ELECTRIC LIGHT ORCHESTRA [AKA: NO ANSWER]

In 1968, a band called 'The Move' consisted of 3 individuals, Roy Wood, Jeff Lynne and Bev Bevan. That band was basically ending, but the 3 musicians wanted to have a smooth transition from that band to a new band that focused on strings and woodwinds rather than guitars to give their new music a more classical sound, and at the same time, continue where they thought The Beatles had left off. So, while finishing The Move's last album 'Message from the Country', they were also focusing on the new band to be known as 'The Electric Light Orchestra'. In December of 1971, the debut album was released, originally misnamed 'No Answer' due to a funny mistake, it eventually became known by the same name as the band.

So, this new album and band sounded nothing like the previous band. Little did they know that this album would also not sound much like subsequent albums either. This one definitely focused on the idea that Ron Wood had for the band, something unique and distinctive. Even today, listening to this album gives the listener a unique experience as far as music goes. It sounds nothing like the pop and disco sounds that the band would eventually morph to. So it is quite interesting to hear how it all started, and just for that alone, it is worth it for everyone to hear how it was originally intended.

The music is heavy and dark, but not at all in a guitar heavy way. The music is far from the slick sound that the band would eventually adopt in the 80's. It sounds much more raw and unique, just as it was supposed to sound. Lynne was just figuring out how to use his voice, and at times sounds his vocals are garbled and hard to understand. Yet, there was something exceedingly charming and wonderful about it all, it gave the music character, especially in a lot of the earlier albums to follow. In fact, the more Lynne's voice became slicker, the less interesting it would get. Same thing with the music. Even the earlier, more accessible albums like 'Eldorado' were still attractive in the way they were more raw and heartfelt. But nothing in their discography would ever match the sound of this first album. While it's true they still had some perfecting to do, which they come much closer to achieving on their 2nd album than on this one, it is still a very fascinating and entertaining album, and unsuspecting 'fans' of the groups later music will probably be shocked at how different this album is.

The album starts off with Lynne's track, the most famous song on the album '10538 Overture' which was originally supposed to be a song for 'The Move', but Wood and Lynne traded the guitar riffs for cello riffs, and this was the result. To me, it is a fascinating track that has become a favorite in their discography with the cools cello sawing sounds which are double tracked to make it sound more orchestral. It starts based off of the famous Beethoven motif, but soon becomes heavy and thick. I remember playing this track when I was quite young, and my father said it sounded like an unbalanced washing machine. Even to this day, I hear that and think that he wasn't too far off, but I still love the track. It was released at the 1st single for the album and it has shown up on several of the band's greatest hits albums.

Most listeners will notice that the album moves further away from the 'rock' feeling at this point and becomes more 'classical' sounding. 'Look at Me Now' is written by Wood, and it begins accappela, with a more of a folk sounding and baroque centered track, more minimal as most of it is performed with his vocals and a viola and some sparse wind instruments. 'Nellie Takes Her Bow' is mostly performed without drums as a rhythmic instrument, but more as an orchestral instrument along with the strings and wind instruments. The song veers from rhapsodic to progressive classical with Lynne's obvious writing, and even uses a motif from 'God Rest Ye Merry, Gentlemen' at one point. The track is also quite dramatic and showy. At this point, more dissonance comes into play along with dynamic and mood changes. 'Battle Of Marston Moor' once again takes a sparser approach and once again is penned by Wood. There is the sound of the mini-orchestra, made dark with emphasis on the cello and a rather dramatic reading instead of sung lyrics. It is obvious that Wood's songs are more baroque-classical based where Lynne's are more romantic-classical sounding. Though this one is more baroque oriented, it still has a bit more variation in thematic elements than the typical baroque style song would have, the more linear sounds often shifting to various melodic themes. This one is also more instrumentally driven.

Rod Wood opens up the 2nd side with a guitar led instrumental called 'First Movement (Jumping Biz)', which sounds very much like 'Classical Gas' by Mason Williams. In fact, the artists now admit it was based on that song. The music is upbeat and more rock oriented making it a great opening track for the 2nd side, even though it almost steals the Classical Gas melody. Lynne writes the next 3 tracks starting with 'Mr. Radio', which actually sounds more like subsequent ELO tracks than anything else on the album. This also blatantly demonstrates Lynne's love of The Beatles songs as would many of his future songs. This track was slated to be the 2nd single from the album, and would have probably done quite well as it is somewhat accessible, more so than 10538 Oveture, but it was shelved. The song still uses the trademark (for this album anyway) heavy use of strings and the orchestrated feel, plus the Lynne penchant for rhapsodic, romantic inspired tracks, plus he adds a vaudeville atmosphere to it, and uses some effects like backward tracking to give it more character. It's a great track that foreshadows some of the amazing songwriting Lynne would do for the 2nd album.

'Manhattan Rumble (49th Street Massacre)' continues the dramatic and cinematic style developed from the previous track as the two flow into each other. Again, a lot of the same elements of classical verses vaudeville work against each other in some fascinating ways. This track is entirely instrumental, though it works as an extension to the previous track and could have easily been morphed into one track. 'Queen of the Hours' finishes off the Lynne written tracks. More sawing strings open this one up and soon Lynne's vocals return, the happy vocals sounding almost contradictory to the heavy sound of the thick strings here. This is probably the least interesting track on the album. The album ends with 'Whisper in the Night' by Wood. Again, the contrast between Lynne's complicated sound and Wood's simpler sound is quite apparent along with the more structured, almost folk-tinged sound, it sounds like a stage song from the baroque era.

As most people, on my first listen to this album, I was not that attracted to it, but as the music opened itself up to me more, I was able to appreciate it more. There was a time when I would have said it was there worst album, but now I consider it one of their best. Though it is not as great as their second album, I still consider it a strong 4 star album. It is quite original, and, though it has a few weak moments, it demonstrated the beginnings of what could have been an amazing group had they continued in this path. Alas, all we have is this one album with both Ron and Jeff together, as Ron would leave the band shortly after the first single was released. I suppose it all had to do with their differences musically as Lynne wanted to center of the rhapsodic and romantic connection of classical and rock music while Wood was more interested in the classical and olden sound. Wood would continue on to be part of the band 'Wizard', but Lynne, of course, would become famous for leading ELO, but unfortunately, eventually going down a completely commercial path. But, at least we were able to get some unforgettable and unique music from the early years of the band.