He was particularly successful in the 1960s and 1970s as member and co-founder of the bands The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a huge number of hits to the repertoire of these groups. He was not only known for playing guitar, but also many other instruments, both in studio and on the stage. On some of his albums he has played every instrument himself.
His first group in Birmingham in the early 1960s was Gerry Levine and the Avengers. Then he went on with Mike Sheridan & The Nightriders (the band later to become The Idle Race, in which his musical partner Jeff Lynne made his first steps). From this, and a variety of other Birmingham-based groups, the most talented musicians formed The Move, and Roy became their musical leader. The Move quickly entered the charts, and were famous for spectacular stage shows. After the departure of Move's singer Carl Wayne, Roy was pushed into the front position. He acquired a wild image wearing some sort of Indian disguise. Since Move members could not agree on the musical direction, and perhaps also because of their weird stage shows, the musical potential of the group was underestimated. Wood therefore developed plans to realize his ambitions in separate projects.
He loved sound experiments, and complex arrangements, and was in this respect one of the most progressive musicians of his time. He was a proponent of combining rock'n'roll music with other styles, such as classical music, or the big band sound. In his bands, string and brass players were integrated members. When The Move was still on tour, he founded, together with his band colleagues Jeff Lynne and Bev Bevan, the Electric Light Orchestra (ELO), which was later led to big commercial success by Lynne. ELO broadened the basis of a rock band by adding a string section.
ELO's early live performances were chaotic, and after increasing musical and personal differences with Jeff Lynne, Roy left and formed a new group, Wizzard, which assembled cellists, brass players and a bigger rhythm section, with several drummers and percussonists. In parallel, he also released several solo albums, exploring further musical directions. His 1973 album, Boulders, was an almost entirely solo effort, right down to the sleeve artwork. A second solo album Mustard (1975), including contributions by Phil Everly and Annie Haslam, was less successful.
The line-up of albums was always fascinating, because of the large number of instruments Roy, and his band members, were playing. Roy himself is mentioned as singer as well as player of guitars, bass guitar, sitar, cello, double bass, saxophones, clarinet, trombone, tuba, recorders, oboe, French horn, banjo, mandolin, bassoon, drums, percussion, vibraphone, bagpipes and keyboards.
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chinatown
Roy Wood Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When the girl is born
Surely you know the wine will age
Till she’s fully grown
Don't fly into the night
Soon enough the world will end
While the lantern is right
I could find a good time girl in Chinatown, Chinatown
Dancing in my shoes
See the eastern ladies walk in Chinatown
Chinatown, chain me down, Chinatown
Maybe, I'll drink your jasmine tea
Then I'll hurry home
Surely you know the likes of me
Should be left alone
Why they like me for?
Soon enough the world will end
If I answer the door
I could find a good time girl in Chinatown, Chinatown
Dancing in my shoes
See the eastern ladies walk in Chinatown
Chinatown, chain me down, Chinatown
Look at the tall pagoda through
Through your window pane
Watching it by your dragon night
On a cocoa day
You'll discover the white
Orchids in my humble moon
While the lantern is right
I could find a good time girl in Chinatown, Chinatown
Dancing in my shoes
See the eastern ladies walk in Chinatown
Chinatown, chain me down, Chinatown
The lyrics of Roy Wood's song "Chinatown" appear to be about the experiences of a foreigner in the titular location. The opening lines suggest a local custom of preserving wine for years as a gift for a newborn girl until she becomes a grown woman. The mention of flying into the night seems to refer to the transience of life and the need to make the most of it before it ends. The lyrics then shift to a focus on the singer's own desires, specifically his attraction to the women of Chinatown. There is a sense that he enjoys their company but is aware that his interest in them may not be reciprocated.
The second verse features more mystical imagery, with references to jasmine tea and a dragon. The singer expresses ambivalence about the attention he receives, asking why the women of Chinatown like him and suggesting that he should be left alone. The lyrics end with a description of the pagoda, which is visible through a window and is described as a humble moon. This is followed by another repetition of the chorus, indicating that the singer is still drawn to the pleasures of Chinatown despite his misgivings.
