Ѩ ELECTRIC LIGHT ORCHESTRA - 2

ELECTRIC LIGHT ORCHESTRA - 2

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Voldar: , 8 ( ) Move & ELO Beat-Club. Beat-Club was an ARD German music program specializing in undergroup pop music that was created by Gerhard Augustin and Mike Leckebusch. It was originally broadcast from September 1965 to the end of 1972 when it was replaced by another ARD music show, Musikladen. It featured various rock and roll acts of the era in stage performances and added special effects, intermixed with interviews and footage of various German personalities and peoples. All programs featured one or more hosts, however presenter Uschi Nerke hosted the program during its entire run. The live performances for many (if not all) performer appearances, were some unique live experiences. Thankfully for fans, the entire series was been released on DVD by ARD Video in 2008. The Move made several appearances on the program from 1968 to 1972. This article, however, focuses on Jeff Lynne's Beat-Club appearances while with The Move in 1970 and 1971, as he didn't join the band until the beginning of 1970. Although the Electric Light Orchestra had first come onto the live scene in April 1972 before Beat-Club was taken off the air, the band never appeared on the program. The original broadcast dates for all episodes are well documented, but it is unclear if the shows typically repeated (which they likely did do) and when any repeats were broadcast. The actual performance/record dates are, in all likelihood, several days earlier than the broadcast dates, as this was typical of this type if musical program; however, any performance/record dates are unknown at this time. Also the show was filmed in both Bremen, Germany and the Marquee Club in London, but it's unclear which Move performances were filmed where. Brontosaurus on Beat-ClubThe first Jeff Lynne appearance with The Move was with the song Brontosaurus, broadcast on April 18, 1970. This performance is an incomplete version of the song, running a little less that two and a half minutes. It features Roy Wood on lead vocals and rhythm guitar, Jeff on lead guitar, Bev Bevan on drums and Rick Price on bass; there is no piano. It's an energtic live performance and features multi-colored lens effects throughout much of the performance. It was Jeff's first ever live appearance with The Move on TV (and possibly his first ever public appearance with the band). It is perhaps for this reason that, to help promote the new member of the band, that Jeff is actually standing in a prominent position on stage throughout the song. Very curiously, the song is interrupted for a few second about halfway through by host Uschi Nerke on a darkened stage. She speaks something in German [Editor's Note: can anyone translate this?], looks away from the camera, then the song continues. It remains a mystery what this is all about. The song is incomplete, with only the first half of the song being presented before there is an abrupt cut-away to an image of the German flag and coat of arms with the text "DEUTSCHER SCHLAGER 1970" (German hit 1970) over it. This incomplete performance, with the Uschi Nerke interruption, is included on the The Story Of Beat-Club Vol. 2 8 DVD set (on disc 7) released in March 13, 2009 by ARD Video (DVD 82003). This performance can be viewed. The second Jeff Lynne appearance with The Move was with the song When Alice Comes Back To The Farm, broadcast on December 31, 1970. This performance is an extended version of the song, due to an extended guitar jam by Roy at the end, with the intro being interrupted briefly by Uschi Nerke as she is superimposed over the screen to introduce the song. The performance is a straight stage performance with Roy on lead slide guitar (while sitting down), Jeff on rhythm guitar, Rick Price on bass and Bev Bevan on drums. There is no saxophone as on the studio recording and all the cello parts are instead played by Jeff on guitar. The camera work is quite frenetic, with lots of zooming in and around except when it is focused on Roy. Several camera tricks are employed to add various psychadelic effects behind the band and flashing lights add to the madness. This performance is included on the The Story Of Beat-Club Vol. 3 8 DVD set (on disc 1) released in March 13, 2009 by ARD Video (DVD 82004) and can be viewed: The third and final Jeff Lynne appearance with The Move was with the song Down On The Bay, broadcast on November 27, 1971. At the same time, Ella James and The Words Of Aaron were performed and recorded. However only Down On The Bay was broadcast on the original show with the others lying unseen in a vault. This performances features a newer live lineup for the band, blending a bit with the Electric Light Orchestra as they and The Move were in flux at this time. Down On The Bay features Jeff Lynne on lead guitar and vocals, Roy Wood on bass guitar, Richard Tandy on rhythm guitar, Bev Bevan on drums and Bill Hunt on