ELECTRIC LIGHT ORCHESTRA

"Time" is the most focused and introverted album since "Eldorado" or "On the third day". Frankly, I'm quite glad he got rid of the string section as this was bringing nothing more than colouring to the sound. With the basic 4-group band, each of the members apart from the bass player is more audible, that goes in particular for the excellent keyboard contribution and trademark powerhouse drumming which is so typical for 80's ELO. Songwriting on "Time" is less derivative of Beatles and 70's hooks. We hear more new wave, album rock and conceptual thinking. And do you recognize the Orbison's vocal influence on Lynne?

Less commercialism in the record is directly proportional to the increased album depth. Many listeners consider this rightfully to be one of ELO's highlights. Former prog rock roots are recognizable in the prologue and epilogue tracks whereas the obligatory rock'n'roll number is characterized by the distracting "Hold on tight". Essential listening for ELO fans and any ambitious pop listeners.

The soundtrack music is actually much better than the film itself and offers rewarded listening even when flops are inevitable. Newton-John has a pleasant and passionate voice highlighted in the first two tracks be it the mystical melody "Magic" or the conventional duet of "Suddenly". Coming up is the misaligned "Dancin'" and the average two other tracks but they don't offend either. ELO starts the better half of the album. All their contributions are above average with first two top-class selections that wouldn't have been out of place on "Discovery". "Don't walk away" is a mellower track before the anthem-like and a bit pompous "All over the world". The title track is one of Lynne's pop career highlights with pure 100% ELO ingredients and dramatic Newton-John voice. Vocal harmonies by ELO and piano playing are memorable, too. The end of the track is breathtaking and innovative in pop, when I was a kid I associated it with turning on the engine which is about to start to the universe. Overall, this is a rather achieved pop album and certainly a must for 70's ELO pop fans.

Out of the blue is Jeff Lynne's and ELO's what "Songs in the Key of Life" meant to Stevie Wonder. An ambitious double LP with many artistic directions, maybe trying to please multiple fan groups, maybe demonstrating Lynne's touch that turned everything to gold.

I think this is the first album with excellent production which would become one of the greatest Lynne's strengths in the 80's.

"Turn to stone" is a fantastic uplifting classic ELO starter and the instrumental highlight is Tandy's moog accompanied by typical string arrangements.

It's over returns to the mid-70's album rock with symphonic opening and mildly progressive chorus. Similar to the brilliant "Mr. blue sky" it contains many music ideas packed together and great arrangements.

"Sweet talkin' woman" is noteworthy for its futuristic robotic vocals, great harmonies and catchy rhythmic chorus.

"Across the border" shows has a bit of country flavour and creative synths. "Night in the city" is a generic ELO workout with major/minor chord variation and decent string arrangements.

"Starlight" starts a bit sloppy but during its 4:30 time it flourishes into a memorable chorus. It is a soothing track that brings emotional balance.

"Jungle" is a silly one-of-a-kind ELO track with playful drumming and screaming Lynne's vocal. Though it's very catchy, it doesn't have the substance of other ELO tracks on the album.

Then come two heartbroken tracks - the robotic vocal symphonic led "Believe me now" which could be an intro to the vastly elegant "Steppin' out" with McCartney-like bass guitar. It is an effective ballad though the chorus is slightly generic.

The more ambitious Concerto for a rainy day contains several tracks and starts on a solemn note - the accessible largely instrumental and experimental "Standin' in the rain" goes into several directions but is well baked by Lynne.

If you expected this to continue in the same vein, then you'll be disappointed by the poppy "Big wheels". It seems that the concerto was largely a lyrical concept and not a trip into the past ELO's music.

"Summer and lightning" is a decent if not exceptional track. "Mr. Blue Sky" is exceptional though thanks to its complex rhythmic structure and first-class vocals, it also later refers to the symphonic music on the album.

Out of the remaining tracks, the progressive keyboard led "The whale" which could be sonically linked to being in the sea, is worth mentioning. Synthesizer textures and the collaboration between the keyboards and strings is outstanding - this is how you make an accessible atmospheric track.

"Wild west hero" has an increasing chorus and excellent vocals, a country instrumental piece. The final minute sounds like an album culmination with Lynne giving his best in vocals.

