after leaving the Move. Kefford formed his own short-lived group, the Ace Kefford Stand, with Cozy Powell on drums. After this, he pursued a solo career and recorded a solo album in 1968, but it remained un-released until 2003 when it appeared as Ace The Face. Burton played bass with yet another Birmingham group, the Steve Gibbons Band, was one-third of the short-lived band Balls (with Denny Laine and Alan White), and later fronted his own blues group as lead guitarist. In October 1969 the Move made their only concert appearances in the US, opening two shows for the Stooges in Detroit, and playing dates in Los Angeles and at the Fillmore West in San Francisco. When neither their US record company nor promoters showed any more interest—the band even had to make their own accommodation & travel arrangements—the remaining proposed tour dates in New York were cancelled and the group returned home. During that period, Arden sold the Move's management contract to impresario Peter Walsh, who was at the time also managing the Marmalade. Walsh, who specialised in cabaret acts, began booking the band into cabaret-style venues, which further increased the tension between Wayne and Wood. Bevan later said the others felt "old before their time" when playing cabaret dates. By this point, Wood was openly discussing his desire to form a band playing more eclectic music, including both harder rock and classical instruments, which he tentatively dubbed "The Electric Light Orchestra". The Move's second album, 1970's Shazam, continued the Move's practice of musical quotation, and of elaborately re-arranged versions of other performers' songs. "Hello Susie" (a Wood composition), which was a Top 5 hit for Amen Corner in 1969, quoted Booker T. Jones' and Eddie Floyd's "Big Bird". The album also featured a slightly slower re-recording of "Cherry Blossom Clinic", an instrumental medley of public domain works, and a cover of a Tom Paxton song, "The Last Thing on My Mind". Despite such superficial similarities with their past, however, the album represented a clear break from the Move's identity as a pop group, reintroducing them as a hard-edged underground band. Burton played bass on a couple of tracks as they had been recorded before he left, although this was not credited at the time. Well aware that Wood was intent on setting up his new, orchestral rock project, Wayne suggested that Wood concentrate on performing with his new