FACE THE MUSIC

The Electric Light Orchestra is without a doubt one of my favorite bands simply because of the sheer number of phenomenal songs in their catalogue. Face the Music contains several of those, and only has one song I do not like at all. For all the pop elements of this record, the band shows their adventurous side by opening with not only an instrumental, but a terrifying first minute and a half. Much of this album is typical ELO- well-dressed progressive pop tunes with old school rock and roll married to classical music. Face the Music is essential for fans of the band (although they would likely already own it), and is also a great starting point for anyone who has not heard much from them. Although not flawless, this album makes for a wonderful yet terse listening experience.

"Fire on High" One of the creepiest bits in all of music is the first ninety seconds of this incredible instrumental. Hellish industrial noises juxtaposed with some of Handel's Messiah, all underneath a bed of harrowing strings- this is the stuff of which nightmares are made. And those chilling reversed words are paralyzing (Drummer Bev Beavan warns, "The music is reversible but time is not. Turn back. Turn back. Turn back. Turn back;" it was the first of many pokes from Jeff Lynne at religious groups having a fit over backmasking). Abruptly the piece proper begins: Spiraling strings and a wonderful electric guitar theme is the catharsis for the intensity that precedes it, and then it all explodes into that well-known acoustic chord progression, flanged drums, and sweet violin, a part which was frequently used for athletic events and carnival rides. In a final display, the choir sings the title of the song.

"Waterfall" Lynne has been quoted as saying that "Waterfall" was "a bit of a favorite" of his, and with good reason. This is a gorgeous song with the trademark ELO sound, one which rivals beauties like "Telephone Line," "Can't Get It Out of My Head," and "Strange Magic." In fact, the gentle opening of "Strange Magic" is referenced in the beginning here. It's too bad that with these lush melodies and this gorgeous yet simplistic arrangement, this song often gets overlooked on compilations. The refrain has a Queen element in terms of complex harmonies and falsetto vocals.

"Evil Woman" Probably the first Electric Light Orchestra song I ever heard, this is also one of my favorites (but my list of favorites for this band is embarrassingly long). Intriguingly, the ELO's first worldwide hit was a song Lynne himself admitted to writing as filler for the album, having penned it in a half an hour. It uses an extravagant orchestral introduction dominated by dominant seventh chords and a lead vocal giving the opening line. Afterward, it has a simplistic but effective chord progression, a lightheartedly bitter verse, and a quite stylish chorus with some excellent backup vocals. The instrumental section has light piano over that same bouncy rhythm, along with some dazzling strings. The brief string interlude comes from elsewhere on the album, and is played backwards and through a flange effect- effortless.

"Nightrider" Over somewhat dark strings, Lynne sings a sweet, occasionally falsetto melody. Soon the song lodges into a pleasant groove, with the late bassist Kelly Groucutt singing some of the lead vocals. Not long after the start of the third minute, the listener can hear the terse string interlude utilized on "Evil Woman," only this time played forward and without the heavy effects.

"Poker" Quite different from anything else on this record, this is a heavy rock and roll song with a synthesizer lead just before the first verse. The vocally versatile Groucutt handles the main singing duties. One of the riffs has a Led Zeppelin-like quality, as it is reminiscent of "Kashmir."

"Strange Magic" One of the most delicate ELO songs there is, this has that lovely introduction that is almost like a Hawaiian lap steel guitar. The graceful singing and the exotic sitar through a flange offer subtle complexities to this beautifully placid song. Multiple vocal parts during the fading refrain is a spectacular way to end the piece.

"Down Home Town" Showcasing their "strange magic" in the studio, ELO employs an effective backmasking transition- the original sound is the from "Waterfall," by the way- but unfortunately, this slipshod rocker is the weakest on the record. For some reason they incorporate excerpts from "Dixie," the volume of which can be a tad painful relative to the rest of the music.

"One Summer Dream" Following an orchestral introduction, ELO displays once more their uncanny ability to write bittersweet songs bathed in an efficient simplicity that allows the work to be unforgettable. This airy piece is not bogged down by excessive instrumentation, but just floats along a sleepy and nostalgic melody.