piano. It's a different version than the released single version. It follows the same basic pattern, but the Jerry Lee Lewis imitation is missing from the beginning and end and there is an added instrumental bridge featuring a short guitar jam from Jeff and a great piano boogie-woogie from Bill Hunt just after the third chorus and before the fourth verse. The ending is extended with several different guitar licks and drum flourishes. Again, several flashing colors are used throughout the performance, including a multi-colored image of the Message From The Country album cover behind the band. This performance is included on the The Story Of Beat-Club Vol. 3 8 DVD set (on disc 5) released in March 13, 2009 by ARD Video (DVD 82004) which can be viewed: The performance of Ella James is the same line up as Down On The Bay except Roy is on lead vocal; and it's the same basic performance as the album version it is shortened and there is a nice long lead guitar bridge by Jeff. It's shortened to just over two minutes by cutting everything from (and including) the second verse to the beginning of the third verse (which includes the first chorus, the vocal bridge and the guitar and saxophone bridge). It's unclear if this is how it was actually performed or the TV show edited the track. It also includes additional piano throughout the song by Bill Hunt. This performance was recorded for Beat-Club, although it was never broadcast. It eventually surfaced in 2009 on German TV on an as yet unidentified program; unfortunately the video is clipped to get it to fit into a widescreen format. This performance is not a part of the The Story Of Beat-Club releases, but it has been recorded off of television and can be viewed: The performance of The Words Of Aaron recorded at the same time has not been broadcast in any form and is not available. Beat-Club appearances of The Move before Jeff Lynne joined the band include: Fire Brigade broadcast on June 4, 1968 (available on The Story Of Beat-Club: 1965-1968, DVD 7) Wild Tiger Woman broadcast on September 14, 1968 (available on The Story Of Beat-Club: 1965-1968, DVD 8) Blackberry Way broadcast on January 25, 1969 (available on The Story Of Beat-Club: 1968-1970, DVD 2) Curly broadcast on August 30, 1969 (available on The Story Of Beat-Club: 1968-1970, DVD 4) This page is intended to be a complete record of information on The Move's Beat-Club performances when Jeff Lynne was in the band. If you notice any errors or omissions, please contact me at elofan@juno.com and let me know. I strive for accuracy. Robert Porter March 2012 http://www.jefflynnesongs.com/beatclub/

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Voldar: Another bootleg from the BBC (British Broadcasting Corperation) archives...released in 1980. On 9 October 1975 Utopia played their first UK concert at the Hammersmith Odeon in London with the trimmed-down lineup of Rundgren, John Siegler, Roger Powell and Willie Wilcox, with backing vocals by future soul star Luther Vandross and Anthony Hinton (a former member of Vandross' early 1970s vocal quintet Luther). .

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Voldar: , , Village Times. Bev Bevan interview Brewood Music Festival takes place in July and Village Times starts the build up to the 2012 event with an interview with The Move, ELO and Black Sabbath legend Bev Bevan. Bev Bevan was born in Sparkhill, Birmingham on 24th November 1945. He was educated at Moseley Grammar School, gaining two O levels passes before starting work as a trainee buyer at the Beehive department store in Birmingham with school friend Bob Davis (Jasper Carrott). His professional music career began with Denny Laine & The Diplomats (Denny Laine later of Moody Blues & Wings fame) before a stint with Carl Wayne & The Vikings. Bev was a founder member of The Move in late 1965 along with Roy Wood, Trevor Burton, Ace Kefford and Carl Wayne. Bev was a founder member of the Electric Light Orchestra (ELO) in 1972 and was also a member of Black Sabbath in the 1980s. Village Times caught up with Bev recently ahead of his performance with Trevor Burton at this years Brewood Music Festival. Over the next four weeks you can read our interview with Bev as he talks about The Move, ELO, touring and lots more! Do you see the current line-up as a continuation of The Move or a case revisiting the band? I think revisiting is a nice expression. Its born out of when ELO part 2 finished in 1999, I took a bit of a sabbatical and started doing some radio station work, which Im still doing, and got the.urge to play and form my own band which was the Bev Bevan Band. I actually just bumped into Trevor Burton one day and we ended up doing a gig together and he said I wouldnt mind doing more of the old Move stuff. So his band still exists and so does mine but from time to time we get together and do these Move shows and do some of the old Move tracks. Has Roy Wood ever been tempted to get involved? Hes been asked! I