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Roy Wood

In the ever-changing world of popular music, there are certain characters that remain constant. Always present, though in many different guises, is a man whose appearance is as colourful as his music ... Roy Wood!

As a teenager, Roy joined local Birmingham band, Mike Sheridan And The Nightriders. They quickly became one of the most popular and well-respected live groups around, touring the UK and making the then obligatory trip to Germany, taking up a residency at the Storyville Club in Duisburg.

Returning to the Midlands, The Nightriders found a thriving music scene. In those days, bands would meet up and hold jam sessions and it was in The Cedar Club’s early morning hours that a regular collection of musicians came together, creating such an energy and chemistry that each decided to leave his respective band and form a new ‘supergroup’.

In 1966, Roy along with Carl Wayne, Bev Bevan, Ace Kefford, and Trevor Burton formed The Move, who were to become one of the most legendary and notorious bands of the sixties. After securing a residency at London’s Marquee Club, The Move picked up a record contract with Deram. Their first single, the Roy Wood song, Night of Fear immediately landed the band in the top five, which set a precedent for nine further top 20 hits over the next five years, all written by Roy.

Controversy reigned throughout The Move’s career. Their ferociously wild live set, which included the demolition of various worldly goods, resulted in them being banned from quaking concert halls across the country. Roy’s lyrics revealed an original and often curious view of the world (as in the second Move single I Can Hear The Grass Grow), that raised many a disapproving eyebrow and the band had the dubious honour of being sued by Prime Minister Harold Wilson concerning the promotional postcard used to advertise Flowers In The Rain, the first-ever record to be played on Radio One.

The Move’s No. 3 hit Fire Brigade was followed by the chart-topping masterpiece, Blackberry Way, before personnel changes within the band led to the teaming up of Roy with Jeff Lynne. Whilst The Move continued to record four more hit singles and two albums, the Electric Light Orchestra was born to accommodate Roy’s burning desire to create pop songs with heavily classical overtones.

ELO’s first single, the spine-tingling 10538 Overture, entered the charts as The Move’s final offering California Man, left the top 10. The latter was one of rock’s finest moments and made a fitting farewell for a truly great band.