Electric Light Orchestra

I have what is fashionably described as an "eclectic" taste in music, and therefore regularly find myself defending some artists or genres against the derision of other people.

An example of this trend would be the Electric Light Orchestra. It seems that rather than heap contempt on ELO, many critics see them as figures of fun or ridicule, as if they are just too inoffensive to warrant genuine scorn.

My initiation into ELO's work was via my brother,who was a keen fan of theirs when he was a youngster. Natural suspicion of one's sibling's tastes instilled some resistance in me, and I largely ignored their music for many years.

It is only in the past two years or so that I have re-discovered ELO's catalogue, due to the wonders of the internet. I now find myself enthusing over their earlier work, particularly that recorded in the period 1973-76.

I find that the albums On The Third Day,Eldorado,Face The Music and A New World Record successfully incorporate the best elements of the band, namely Jeff Lynne's infectious Beatlesque melodies and also the more experimental or progressive direction which was hinted at on their first two records.

When first introduced to ELO's music, I gravitated towards their work from the period 1977 through to the early 80s, probably because it was more readily accessible and available. However, on reflection I find those later albums to be somewhat lacklustre and over-produced. Also, the orchestral backing became excessively syrupy. The earlier LPs may have lacked polish in parts, but they had a grit and spontaneity largely absent from Out Of The Blue and Discovery.

ELO's output in the 1980s did not fully return them to the heights of the middle of the previous decade, but there were signs that Jeff Lynne was returning to his roots in rock n roll and pre-Beatles pop. The single All Over The World, from the 1980 Xanadu soundtrack, was an absolute gem, and showed that Lynne still retained his songwriting sensibilities.

My view possibly differs from other fans, but I feel that the band peaked artistically around the time of Eldorado and Face The Music. The albums either side of this showed them first discarding some blemishes and excesses, and then afterwards pointing the way towards a blander and less inspired phase.

Perhaps one of ELO's problems with the arbiters of taste was that they were not "prog" enough to be ranked alongside the likes of Pink Floyd, Genesis and Yes, and not sufficiently "rock and roll" for those who prefer their music more rootsy.

However, for those who relish intelligent and melodic rock music, ELO's mid-70s efforts, and also some of their other work, are definitely worthy of some attention.