There’s Gold in them thar Wells

Rip It Up, Issue 16, 1 October 1978, Page 8

There’s Gold in them thar Wells

Peter Thomson

Jeff Wayne was in New Zealand to promote his quasi-musical version of H.G. Wells’ novel The War of the Worlds. Rip It Up were to be given an interview— as it turned out so were the daily papers, T V. news (both channels), Radio With Pictures, Spot On and the private radio stations. A press conference would have been faster but Wayne is concerned that all news avenues be given a chance for an individualised story. In appearance Wayne resembles more a gentle lumberjack than musical entrepreneur: short yet solidly built, tanned, dressed in check shirt and suede boots. He is friendly and offers me a drink. We relax. There is no sign that for the last umpteen days, all around the world, he has been repeatedly dealing with similar queries about his work. Except, that is, for his adeptness at handling questions which might pursue views he'd rather not discuss. He speaks quietly yet volubly and, with imperceptible shifts, leads the conversation back to the important aspects of his project. His project? Well of course it began with Wells — although through some oversight the novelist s name was omitted from the album—and Wayne emphasizes how concerned he was to ensure that the script and music remain faithful to Wells’ original. Wayne’s stepmother wrote the condensed narrative and she has indeed retained much of Wells' central concerns: man’s naive assumption of his cosmic supremacy, war’s destructiveness, the erosion of conventional value systems. She has also developed the book’s concluding hint that mankind’s reprieve from alien invasion may be only temporary.

In discussing Richard Burton’s vocal delivery Wayne stresses— imperceptible shift— that the narration basically serves as a catalyst for his music. Ah yes, the music. I’ve been readying to suggest to this polite affable man that his music is rather bland for a tale about earth’s invasion and the destruction of civilisation. I hint by suggesting that Philip Lynott’s performance as the parson is the most dramatic point on the album. Wayne smiles and begins to explain how he chose the singers specifically for the type of role required. I shall have to be more explicit. A deep breath and ... the phone rings. Fate?T.V.l are calling to discuss accessories marketing. After the phone call Wayne comments that he owns merchandising rights on the T-shirts, toys and posters which will proliferate from the album’s burgeoning success. Film rights are more involved. Paramount own them and made a War of the Worlds in '53, but now with Wayne’s hit album they’re considering a remake using his music. Negotiations are under way. Can we return to the music? Wayne’s wife enters with gurgling baby in arms. Disarming fate. My moment has passed. Wayne chats about the album's production for a while. Some polite questions and I take my leave— someone else is waiting for an interview. Wayne is covering all the commercial media and now Radio N.Z.’s national programme is running a 8.8. C. dramatised serialization of the novel. Coincidence surely. The gods or is it the martians? must smile upon a successful entrepreneur.