WIZZARD/BREW SHSP 4025 (-73) UK

After collaborating with Jeff Lynne on the two last Move LP:s and the first as Electric Light Orchestra, Roy Wood left during the makings of "ELO 2" for his new group "Wizzard". Those four albums were all from a common bulk of inspiration and ideas, emerging as The Move slowly changed into ELO. This LP clearly belongs to the same movement and is as important as the others for understanding the early ELO years. The friction between the two personalities Wood and Lynne was what made 1970-73 so great for the different settings. Lynne very serious and almost scientific in his approach to music, while Wood had a natural talent for beautiful melodies and more of a right-on kind of guy - sometimes going too far, but always with clear and honest intentions and emotions. So while ELO without Wood sometimes lacks energy and good humor, this album has more than enough of that. Any of the songs could have been on "Message From The Country" or ELO:s debute. A twenties pastich, a fifties style rock'n'roller and a beautiful ballad plus three long, very heavy rockers with complicated structures. It's too much of everything, extremely overproduced and absolutely wonderful. Only downside with this UK issue is the compressed audio - so compact it's sometimes hard to get the details. Favorite tracks - "Buffalo Station" and "Wear A fast Gun". The release got mixed reactions from public and critics and didn't chart at all in US. The English sales were better at #29 and more successful than "ELO2" there. First US on United Artists (UA-LA042-F) with different cover. Premiere UK with label as shown here - "The Gramophone co." top left and "MADE IN GT.BRITAIN" above rim at bottom, thin structured cover and lyric/picture sheet. (RÖWS*)(HÄVL*)

THE MOVE/THE PLATINUM COLLECTION PLAT 1001 (-81) UK MONO + STEREO

 To my taste a very valuable compilation. A 2xLP with twentyfour cuts from one of the most innovative British sixties bands, pursuing various genres like pop, blues, rock, psych and baroque, always with a positive result. Seven of the cuts mono, the rest true stereo. A mix of 45 A:s and B:s and album tracks, even two from the very rare 1968 live EP "Something Else from The Move" - "Stephanie Knows Who" and "So You Wanna Be A Rock'n'Roll Star". It's cut very loud and the audio shifts a little between songs, but most sounds very good and non come out bad. I'm amazed how much catchy music these guys produced in just three years and it's impossible for me to pick out just a couple of the best tracks. The most obvious would be ones like "Blackberry Way", "Fire Brigade" and "I Can Hear The Grass Grow", but I also have other favourites, as "Curly", "Brontosaurus" and "Useless Information".  In the early seventies Jeff Lynne quit Idle Race and joined the band to continue as a trio together with Roy Wood and Bev Bevan up to 1972, when they turned in to Electric Light Orchestra. For more on Move, Roy Wood solo, Wizzard and early ELO, please check   https://monolover.blogspot.com/search?q=(R%C3%96WS*)  .  To my knowledge this was UK only, also as cassette (ZCPLT 1001). Vinyl had label as shown here in a fully laminated cover.  (RÖWS*)  (FXÖ*)

                                                                                      

                                                                             

  

                                                                                

                                                                                

                                                                                 

 