This is an excellent album and showcases one of the best pop double albums of the 70's.

ELO albums between 1975-1977 were the pinnacle of Jeff Lynne's songwriting and trademark sound with orchestra. While 1975's "Face the music" still had last hints of prog baked in the cake, 1976 is fully streamlined.

The first X tracks are prime examples of Lynne's exceptional songwriting which included Beatles, classical music and contemporary album pop/rock music.

"So fine" features an updated disco beat by Bevan and Tandy contributes with funky clavinet. "Telephone line" belongs to the best group ballads with excellent vocals, great string arrangements and soaring melody.

"Do ya" is a re-recording of the Move version. The tracks is cleaner, well arranged but doesn't bring much added value.

"Shangri-la" as track title sounds deceivingly unconventional and the start is quite unspectacular with a more generic classic motive with lack of tension. Synths alongside strings are quite pleasant though however after the 4- minute mark we are coming to the overblown pinnacle of the album with strings, moog and ornate singing (Lynne sounds a bit like Orbison).

4-4.5 stars granted to this well executed work and 2 stars for prog-rock ELO fans.

I can't get over the difference in sound between this 1973 release and the next one "Eldorado". Much better production and sound quality here with "On The Third Day" and it's just more my style of music as well. This one while still very much tapping into what THE BEATLES did is a pretty good rocking record. "Eldorado" is dominated with orchestration and the sound quality is not good, There's no way I could go more than 3 stars with it. Sure that style would be the key to Jeff Lynne and ELO's success but for my tastes give me that gritty, slicing cello any day and that harder edged record.

Like "Eldorado" there are two songs I recognize, probably from listening to FM classic rock stations. "Showdown" is one I really like but wasn't the biggest fan back in the day. Also "Ma-Ma-Ma Belle" is the other one I know and this rocks pretty hard, no doubt a good live track for these guys once upon a time. I can't believe Marc Bolan is playing guitar on this one along with the next tune "Dreaming Of 4000". Marc has been on some good Fusion albums and speaking of that check out the final 30 seconds of "Oh No Not Susan" with the Jerry Goodman-like violin.

Back in the day when I was 17 years old and finding my way musically I did check these guys out by buying "Out Of The Blue" for the very happy "Mr. Blue Sky". Interesting that the RYM site has the four straight albums beginning with "Eldorado"and ending with "Out Of The Blue" as their highest rated. And add "Time" from 1981. I'll take the "The Third Day" thankyou.

I've mentioned many times that orchestral music just isn't my thing and this album is full of it. I think the first time I heard this band was probably the song "Telephone Line" on the radio and I really liked that one. But they would have many hit songs playing on the radio over the years, I'm sure Jeff Lynne isn't hurting financially. Just read the Bio here. This particular album and "On The Third Day" the one before it get props from some Prog fans but to my ears this is commercial sounding music that is inconsistent overall.

After the opening overture we get the hit "Can't Get It Out Of My Head" and it's a pretty good tune and one I remember from back in the day. I still can't get over how orchestral this album is with that 40 piece orchestra in play. I honestly thought this band would be in Prog Related, so I'm surprised to see them in Crossover although this record by itself leans heavily towards the Symphonic I must admit.

I'm not surprised at the success commercially of this one with the two or three popular tunes and of course being unique with that orchestra. And come on this also brings THE BEATLES to mind at times as well. Jeff was onto something. Just not my thing. 3 stars.

Every Electric Light Orchestra album in the 70's and 80's could stand on its own and face fierce competition in the prog, rock and pop genre. "Discovery" and "Xanadu" may be the most commercial outcome by ELO but it does not diminish their artistic quality and strong songwriting at its core. Lynne was able to come to terms with the latest music development such as disco and produce two decent answers "Last train to London", "Shine a little love" without staying superficial. The bulk of the album is firmly rooted in pop which aged well because of wise production techniques and to my pleasure, also aptly arranged keyboards. Beatles hooks are still on big sale and keep repeating which brings the artistic value a bit down to a typical ELO listener. "The diary of Horace Wimp" is a witty Beatles go 70's BeeGees vocal connection.

