The eight-piece, face-painted, sax-wailing, rainbow-haired glam orchestra who made Christmas forever weird and wanted you to see their baby tonight. Roy Wood left ELO, grew the maddest beard in rock, slapped on war-paint thicker than Kiss, and assembled the loudest, campest, most joyous gang of glam lunatics Britain ever saw. The Glam Slam Essentials Wizzard Brew (1973) – Album Release (1973)One long, mad, prog-glam freak-out – “Wear a Silly Grin”, “Buffalo Station”. Not radi

Released in the UK on September 13, 1974, The Move’s “Do Ya,” backed with “No Time,” appeared as a 7-inch vinyl single on Harvest Records (HAR 5086). Written by Jeff Lynne, the track delivered a high‑energy blend of rock, proto–power pop, and layered production, marking the band’s final phase as they transitioned toward the Electric Light Orchestra sound Lynne would soon fully embrace. Although later made famous by ELO’s 1976 re-recording for *A New World Record*, The Move’s

A full-page Creem Magazine advertisement promoting the specially priced 2-record compilation The Best Of The Move. The Best Of The Move — A new album on A&M Records. Creem Magazine Date: August 1, 1974 Length: 4 min read 📰 Key Highlights • Eye-catching illustration of a removal truck labelled “THE BEST OF THE MOVE” with the band standing in front • “Special Price 2-Record Set” banner • Detailed text explaining the band’s history and the inclusion of many tracks never

A dense, energetic slice of early‑’70s music‑press culture, this Record Mirror singles page captures the moment when The Move were still a force in the UK rock landscape — and when football culture and pop music collided in the form of a Leeds United single sharing the same review space. 📰 Publication Details Publication: Record Mirror Date: April 29, 1972 Country: UK Section / Page: Mirrorpick Singles Page Format: Singles Review / News Page The page is dominated by the head

A high‑energy rock ’n’ roll pastiche from Roy Wood and Jeff Lynne, “California Man” arrived as The Move’s final official single — a last burst of glam‑era exuberance before the group’s transition into the Electric Light Orchestra. Released in the UK on 14 April 1972, “California Man” marked the end of The Move’s official singles run. Issued on Harvest with a double B‑side — Jeff Lynne’s “Do Ya” and Roy Wood’s “Ella James” — the single became the band’s final UK chart hit, pea

Issued as part of Fly’s Magni Flys campaign, this UK‑only 7" maxi‑single gathers Fire Brigade, I Can Hear The Grass Grow and Night Of Fear—three Roy Wood‑penned psych‑pop classics originally cut at the height of The Move’s chart power. Released in March 1972, it repackages their earlier Regal Zonophone singles for a new audience, tying the band’s mod‑psychedelic heyday to the emerging glam landscape while keeping their catalogue visible as Roy Wood moved toward Wizzard and EL

A simple, warm Christmas greeting from Roy Wood, Bev Bevan and Jeff Lynne of The Move / Electric Light Orchestra to all readers of Disc magazine. Roy Wood, Bev Bevan and Jeff Lynne wish you a Merry Christmas and a very Happy New Year. Disc Date: December 25, 1971 Length: 2 min read 📰 Key Highlights • Festive seasonal greeting from three key members of The Move / ELO • Clean, bold text layout with no additional imagery • Personal message signed by Roy Wood, Bev Bevan

In the autumn of 1971, The Move were transitioning from their psychedelic pop roots toward a heavier, more mature rock sound under the leadership of Roy Wood. With their final line-up featuring Jeff Lynne, the band released “Chinatown,” a gritty, riff-driven rocker that showcased a tougher edge while retaining their melodic strength. Released on October 1, 1971, the single appeared on Harvest Records under catalogue number HAR 5043. Backed with “Down on the Bay,” this 7-inch

The Move were evolving from their psychedelic pop phase into a heavier, more progressive rock direction. Led by the ever-creative Roy Wood, the band released “When Alice Comes Back to the Farm,” a quirky, riff-driven track that blended hard rock energy with whimsical, slightly surreal lyrics. Released on October 9, 1970, the single appeared on Fly Records under catalogue number BUG 2. Backed with “What?,” this 7-inch release captured The Move during a transitional period that

A heavy, swaggering reinvention, “Brontosaurus” marked Roy Wood’s emergence as a theatrical frontman and set the stage for the wild, technicolour decade that followed.