dont think hes ever been tempted. Hes very reclusive, I last saw him in January at the funeral of an old rock singer, Gerry Levene. But Roy very rarely comes out to play, he did the Status Quo Christmas Tour, guested on that, but probably the next time you see him will be next December! What are the strengths of this incarnation of The Move that well see at Brewood? Theyre great people to work with. Of course Trevor Burton was a founder member of The Move along with me so weve got two original members which in this day and age is pretty good. A lot of 60s bands have only got one or even none in some cases. The rest of the guys are terrific players. Phil Tree, the bass player, has been with the Bev Bevan Band since the outset and spent around 12 years as Roy Woods bass player. Neil Lockwood on keyboards was with me in ELO part 2, again hes been with me right from the start of the BB Band and he was lead singer with the Alan Parsons Project for some time. So, hes a really talented keyboard player and singer. The lead guitarist, a guy called Tony Kelsey, right now hes working with Steve Winwood and hes a really terrific guitarist. We obviously do several Move tracks but we try and evoke, unlike many other 60s bands I think, the rockier side of the time. A lot of the 60s bands can be a bit cabaret but we do things like Gimme Some Lovin or we do versions of Purple Haze and Hey Joe. We do some Cream songs, Peter Greens Fleetwood Mac songs so were trying to remind people of the rockier side of the 60s. We did a 60s weekend at Butlins recently and we were discussing what to put in the set and we actually said that Hey Joe might be a bit much for this crowd, but then thought oh no well put it in anyway. It went down better than anything, standing ovations for Hey Joe, which just goes to show you that people are quite shocked to begin with because its quite loud and jammy but absolutely went down a storm with the Butlins crowd which speaks for itself really. Birmingham was a real hotbed of talent in the 60s? Yeah, it was an incredibly healthy time that. I started out with Denny Laine, and what a talented guy he is! We went to see the Spencer Davis Group at Birmingham University, when I was with Denny Laine & The Diplomats, and he just fell in love with what Steve Winwood was doing, found the blues and then went and formed The Moody Blues and went on to Wings after that. Theres so much talent around this area, Tony Iommis still my best friend in the music business, Robert Plants a good friend, Steve Winwood Ive just mentioned, Roy Wood, Jeff Lynne, it really was a great place to be in the 60s. Similarly to Liverpool I guess there were lots of great bands working who just never got discovered? Oh yes, definitely. I also play in a little music revue that goes around the area usually once a year called Its only Rock n Roll. Its basically my band and were backing Jeff Turton, lead singer with The Rockin Berries, Raymond Froggatt, another very talented singer-songwriter, Trevor Burton, who comes on and does some bluesy type stuff and also a guy called Danny King. Danny was the original Birmingham rock n roller going way back to the 50s and what a talented guy he is. He goes down a storm every single night but he never really made it. Steve Gibbons is another one who never really made it but should have. Next week Bev talks about The Move during the 60s and their impact on the music scene at the time. Do you think the Move have been undervalued over the years? I think they are, particularly with the record buying public but you cant blame people for that because, people listen to the radio, and used to go and buy records, but if they hear things like Flowers in the Rain, Blackberry Rain, Fire Brigade they think yeah, good little pop group that. But really anyone who followed The Move from the start, when we used to work regularly with Cream, Hendrix, Pink Floyd and The Who, we were very much in that mould really and very much a rock band. We were a progressive rock band when we started out and kinda turned into this singles band type thing. Thought lost for over 30 years, the master tapes from The Moves shows at the Fillmore West were saved by Carl Wayne but suffered technical problems and could not be released. Thanks to advances in studio technology, Carl began restoring the tapes in 2003. Sadly Carl died in 2004 and was never able to complete the live album he believed would show how incredible The Move were as a live band. Now, with the full cooperation and permission of his wife Sue Wayne, the tapes have been painstakingly restored, remastered and released in memory of The Moves dynamic front man and lead singer. The new release of the USA tour in 1969 is a great listen and shows an incredibly versatile band? Well, I know thats 69 and was really Carl Waynes last performances with the band, but that is a lot more like what we were when we started out really. We were very chameleon like, we were able to change direction at