This album is not meant to be analysed and reflected upon endlessly, it's supposed to bring you the jovial end of 70's atmosphere with 2 decent ballads ("Need her love"

"Don't bring me down" is an overrated rock'n'roll pastiche that ELO tried to compete with on the next albums ("Hold on tight", "Rock'n'roll is a king")

Recommended to the ELO fans, pop enthusiasts and if you're an old 72'-74' ELO fan, you'd better stay away from it!

"Secret Messages" continues in the way of strong ELO deliveries. While it is not as adventurous and exploring as "Time", Lynne is still in a fine and inspired mood not only to create memorable music but also in an increasingly masterful fashion. Production-wise, this is a top record, way better than his later average trademark attempts with Tom Petty or Paul McCartney's Flaming pie. Material is strong and you can see the extra mile done in the studio be it for the Tandy's wide array of keyboard sound or Bevan's typical 80's drum sound. Songs are mainly upbeat though we have interesting time signature changes such "Loser gone wild" which took me a long time to appreciate. "Danger ahead" has a fantastic catchy rhythm pattern that stuck in my head for years despite it being an average song. And the mandatory rock'n'roll number is one of the better ELO attempts. Lynne's vocal abilities are breathtaking - Lennon's signature is still there but he can easily switch to Orbison-like vocal in the slower numbers and has created his own style since.

Pity that this music has not made it to the stage due to the studio trickery.

'10538 Overture' marks the very beginning of ELECTRIC LIGHT ORCHESTRA. I cite Wikipedia on the formation of ELO: "In 1968, Roy Wood -- guitarist, vocalist and songwriter of THE MOVE -- had an idea to form a new band that would use violins, cellos, string basses, horns and woodwinds to give their music a classical sound (...). Jeff Lynne, frontman of fellow Birmingham group The Idle Race, was excited by the concept. (...) In January 1970, when Carl Wayne quit the band, Lynne accepted Wood's second invitation to join [The Move]. On 12 July 1970, when Wood added multiple cellos to a Lynne-penned song intended to be a Move B-side, the new concept became a reality and '10538 Overture' became the first E.L.O. song."

The Move was originally supposed to end at that point, but to help finance the new band, one further Move album was recorded and released during the lengthy ELO recordings in 1970-71. Only the remaining Move trio of Wood, Lynne and drummer Bev Bevan played on all songs of E.LO.'s debut album The Electric Light Orchestra that was released in December 1971.

'10538 Overture' is about an escaped prisoner, hence the number in place of a person's name. Both Wood and Lynne sing on it. I find especially the vocals quite terrible here, they remind me of John Lennon on 'I Am the Walrus'. The sound quality is rather muddy really, but for the playing it is sufficient enough. The cellos, French horn and other wind instruments give the arrangement the unique flavour, and I also like the guitars. The song in itself is pretty repetitive, it's definitely the classical intruments, despite not being played the purest possible way, that make '10538 Overture' worthy.

The single's B side track 'First Movement (Jumpin' Biz)' also appears on the debut album, starting its second side. It's an instrumental, with acoustic guitar playing the lead melody and Roy Wood's cellos shaping the soundscape, at times giving associations to the string arrangement on 'Eleanor Rigby'. Some horns are also heard, for a moment. I sympathize an album reviewer comparing this piece to early FOCUS instrumentals such as 'House of the King' or 'Sylvia', although I clearly prefer Focus. Again, the composition itself is not very exciting.

The single peaked at no. 9 in the UK singles chart and visited also the Dutch top 40. My more subjective rating would be a lukewarm three stars, but let's make it four for the historical value. Wood, Lynne and co. indeed "picked up where The Beatles left off", as they had planned.

This is a transitional album for ELO, along with the three previous ones, they made quite a big development. "Face the music" shows brilliant songwriting skills by Lynne and their prevalent typical 70's sound where strings are pushed to a supporting role to the main rock instruments. Classical references are gone to be replaced by Lynne ideas all over the place. I like the general high music standards, good production. The growing absence of progressive rock was inevitable. "Strange magic" and "Evil woman" are unforgettable not overplayed 70's singles. The progressive mind will, however, be please by the majestic dynamic first instrumental track. Classic ELO.