Line by Line Meaning
Bury a jar of shaosing
Place a jar of shaosing in the ground
When the girl is born
At the time of a daughter's birth
Surely you know the wine will age
It is known that the wine will mature over time
Till she’s fully grown
Until she reaches adulthood
Don't fly into the night
Do not venture out at night
Soon enough the world will end
The world will eventually come to an end
While the lantern is right
Take action while there is still light
I could find a good time girl in Chinatown, Chinatown
I could meet a fun-loving woman in Chinatown
Dancing in my shoes
Enjoying myself without any cares or worries
See the eastern ladies walk in Chinatown
Observe the women of the East as they walk by in Chinatown
Chinatown, chain me down, Chinatown
Feel tied down to the sights and sounds of Chinatown
Maybe, I'll drink your jasmine tea
I might try your jasmine tea
Then I'll hurry home
Afterward, I will return to my dwelling
Surely you know the likes of me
I am someone who you should not associate with
Should be left alone
It is best for me to be alone
Why they like me for?
Why are they fond of me?
If I answer the door
If I open the door to strangers
Look at the tall pagoda through
Gaze at the tall pagoda visible through the window
Through your window pane
Refers to the glass of the window
Watching it by your dragon night
Watching the dragon night by the pagoda
On a cocoa day
On a day with a warm, pleasant atmosphere
You'll discover the white
You will encounter the white
Orchids in my humble moon
Modest moonlight that reveals orchids
Chinatown, chain me down, Chinatown
Feel tied down to the sights and sounds of Chinatown
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: ROY WOOD
Lyrics Licensed & Provided by LyricFind
@TheSemtexCow
Dave Milton That’s not exactly what happened.
When Jeff got star struck in the Travelling Wilburys, he lost total interest in the band.
By then everyone but Bev (who couldn’t be sacked as a founding member) and Richard Tandy had been sacked by Jeff.
Bev who owned a 50% stake in the band wanted to continue, and wanted the rest of the band back.
After a lot of legal expense Jeff agree’d to let Bev carry on but only if Part2 was added to the name, and during all interviews it made explicit that Jeff wasn’t involved anymore.
This agreement allowed Bev to reform the band without Jeff, and to be able to play live all of their back catalogue but not use them on any new albums.
Now brummies don’t always listen to the letter of the law lol, and the band went on to release many live albums containing all of the old hits that Jeff owned.
This went on for years, until Jeff now a very rich man sent the lawyers in to shut it down.
Unable to play any of the hit records it killed ELO Part2 dead.
Bev was down on his luck after his livelihood (and that of the other band members) was taken away, he sold his 50% stake to Jeff in 1999-2000.
Jeff comes across as such a nice guy, but how he treated guys he’d known and worked with for years ain’t nice.
Hugh Mc Dowel and Melvyn Gale were sacked by fax in 1979, and Kelly Groucutt dropped without warning in 1983.
@trevorastley1727
What a very underrated musician, a very clever and articulate man. I used to play this 45 to death on my mono record player in mid 70s. His layered music and voice is other worldly.
@dahmgood1
Have loved this song since I was in junior high school...I'm 60 now.
@descamm9313
Still as good these years on, a credit to Roy Wood, Brilliant, 🎤🎸🎹🎷🎻
@clarenceclutterbuck
The Chinesey sounding guitar lick interjections are brilliant!
@christopherthomas7253
I literally can not get enough of this song.
@rogerpyle1976
Love Jeff Lynne and Roy Wood harmonies. The Move one of the very best!
@austinreid7229
Roy Wood is a legend.There is lesser singer songwriters parading around being called Sir this or Sir that.Its about time he got what he deserves.Lets start a page on Facebook and get one of England's finest a knighthood.
@sharpvidtube
David Bowie rejected his. John Lennon wasn't Sir. I think Roy Wood is in good company.
@SamSprole
Who the hell cares about that bullshit?
@paulkinsella6536
@@SamSprole Roy Wood wrote some great songs, and the Move were a great band. Never understood how they didn't gain higher acclaim. I really like, Tonight, Chinatown, Curly and California Man! Here's to The Move! 👍