Out Of The Blue - Electric Light Orchestra - album review

In the corridors of music history, there is a curious tendency for a consensus to emerge about what is a particular artist's best album, when that artist has produced other work which is far more deserving of that accolade. I put this down in part to lazy "scholarship", and the herd mentality which guides these matters.

I am inclined to think that Electric Light Orchestra's Out Of The Blue does not quite, in the cold light of day, live up to the uncontested glow which has surrounded it since its 1977 release. It does contain some entertaining and enjoyable tunes, and it is overflowing with the craftsmanship for which Jeff Lynne is rightly famous. The Beatles leanings are still clearly evident, with increasing echoes of Roy Orbison in some of the ballads.

The quality of the songs and the level of inspiration are uneven though, even allowing for the quota of filler material which turns up on most double LPs. The production and sound are steadily growing distant from the more earthy and organic character of the group's earlier works, and too many of the tracks are bathed in a certain clinical sheen, which unnecessarily obscures and stifles potential nuances.

Notwithstanding my criticisms, what is good on Out Of The Blue is very good indeed. The curtain-raiser, "Turn To Stone", does not fall victim to the excessive lushness which is evident elsewhere. There is abundant melodic invention and energy here, the latter largely stemming from the bass-synth which propels the piece along, and the "detached" feel of the vocal.  The song has its own persona and dynamism.

A song which has a similarly infectious charm is "Sweet Talkin' Woman", with some pleasingly intricate vocal arrangements, and the song manages to maintain its bite and momentum, a tribute to Lynne's innate pop sensibility.  These qualities are also on display on "Across The Border", one of those interesting and quirky "minor" tracks which pop up throughout ELO's canon.

Many of the tracks betray a genuine effort to convey atmosphere, story and mood - "cinematic" thinking, one might even say.  "Night In The City" is a case in point, although on reflection the song somehow loses its impetus, and never quite lives up to its impressive and evocative opening stages.

The weaker material is largely concentrated in the "middle" of Out Of The Blue, and this may be one of the reasons why it appears better and more consistently strong than it really is.  "Believe Me Now" is a likeable if throwaway vignette.  The "Concerto for A Rainy Day" (side three of the vinyl LP) was a clever idea, but does not really work for me, with the glaring exception of "Mr Blue Sky".

"Mr Blue Sky" has over the years gradually become Electric Light Orchestra's signature tune, and I discern that it is a distant relative of The Beatles' "A Day In The Life", although it is philosophically much less profound or ambitious. It is the song's innocence and kaleidoscopic zest which I find irresistible, rather than its musical complexity.

The double-album format permits the odd bit of experimentation, such as the instrumental "The Whale", as well as excursions like the endearing paean to the band's home town, "Birmingham Blues".

The album's concluding track, "Wild West Hero", harks back to the Eldorado days in its outlook, and is one of the group's forgotten gems, possibly because it is deemed to be less "radio friendly" than some of their other hits. The production becomes excessive towards the end, and this negates some of the melodic charm, although the bombast may have been intended to sign the album off with a grandiose flourish.

So, there we have it. A collection of melodic, lovingly crafted pop/rock songs, and some vague sense of cohesion,  but the sound is becoming overly formulaic even in 1977.  Out Of The Blue is definitely worth checking out, but for a more satisfying and authentic take on Electric Light Orchestra, seek out On The Third Day, Eldorado or A New World Record, or indeed any of their earlier releases.

Eldorado - Electric Light Orchestra - album review

They may not be too fashionable, but I retain a fondness and respect for the music of the Electric Light Orchestra. My brother got into them long before I fully appreciated their merits. Jeff Lynne's pop craftsmanship and gift for melody were the band's major assets. Refreshingly ELO did not set out to change the world;they simply aimed to make good music.

In declaring my liking for ELO's work, I would stress that my tastes have gravitated more and more to their earlier records, in the main the period ending around 1976/77. This phase of the group's career combines some progressive and experimental elements with impeccable pop/rock influences, most conspicuously The Beatles.

Prominent amongst the early releases is 1974's Eldorado. A concept album, it seemingly explores the dreamlike visions of a person striving to flee his dull existence. It was also their most lush and "polished" album up to that point, from a production and sound standpoint. It is possible to contend that other ELO albums contain stronger individual songs, but few hang together like Eldorado does. 

As befits any self-respecting concept album, this record is bookended by an overture/prologue and an epilogue/reprise/finale. The first proper song is "Can't Get It Out Of My Head". To coin a phrase, this one is more deceptive than it sounds, and which in its ability to implant itself in the psyche more than lives up to its title. It contains a few evocative lines, and was a hit single of some magnitude in the USA.

"Boy Blue" appears to relate a tale of a conquering hero returning to his hometown. There are some mildly interesting lyrics and some pleasant instrumental flourishes, but somehow this song fails to genuinely grab me or animate my imagination.

"Laredo Tornado" is a different matter. There is plenty to hold the interest, including sections which almost verge on the funky (not a word commonly associated with this band!). Jeff Lynne's facility for tunefulness is on display, and effective use is made of electric piano and what sounds like a clavinet. The strings on this track have real personality, presumably because they were performed by the band members rather than the session "orchestra".

The next number, "Poorboy (The Greenwood)" may have been intended as a "cousin" of "Boy Blue". It sounds vaguely similar , but has greater dynamism. The song's "protagonist" evidently sees himself as a Robin Hood type figure. The backing track features the familiar piano-bass-drums set-up which would proliferate on ELO records, although the drums sound sinuous and agile.  The group's drum sound would only become ponderous and excessive a bit later on.

With its blatantly Beatlesque leanings, "Mister Kingdom" is one of the LP's high points. The words directly address the "concept". The chorus is quite stirring, and the orchestration remains just the right side of ostentatious.

"Painted Lady" is somewhat unusual for Electric Light Orchestra, with its almost bluesy or jazzy flavour. Not a very imaginative song for me, and it does feel a little out of place among the more abstract and ethereal excursions which predominate on Eldorado.

A curious piece on more than one level, "Illusions in G Major" clearly owes a lot to Jeff Lynne's rock n roll heritage.  It also reminds me of one or two songs which appeared towards the end of the life of The Move. The lyrics are intriguing, and are possibly the most exotic or surreal on the record.

The title track features a simple but enticing melody in the verses, albeit offset by a dose of bombast in the choruses. I imagine that in studying the lyrics to these songs, many people will allow themselves a knowing smile, having recognized visions and dreams similar to those in their own supernatural wanderings.

So, one or two tracks are functional, but they function as part of the greater whole. An intriguing and entertaining journey, and a brave attempt at doing something different. Not a masterpiece by any means, but it is still one of ELO's most noteworthy achievements, and also serves as a healthy slice of escapism...

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.