THE MOVE/LOOKING ON FLY 1 (-70) UK

 When Jeff Lynne left Idle Race ( https://monolover.blogspot.com/2021/04/idle-racethe-birthday-party-lbl-83132.html ) to work with his old friend Roy Wood in The Move there were already plans to kill the group and start a new one with emphasis on string infested rock. Both were fans of the Beatles songs "Strawberry Flields" and "I'm the Walrus" and wanted the same kind of heavy agenda. Those plans would later evolve into Electric Light Orchestra, but first they had to ride out The Move contract with two more LP:s (which would be this and "Message from the Country"  https://monolover.blogspot.com/2012/09/the-movemessage-from-country-shsp-4013.html  and a number of singles (the late non-LP ones are best caught here   https://monolover.blogspot.com/2012/12/the-movecalifornia-man-shsp-4035-74.html ). On this it's very clear the aim is experimenting, both in songwriting and producing. With five of the tracks they're just trying to be as raw and heavy as they can, creating a very dark atmosphere. The two remaining are among the most complicated Lynne compositions ever, filled with ideas that partly would be re-used later on with ELO. During the sessions they also recorded "10538 Overture", originally intended for a Move B-side, but decided to save it for later and it became a massive UK hit for ELO 1972. The "Brontosaurus" track from the album was recorded previous to the LP and released as single on Regal Zonophone. It went top 10 in UK, but didn't do well in US. "When Alice Comes Back From the Farm" was the groups least commecial '45 and didn't chart at all. I'm very found of this album and think most of its charm comes from the obvious lack of commercial interest. The guys are trying out stuff here with the final goal still set two years ahead, yet there is so much talent and skill involved it never gets boring or introvert. A remain from a musical era when everything was possible. Full album below. Also issued on vinyl in Canada and USA (Capitol ST-658), Germany, Italy and Downunder. Japan 2001 CD on Cube (VICP-61315) came with ten bonus tracks. Premiere UK had label as shown here in a fully laminated cover. (RÖWS*) (FXÖ*)

                                                                                  

                                                                                    

 

WIZZARD/INTRODUCING EDDY AND THE FALCONS K 56029 (-74) UK

Roy Wood's second album with Wizzard. Original plan was a 2-LP set - one experimental jazz/prog and one with pastiches of fifties and early sixties rock as a tribute to Wood's own teen idols. However the progressive part was put on ice, recorded a year later and not released as a whole until 2000 (Roy Wood & Wizzard "Main Street" - Edsel EDCD 626). I can't imagine anyone doing pastiches from the early rock years better. They mimic the ambience from the period perfectly, but the sometimes odd arrangements and Wood's vocals makes it modern. The sound is very much like the rock parodies he and Jeff Lynne did with Move and primal ELO and identical with earlier Wizzard stuff. In fact any of the cuts here would have blended in fine on any album from those groups. So forget about band names, genres and configurations. This is most of all a good Roy Wood album - eager, melodic and partly peculiar with emotional vocals and Phil Spector-like production. Favorite tracks - the beautiful "This Is The Story Of My Love (Baby)" and the harsh "We're Gonna Rock'n'Roll Tonight". US first on United Artists (UA-LA 219-G). 2000 CD on Repertoire Records (REP 4848) came with five bonus tracks. Premiere UK had label as shown here, matt fold/out cover and giant poster. (RÖWS*)

ROY WOOD WIZZO BAND/SUPER ACTIVE WIZZO K 56388 (-77) UK

I love Roy Wood, but this one-off Wizzo Band album is one of my least favorites by the man. Through Move, ELO, Wizzard and solo up to this there'd always been well written songs with sincere melodies, odd instrumentations and more or less funny and/or unexpected quirks in a friendly atmosphere, inviting me to have a good time. Here I'm suddenly on the outside looking in. With its long numbers it's almost like a prog version of "Wizzard's Brew", but lighter with a jazzier output having less emphasis on melody and instead concentrating on rythms and long instrumental sections. I guess it offers good things for die-hard prog fans, but I need something to hold on to - catchy themes and melodies making it stick - and there's not much of that here. Some of the songs have promising parts, but I have a hard time making myself sit put through all instrumental interventions. Well played and produced for sure, but I'd wished for more. Also released in US (Warner Bros. BS 3065). 2007 CD reissue on Wounded Bird Records (WOU 3065). Premiere UK had label as shown here and thin matt cover. (RÖWS*)

