Day: April 5, 2020

ARTICLE ABOUT The Move FROM New Musical Express, January 21, 1967

This is quite an interesting band in music history. Playing quite powerful music for its time and later transforming into ELO. Roy Wood played a major role in the development of glam rock! On a sidenote I would like to mention that I actually saw their drummer, Bev Bevan, live playing with Black Sabbath – another band from the very productive, in heavy metal history, Birmingham area in England. He did a fine job of it, even if no-one really is able to do as fine a job as their original drummer, Bill Ward.
Read on!


Move wants to start riot

“Wrecking, smashing, breaking things – the kids LOVE it!`
they tell Alan Smith

The Move`s Carl Wayne leaned forward in the hard-backed chair, lashing his leather overcoat with its black-thonged belt. You don`t meet violence like that every day in an NME interview and – I have to confess! – I twitched.
“It is our life’s ambition,” he said slowly and menacingly “to start a riot. People love violence. They WANT violence. In our act we wreck cars and stick an axe through TV sets. The kids go wild. Within minutes they’re right in there with us . . . WRECKING, SMASHING, breaking things up.
“The other day we did a show at Chalk Farm and we hired two strippers to strip off while we played. Darlin’ birds they were . . . lovely.
“There they were — the two of ’em — stripping right down to their G-strings, and none of the kids was taking a blind bit of notice.
“Everybody was too busy wrecking up the car. It was crazy; wild. The manager comes backstage and he says: ‘What are we gonna do, what are we gonna do? They’re tearing the place up out there!'”

And music ?

“No offence,” I ventured timidly, as Carl again lashed out with the leather thong to emphasise his point, “but, er, whatever happened to music?”
“Yeah, well,” said he, as his face creased into an amiable grin, “you know how it is.
“You see, these days you’ve got to be so visual. You’ve got to have a visual act, and the looks of the group mean so much. I’m not saying you’ve got to be handsome — you’ve just got to have the right gear, and present yourself the right way.
“That’s why we’re big on all this thirties’ gear, the double-breasted jackets and all that. I think we started this thirties’ trend. There’s a lot of people around trying to copy us, but they get it all wrong.
“You see, it’s all a matter of the tailoring. Girls don’t want to see blokes in those dirty great wide baggy pants. They want sex-appeal. So what you do is, you take the thirties’ influence and you adapt it to today’s style. You make the trousers tighter, for a start.
“Another thing about being visual. When we axe up the TV set we’re kind of hitting out at anti-social things. TV is anti-social, that’s why we attack it. We also attack other evil things like Ian Smith and apartheid. The car? Well, that’s a social evil, isn’t it?
“Don’t call us psychedelic. The Move has been tagged psychedelic, but we’re not and hate it. A lot of groups are calling themselves that, but when the word dies, they’ll die.
“We’re not psychedelic,” he said, grittily; “we’re showmen.”
Sitting in the room was bass guitarist Chris Kefford, of the pale face and the ice-blond hair.
“‘Night Of Fear’ isn’t really us,” volunteered Chris. ” That one was just a break-through into the charts.
“Wait till you hear our next single, ‘I Can Hear The Grass Grow.’ That’s us. A fantastic title, isn’t it? Our lead guitarist Roy Wood wrote it. We’ve got a photographer, Bobby Davidson, and he says to Roy: Here’s a crazy title. Bet y’ can’t write a song to fit it.’



“There’s complete lunacy in the lyrics, but it’s a hard, driving sound with a lot of micro lines and magnetic things.
“It didn’t take us long to record, because we try to go into the studio when a number hits us, and we’ve got the inspiration. It’s no good waiting: if we don’t record it straight away, the feeling’s lost.”
Much as the groovy-hippy-happening crowd may have taken to the Move, there’s nothing ultra-cool about the group itself. Members Carl, Chris, Trevor Burton, Bev Bevan and Roy come from Birmingham, and they tell me their greatest pleasure is “to get back home.”
According to Carl: “You can keep your in-crowd and your hangers-on. We can’t stand phoneys at any price.”
In spite of their on-stage violence, they’re pleasant, amiable guys with a touchingly-genuine feeling of excitement about the chart success of “Night Of Fear.”
As we talked, every once in a while Carl or Chris would throw in a request like: “Please thank all your NME readers for buying our record – really. We`re knocked out. We keep wanting to jump in the air, it`s all so fantastic.
“And could you thank the Easybeats for saying what a great group they think we are. No one has ever said anything so fantastic about us before.
“Just you tell the Easybeats, we think they`re the greatest, too.”


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