any given moment. We were forever changing our image. We had a manager who was publicity mad called Tony Secunda and he was forever changing our image. We were in gangster suits as hard men for the first single Night of Fear, by the time we got to the third one, Flowers in the Rain, we were all hippies and then by Fire Brigade we were all on motorbikes and wearing black leather! I dont think even we knew what we were supposed to be half the time! The promotional campaign for The Moves third single Flowers in the Rain had serious repercussions for the group. Without consulting the members of the band, manager Tony Secunda had a cartoon postcard produced showing Prime Minister Harold Wilson in bed with his secretary, Marcia Williams. Tony Secunda was involved with the famous post cards featuring Harold Wilson too wasnt he? Oh yes! That was a step too far actually! He was really good for us to begin with, it was him who got us a residency at The Marquee club in London and which led inevitably to us being signed. I mean, we didnt have to go knocking on record companies doors, they were queueing up to sign us! So, he was great at that and he did give this image that gave us great publicity, great photos and really put us in the public eye. But, just for the sake of publicity to upset the Prime Minister of Great Britain was just too barmy even for us! In fact, we still dont get any royalties from Flowers in the Rain or the B side, Roy Woods never had a penny in songwriting royalties which is really unfair. After that we did split with him (Secunda). Wilson sued The Move for libel and the group lost the subsequent court case. As a result they had to pay all costs and all future royalties were awarded to charities of Wilsons choice. The ruling remains in place today, even after Wilsons death in 1995. Flowers in the Rain was the first chart single played on Radio 1 when it began broadcasting at 7am on 30th September 1967, introduced by Tony Blackburn. Do people focus too much on the Harold Wilson incident and Flowers in the Rain as first song on Radio 1 and forget the other things The Move achieved? Probably. I think people within the industry realised just what a good band we were. I got to play on Paul Wellers Wake up the Nation album, (Bev plays on Moonshine and Wake Up the Nation) which was a massive hit, simply because hes such a huge fan of The Move. And when you start talking to people theres a lot who are big Move fans. Theyre generally people who were in bands themselves around about that time, John Lennon liked The Move, McCartney did, Eric Clapton did, Pete Townshend was a fan but at the time we were a very in group. Before we became darlings of Top of the Pops I suppose! Next week we talk to Bev about his time in the Electric Light Orchestra (ELO) Between 1971 and 1986 ELO released 11 studio albums enjoying huge success all over the world. The group achieved 20 Top 20 UK hit singles and also hold the record for having the most Billboard Hot 100, Top 40 hits in US chart history without ever having a number 1. They have sold over 50 million records worldwide. This week Bev talks about his time with the band and sheds some light on his big drum sound. Would it be fair to say that there was a point in the 70s with ELO where you were just about the biggest band on the planet? Im not sure about that but we were certainly one of the biggest. Fleetwood Mac were enormous at about the same time, and Abba of course, but we were certainly well up there. You used to double track drum parts for ELO didnt you? Yeah, it was a bit of a pain in the behind to be honest but we did get a big sound that way. We used quite old studio techniques and used to put down a basic track in the studio, probably with guitar, bass, drums and keyboards which would probably get wiped and be done all again, and then I used to go into the Musicland studios in Munich. Theyd put me into the toilets area because it had got this tiling that gave a very live sound and then Id have to copy exactly what Id played before which is one of the reasons that none of the ELO drum parts are that over-complicated because I had to get them beat for beat so they could be double tracked. That must have been a real feat of concentration and endurance? More concentration really, it really was. We didnt double track the bass drum,that would have been really difficult, it was basically just the top kit. If you were only a fraction of a second out it had to be done again so there were a lot of takes to get it spot on. Might ELO have been even bigger had Jeff not been quite a reluctant live performer? Its unfortunate I think that he was quite a reluctant live performer because we could have toured a lot more really. I do understand where he was coming from because we did tour an extraordinary amount during the 1970s. We toured in 72, 3, 4, 5, and 6. 