle hit the vinyl and the sirens screamed, I was hooked on Roy Wood’s music. His single “Fire Brigade” was 2 minutes of perfect pop with the best opening lyric I’d ever heard
Cast your mind back ten years
To the girl who’s next to me in school
If I put me hand upon her leg
She hit me with a rule.
I’d have to cast my mind back farther than 10 years to recall the girl who sat next or near to me in school. I don’t know what would have happened if I’d put my hand upon her knee, but do know she grew up to be a cop, who made headlines for her sexual shenanigans, and is up before the beak for perverting the course of justice. But, so much is life.
“Fire Brigade” charted in February 1968, and was The Move’s fourth single, it’s a work of sheer bloody brilliance that later helped the Sex Pistols with “God Save the Queen”.
I don’t think Roy Wood has ever received the full respect and recognition his musical talents deserve. Founder of 3 highly successful bands - The Move, The Electric Light Orchestra and Wizzard, and a composer of a jukebox full of hit singles, Wood is as important as Goffin & King, Lennon & McCartney, Jagger and Richards. But where they all had writing partners to bounce ideas off, Wood was on his own. He is one of those rare solo geniuses like Pete Townshend or David Bowie.
Roy Wood was born on 8 November 1946, in Kitts Green, Birmingham, England, He tested his mettle with various bands before forming The Move with Chris “Ace” Kefford, Carl Wayne, Trevor Burton and Bev Bevan. By dint of writing the songs, Wood was the band’s unofficial leader, yet his lack of confidence saw him share lead vocals with Wayne.
Wood was also a multi-instrumentalist, which made him and The Move far more experimental than any of their rivals, and this includes The Beatles. Take for instance, The Move’s first single “Night of Fear”, from 1966, which sampled Tchaikovsky’s 1812 Overture to create a song about the downside of LSD. The subject matter reflected the band’s interests in the pop sherbets - particularly Burton and Kefford, who were “the ones out of their brains on drugs,” as drummer Bev Bevan later recalled.
In 1967, Kefford tripped out of his mind and the band during a fancy dress party at Birmingham’s Cedar Club. As he later told Mark Paytress for the liner notes for The Very Best of the Move:
‘There were all these little men sitting around me with pointed heads and big noses and long fingers that touched the floor. They were with me all night, man. Acid screwed my life up, man. It devastated me completely.’
It wasn’t just drugs that brought The Move national notoriety, their stage show involved the chain-sawing of motor cars, and at one point, long before Punk, they were banned from nearly every venue in the UK.
On the upside, The Move’s popularity led to their single “Flowers in the Rain” used to launch BBC’s Radio 1 in 1967. It should have been a crowning moment, but turned out to be a painful loss. The Move’s original Manager Tony Secunda decided to promote the single with a satirical postcard of then British Prime Minister, Harold Wilson in bed with his secretary, Marcia Williams. The postcard was Secunda’s idea, and had nothing to do with Wood or the other band members. Unfortunately, Wilson sued for libel, and won. All of Wood’s royalties for the single were paid over to Wilson, who donated them to charity - a situation that continues 16-years after Wilson’s death.
In a way, this story captures the essence of The Move, a band more dangerous than The Stones, more original than The Beatles, but too often short-circuited by their own and others’ actions.
The Move followed Wood’s musical direction through psychedelia (“Night of Fear”, “Disturbance”, “Flowers in the Rain”, “Lemon Tree”, “I Can Hear the Grass Grow”), pop (“Curly”, “Omnibus”, “Tonight”, “Blackberry Way”, “Beautiful Daughter”), Heavy Metal (“When Alice Comes Back to the Farm”, “Brontosaurus”) and Rock (“California Man”). These were all stunning songs, but The Move never achieved legendary status because they didn’t conquer America. By the time the US music press did pay attention to the band, it was too late, as John Mendlesohn noted for Rolling Stone in 1971:
“The Move is the most under-rated rock group and deserve to be put in the same category as Led Zeppelin and The Faces.”
Wood had three other careers going by the early seventies. After Trevor Burton left in 1969 and Carl Wayne in 1970, Wood invited Jeff Lynne to join the group, and also suggested starting a second group The Electric Light Orchestra, together with Bev Bevan, which would mix classical music with Rock ‘n’ Roll, and “start from where The Beatles left off”.
For me the sixties finished when When Roy Wood announced the end of The Move and his departure from the Electric Light Orchestra. Thereafter, the ELO was Jeff Lynne’s band, which never realized the potential of Roy Wood’s original idea.
But Wood wasn’t finished yet, he was about to become the Grandfather of Glam with his next band Wizzard - a Brummie fusion of Rock ‘n’ Roll and Phil Spector’s Wall of Sound. The seventies started when Wizzard released their first single “Ball Park Incident”. I can still recall the sensation when I first heard it, an epiphany akin to Jesus walking on the water and turning it into wine. Here was the past and the future all rolled into one.
Wizzard flourished with a series of hit singles and the albums Wizzard Brew (1973) and Introducing Eddie and The Falcons (1974). Then there was Wood’s solo work, firstly the superb album Boulders, originally recorded between 1969 and 1971, and released in 1973. Then the brilliant follow-up Mustard in 1975.
Between 1970 and 1975, Wood recorded 8 hit albums - 3 with The Move (Shazam, Looking On, Message from the Country; 1 with ELO; 2 with Wizzard and 2 as a solo artist. The quality and consistency of these albums is unparalleled, and when compared to the output of Lennon or McCartney at this time, Roy Wood puts the former Beatles in the shade.
From this he deserved to go on to greater success, but his career was drastically cut short by his asshole manager, Don Arden, as Wood explained in an interview with the Sunday Mercury in 2009:
“I was contracted to Don Arden for longer than I should have been,” he sighs. “When I broke away he stopped me from recording in any London studio. I ended up booking in under false names but I was soon recognised.
“He ruined the momentum. After Wizzard it was difficult. People haven’t got very long memories and suddenly you fall out of favour. When that happens it’s really hard to get back if you’re not high-profile. I was working flat-out but to little effect. After that, I was just mucking about with musicians and going into local studios. We had an album called On The Road Again that was originally going to be on EMI but wasn’t promoted at all.”
Sadly, Wood disappeared from the music scene, releasing the solo albums On the Road Again in 1979 and Starting Up in 1985, to little affect. Now, to those in the UK, Roy Wood is generally associated with his 1973 festive hit “I Wish It Could be Christmas Everyday”, rather than as a highly talented musician and performer, and a true pop genius. But, then again, so much is life.
Happy Birthday Roy!
Roy Wood will tour the UK this November and December, details here