I’ve posted clips of the Birmingham pop-psychedelicists the Move before. (https://loosehandlebars.wordpress.com/2012/07/21/my-heads-attracted-to-a-magnetic-wave-of-sound/). This live performance clip from a 1968 German TV programme “Beat, Beat, Beat” is of such high quality (less than 300 views, you have got to be kidding me !) that I want it on here and I will try not to repeat myself.
The band were the hand-picked young guns from various bands playing the Midlands circuit. In 1966 they dressed as gangsters, had an attitude, an energy and an appetite for destruction which drew comparison with the Who. Joe Boyd, in his fine memoir “White Bicycles”, writes of seeing the band at the Marquee Club in London and having meetings with them about replacing Pink Floyd as the new residents at the hippy U.F.O. club. The group were managed by a young hustler, Tony Secunda, who was eager to play with the big boys in the music industry. He chose to head for the overground and a record contract was very publicly signed…on the back of a topless female model !
The Move signed with young producer, Denny Cordell, a man who proved that he knew how to make a hit record many times. The guitarist Roy Wood was encouraged to write songs and the first single “Night Of Fear” went to #2 in the UK charts. “Night Of Fear” nicked a Tchaikovsky riff and was a pre-Summer of Love warning of a bad trip. There were contemporary bands presenting their own British take on pop-psych, the Smoke, Tomorrow, Les Fleur de Lys .The Move were the most commercially successful because they were the best at it.
Here the band play live, look smart and put on a great show. They play the first two singles (“I Can Hear The Grass Grow” was another Top 10 hit, another song about tripping ) and “Walk Upon The Water”, a track from the first LP. I had forgotten what a terrific song tune this is…lovely. I always thought that the singer Carl Wayne had a touch of the business of show about him, less comfortable in the Carnaby Street clobber, side-lined by the emergence of Roy Wood as the talent. They are all looking good here, the ill-advised perms, kaftans and bells came later. Bass player Ace Kefford particularly is the image of the dude rock star with the coolest look, moves and attitude.
Within a year the scene had shifted. The album was now the thing and the Move were locked into singles success. They made some great 45s but never managed to, or maybe did not want to, produce a concept album/rock opera. Roy Wood never seemed the most confident of men. As he became the leader of first the Move, then E.L.O. and Wizzard he hid himself behind increasing facial hair and ridiculous costumes. His run of singles with the Move compare with the best of British music at this time and he deserves a higher regard than he has. Still, if you need to hear the Move it’s a “Best Of” collection that will do the trick.
The original line-up of the Move splintered. Ace left, then Trevor Burton and finally Carl. The hits kept on coming for Roy Wood though. Trevor Burton formed Balls, another Birmingham supergroup involving Denny Laine, Steve Gibbons and others. Tony Secunda hustled a big advance, hired the great producer Jimmy Miller and the band went to a country cottage with the intention of “getting it together”. They only got very high for a long time and by the time “Fight For My Country was released the band had split. The song is an overblown epic of muscular peacenik psychedelia. Hey, they are Brummies, it was never going to be anything else. I had forgotten this song for over 30 years and it’s a cracker.
Years later I was visiting friends in Birmingham. We went for a beer at Sunday lunchtime and Trevor Burton was playing a set at the local pub. Usually a weekend in Brum involved smoking a lot of dope and listening to a lot of reggae, not much else. (Don’t knock it…it’s a thing). On returning to London my mates were impressed at the quality of entertainment provided by the neighbourhood boozer. Good memories of the Move and their very acceptable pop music.