It must have been really boring to watch." He used to wear these old black glasses that you couldn't possibly see through, and every night he used to fall over stuff, crashing into the floor. There were too many people onstage, and Roy would change instruments every number, so there were like five-minute gaps between numbers. "We did maybe 20 dates," Bevan told Rolling Stone in 1974, "and it never sounded any good. Rumors of in-fighting between Lynne and Wood subsequently became common.
![just the two of us song year just the two of us song year](https://i.ytimg.com/vi/EJY5se7G-7Q/maxresdefault.jpg)
When they returned to performing, Wood started causing extended stage delays and wearing increasingly outlandish outfits. The second scheduled ELO show in London was canceled just a couple of days later, reportedly over continuing sound issues. Whatever musical chemistry they'd managed in the studio was quickly dissipating out on the road. The other guys are on wages because that's the way they wanted it, but we're beginning to settle down more as a band and get to know each other."īut Wood was being overly optimistic, and not for the first time. "Bill Hunt and Richard Tandy are Birmingham lads, and the others are just the best Musician's Union guys we could find.
![just the two of us song year just the two of us song year](https://cdns.klimg.com/kapanlagi.com/p/00018557518767_20210924_160037_0000.jpg)
"It was really just a case of getting the best musicians available," Wood told NME in 1972. Early lineups also included violinist Wilfred Gibson and cellists Andy Craig and Colin Walker. Classic-era cellists Hugh McDowell and Mike Edwards would soon join. Keyboardist Richard Tandy began his long stint as the band finally coalesced, while French horn player Bill Hunt was held over from the sessions for The Electric Light Orchestra. Watch the Move Perform Just Before ELO Formed It was easier for the two of us to have a go at it." "But there weren't that many people who wanted to travel with a rock band and play classical music, which is one of the reasons I got involved with Jeff Lynne. "I knew that I wanted to get a new band together, so why not advertise for violin, cello and French horn rather than guitar players?" Wood told Rob Hughes in 2012. market, which had largely ignored the Move. ELO were meant to provide an outlet for symphonic-leaning experimentalism, and maybe an entry point into the U.S. It's one thing to dub them on the album, and quite another sorting out the balance onstage."Įlectric Light Orchestra were founded in tandem with the Move, a more rock-focused group that also featured Bevan, Lynne and Wood. "Perhaps people don't realize all the problems there are in amplifying all those string instruments we have," Wood added in the same NME interview. They appeared to be fiddling along in silence. The bigger problem: Cellos and violins could scarcely be heard over ELO's guitar-based frontline during this more primitive time in the history of onstage amplification. But we're prepared to lose a little money in the experimental stages of the band." "If we have to hire the hall, if we are promoting, you can almost that figure. That was $530 in 1972 or the equivalent of a whopping $3,645 at modern exchange rates. "It costs us approximately £200 in traveling expenses, roadies and wages before we even get on the stage," ELO drummer Bev Bevan told NME back then.
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Adding those orchestra guys meant ballooning the budget.