THE MOVE/MOVE LRZ 1002 (-68) UK MONO

By modern listeners probably most known as the band that transformed into Electric Light Orchestra in the early seventies, then a couple of years after Roy Wood and Bev Bevan as only remaining original members had teamed up with Jeff Lynne from Idle Race. I'm not the biggest ELO fan. I really like their first two albums and tolerate a couple of the others, but a lot of their later stuff sounds too posh for me. The Move on the other hand has been a true love of mine all the way from the "Night Of Fear" debute up to "California Man"/"Do Ya" 1972. Through various styles as pop, hard rock, psych and prog they always had great melodies with tons of catchy parts involved, often performed with a large portion good humour. Most of it sung by the inimitable Roy Wood who also wrote a majority of the songs. Between 1966-72 they managed seven top ten 45:s in UK, where of "Blackberry Way" #1, two further top 12 and one #23. The albums however didn't do as well and this was their only charter at #15. Containing three covers - "Weekend", "Hey Grandma" and "Zing Went The Strings Of My Heart". The rest written by Roy Wood, including A:s and B:s of two hit singles - "Flowers In The Rain"/"(Here We Go Round) The Lemon Tree" and "Fire Brigade"/"Walk Upon The Water". Described by current genre attributes it'd be called a psych rock/pop album. Rather uneven - split between old style rockers, pop and innovative outbursts - with the mixing/audio partly unbalanced and track succession seemingly unplanned. Yet so special it's worth attention and love also outside the persisting fan circuit. "Yellow Rainbow", "Kilroy Was Here", "Lemon Tree", "Flowers In The Rain", "Useless Information" and "Fire Brigade" are all British pop at its best. "Cherry Blossom Clinic" good psych with odd lyric theme and "Mist On A Monday Morning" string driven baroque not far from what later showed up on ELO:s debute. Taken together that's more than enough to make it a classic album, at least in my book. Originally issued on vinyl all over the world, though first US didn't show up until 1974 as part of the 2-LP set "The Best Of The Move" on A&M (SP-3625). Japan 2001 CD on Cube (VICP-61313) came with sixteen bonus tracks. Premiere UK had label as shown here and fully laminated flip/back cover. (RÄZ*) (RÖWS*)

IDLE RACE/THE BIRTHDAY PARTY LBL 83132 (-68) UK MONO

 

 Have to do a better repost of this brilliant album. This time with renewed pics and added songs. When Roy Wood left Mike Sheridan & The Night Riders for Move 1965 he was eventually replaced by Jeff Lynne. With Lynne in charge the group re-named, added guitarist Johnny Mann from Carl Wayne & The Vikings and changed repertoire from early sixties style pop/r&b to more contemporary pop/psych. Through recommendations from former band mate Roy Wood the reformed combo got a contract with Liberty 1967. After issuing two unsuccessful singles they got to record this debute LP with help from producers Eddy Offord (later renowned for his work with ELP and Yes) and Gerald Chevin (who also worked with Move at the time) plus orchestral arranger Cy Payne. I think it's a great album. Apart from being too short - clocking in at under thirty minutes - I can't find anything bad with it. Clearly inspired by contemporary Beatles and Move, still one of a kind. A perfect blend of experimental and melodic, catchy and exciting, with a lovely atmosphere. There's quite a lot on it reminding of the further Lynne/Wood collaborations for late Move and early ELO, in a way making the three bands inseparable both historically and musically and this one of the first trials in that succession, No sure how this mono differs from the strereo, but it sure sounds great to me - big and strong with top separation. Have yet to find a corresponing stereo (LBS 83132) for comparison and when I do you'll be the first to know. US stereo on Liberty (LST-7603) came with other sleeve design. UK vinyl reissues 1976 on Sunset (SLS 50381)1976 and Parlophone 2014(0825646335374). UK 2020 2xCD on Grapefruit Records (QCRSEG 065D) came with both mono and stereo versions plus ten bonus tracks. Premiere UK had label as shown here in a laminated fold/out cover. (YMÖ*)(RÖWS*) (XLÄ*) 

                                                                                 

                                                                                  

                                                                            

                                                                                

                                                                            

                                                                                     

                                                                        

                                                                                   

                 




 