77 we were basically recording Out of The Blue, we did a massive tour in 78 and Jeff had by this time become very successful and to be fair to him he never liked the touring. Even going back to his time with the Idle Race he was a studio person and a lot of guys are. Youve either got a love of being on stage or you havent. Theres no way Paul McCartney or Elton John need the money but they still tour all the time because they love it obviously. Do think Jeff might have been put off by an incident early on in his time with The Move? I think it was his first ever gig with The Move and we were in Ireland and he did that routine where you check the mic by putting the guitar strings against it. As soon as he touched the guitar to the stand every string was broken and he was blown backwards. If hed have done it with his lips on the mic at the same time he would have been electrocuted. What are the downsides to touring? The last major ELO tour, the Time tour, I got kidney stones in Europe and was flown back to England and I was in hospital for about a week. But for several days I was trying to perform and I played drums with kidney stones which was not recommended. Then when I was with Black Sabbath on my second American tour, I actually got viral pneumonia but still carried on playing! I went to hospital in Boston and the guy said well youre a young fit guy, you just gotta rest for a couple of weeks and youll be fine. I said sorry but Ive several shows to do across America in the next couple of weeks! So, you just carry on but its a miserable experience to be on the road and feeling unwell. It can be enough to put you off touring. Was there ever a chance of you being involved with the Zoom album? No. Was that from your perspective or choice? Jeff and I havent spoken for about twenty odd years. Jeff has the rights to the ELO name now and its up to him what he does with it. Theres always rumours of a new album or tour and stuff but if it does happen Im pretty sure it wont involve me. You had a spell with Black Sabbath in the 80s? Yeah, 83/84 went back again in 86, 87 just odd shows here and there. The initial tour, the Born Again tour was terrific and theyve just re-released it in the last year. Theyve re-released Born Again and the bonus album was our performance live headlining at the Reading festival in 83 which sounds great. After all these years to hear it again was terrific. That bought back massive memories and with this Move 69 album thats two very different but very good performances being released within 12 months of each other. On March 15th 1986 a concert was held at the NEC under the banner of Heartbeat 86. Performers at the concert included ELO, the Moody Blues, Robert Plant, Roy Wood, UB40, Denny Laine and special guest appearances from Dave Edmunds and George Harrison. Bev was the driving force, organising the concert and other events to aid the charity. You must be very proud of what you achieved with Heartbeat? Yeah, we raised an incredible amount of money for the Birmingham Childrens Hospital and the concert was terrific actually. I think we raised close to £1 million by the time we finished. George Harrison even turned up at the end of the concert, as surprises go that was pretty damn good. It was virtually the last time ELO played, I think we only did 3 more shows after that. Are you a steering wheel drummer? I never stop! Theres a tune going through my head all the time and Im always tapping things and walking in time to music or a tune thats in my head. But yeah, definitely a steering wheel tapper! Given your profession, its just in you isnt it? Thats the great thing about drummers, youre either a drummer or youre not actually. Its almost impossible to teach anyone, if you dont have a natural sense of rhythm then you cant play. Its as simple as that really. Maybe impossible to say but has there been a particular highlight in your career? I suppose when we did the Out of The Blue tour and we played Wembley and my Mum came to the show, my Dad had died when I was 10 so he never saw me become a drummer like he was actually. So that was a very proud moment and it was a charity concert, the Duke and Duchess of York were there and for my Mum to come to that, coming to Wembley to see the show, in front of 12,000 people, I suppose that would stand out as a highlight. Starting out at the Beehive youve been drummer, rock star, TV personality on Pop Quiz in the 80s, author, DJ, fund raiser is there anything left on the to do list? Yes! My good friend Tony Iommi has just released a book called Iron Man, which is a terrific read actually, and came out in hardback just before Christmas. The paperback comes out I think in July or August but so does the talking book CD and you can download it from all sorts of places, and theyve asked me to narrate the book. So, thats a first Ive never been a narrator before! Youve had an amazing career though so far? Ive been very fortunate, got to work with some great people and avoided having a proper job all these years! http://www.villagetimes.co.uk/feature/1207/Bev+Bevan+interview+-+Part+4.htm