ELECTRIC LIGHT ORCHESTRA/ELO 2 SHVL 806 (-73) UK

Early in the recordings for this album Roy Wood left. He participated on two tracks (uncredited) - "From The Sun To The World" and "In Old England Town" - before moving on to form his new group Wizzard. Wood was a driving force, both in the late Move efforts and for initial ELO, therefore one should expect this to be somekind of a transition album, but it sure doesn't sound like that. It reminds a lot of the duos latest efforts with the two groups, maybe even more introvert. There's long numbers with heavy strings and theme changes, mostly slow pace and groovy lyrics. The tone is almost too dark and that's where I miss Roy Wood - he was the one who could lighten things up with his special voice and beautiful melodies. The brightest tune on the album is the "Roll Over Beethoven" cover wich became a hit '45, reaching top 10 in UK and also doing well in US. The album was their least commercial with only one week at UK charts at #35 and US peak #62, doing better in Canada at #17. The American release differed a lot from UK. It had another cover design, the track "Momma" was called "Mama" and "Roll Over Beethoven" used another edit, clocking in at 8:10 in comparison to 7:03 for UK. Early US on United Artists (UA-LA 040-F). First UK with label as shown here - "Grammophone" top left and "MADE IN GT BRITAIN" bottom inside rim - and thick, matt Garrods & Lofthose f/o cover. (For more background on this also check my posts on the Move albums and 1:st ELO.)(RÖWS*)(HÄVL*)

WIZZARD/SEE MY BABY JIVE SHSP 4034 (-74) UK

After moving from ELO, Roy Wood got immediate success with his new group in England. The album "Wizzard Brew" peaked at #29, the '45:s "See My Baby Jive" and "Magic Fingers" topped the list, "Ball Park Incident" reached #6 and "I Wish It Could Be Christmas Everyday" #4 - in two years. (IWICBCE also had eight re-issues 1981-2012, all charting between #16 and #46). Those four single A:s and B:s were originally non-LP, so releasing them on a compilation coupled with two tracks from the "Brew" album was a good deed. The A:s here have everything I want from hit songs - melodic and emotional, yet rythmic and catchy. Phil Spector was one of Wood's big idols, wich clearly shows in the production. One of the B:s is an ordinary rocker, the others odd intrumentals - best described as art glam with classical influences. The audio is fine throughout, maybe a little overproduced at parts but that's the way it is. It sure has enough to put me in a good mood. Don't know if it had release in any other countries. Early UK with label as shown here and thin fully laminated cover. (RÖWS*)(HÄVL*)

ROY WOOD/MUSTARD JET LP 12 (-75) UK

  His second solo album after the brilliant "Boulders"  https://monolover.blogspot.com/2013/02/roy-woodboulders-svhl-803-73.html . As with that this is almost all him - voices, instruments, production and sleeve design. Only ouside additions were background vocals by Phil Everly on "Get On Down Home" and Annie Haslam (Renaissance) on "The Rain Came Down On Everything". It was well recieved by critics, but failed to sell. To my taste it sounds more adveturous, but also scetchier that its predecessor. I don't get the same flow here though it is interesting enough to sit through with open ears. I hear a mix of Beach Boys inspired vocals and bagpipes in "Interlude", a Led Zeppelin style rocker in "Get On Down Home" and two Andrew Sisters pastiches in "Mustard" and "You Sure Got It Now". But the two tracks that touch me the most are the warm languishing ballads "The Rain Came Down On Everything" and "The Song", showing his ability to write and perform pieces that can open tear channels if the mood is right. I've always been a big fan of the man, from Move, over early ELO, Wizzard and solo and this is just another good thing from his workshop. Full album below. Issued and reissued on all possible formats all over the world through the years. First US on United Artists (UA-LA575-G). UK 2019 CD on Esoteric Recordings (ECLEC 2695) came with seven bonus tracks. Premiere UK had label as shown here in a glossy fold/out cover.  (RÖWS*)