| | Electric Light Orchestra CD - Import Electric Light Orchestra Discography of CDs
 (1 Customer Review)
A band that loved to lace some delicious pop melodies with incredibly intricate playing, this debut album from the Electric Light Orchestra is expanded to include two additional songs on this version.
Here's one of the few rock urban legends that appears to be true: This album, eponymously titled in the rest of the world, was called NO ANSWER in the US because when a secretary at United Artists called the band's office to find out the title, no one was there, and a handwritten note to that effect was mistaken for the record's name.
This is less the first ELO album than the last Move album. Four of the nine tracks are by Move leader Roy Wood, and even the five Jeff Lynne tracks sound closer to the Move's classically orchestrated hard-rock masterpiece MESSAGE FROM THE COUNTRY than to the shiny pure-pop ELO albums to come. Wood's tracks, like the acoustic instrumental "First Movement" and the faux-medieval "Battle of Marston Moor," foreshadow his more experimental solo work, while Lynne's brilliant "10538 Overture" is the first of his classic string of pop songs.
"Electric Light Orchestra" is an enhanced multimedia CD and includes the complete 1971 debut album, produced by Roy Wood and Jeff Lynne, previously unreleased sessions tracks including Take 1 of the debut single "10538 Overture", video, 24 page booklet, lavishly illustrated including full sleeve notes.
CD contains 2 bonus tracks.
Recorded at Philips Studio, London, England.
Electric Light Orchestra: Roy Wood (vocals, acoustic & slide guitars, cello, clarinet, bassoon, recorder, bass, percussion); Jeff Lynne (vocals, electric guitar, piano, bass, percussion); Steve Woolam (violin); Bill Hunt (French horn); Bev Bevans (drums, percussion).
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Electric Light Orchestra Music | List Price | $12.98 (You save $1.69) | | Category | Rock/Pop Albums, Rock CDs, Art Rock | | Label | EMI Latin | | Orig Year | 1972 | | All Time Sales Rank |  81835  | | CD Universe Part number | 5874357 | | Catalog number | 5829830 | | Discs | 1 | | Release Date | Apr 07, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Jeff Lynne - vocals, electric guitar, piano, bass, percussion
Bev Bevan - drums, percussion
Roy Wood - vocals, acoustic & slide guitars, cello, clarinet, bassoon, recorder, bass, percussion
Bill Hunt - French horn
Steve Woolam - violin
| | Additional Info | United Kingdom |
Electric Light Orchestra Music Review Purchase Electric Light Orchestra CD To buy, Click on price to add to cart | Chris Squire Fish Out Of Water CD (1975)
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1976's A NEW WORLD RECORD is both a classic of commercial '70s pop and an archetypal ELO album. From the outer-space synths and rich orchestrations that open the album to Jeff Lynne's meticulous production and Beatlesque melodies, A NEW WORLD RECORD is magnificent ear candy. Both ambitious enough to appeal to "serious" rock fans and ultra-catchy enough to sound terrific on Top 40 radio (the plaintively gorgeous, McCartney-like "Telephone Line" and the anthemic "Livin' Thing" were well-deserved smashes), ELO was one of the few '70s bands whose appeal covered both the FM and AM spectrums. The album even resurrects "Do Ya," a classic single by Lynne's former band, the Move, in a splashy new version.
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Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's revolutionary "Super Bit Mapping" system.
ELO was big enough by 1974 that some people actually suggested that ELDORADO featured Satanic backward-masking. Of course, the idea was ludicrous; but the band playfully responded by adding a backward message to "Fire on High," the opening instrumental on 1975's FACE THE MUSIC.
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Oscar Wilde famously wrote a whole play about the importance of being earnest; but his was the world of satire, playful winks, and words and phrases that always meant at least two things. Chris Carrabba, the driving force behind Dashboard Confessional, presents earnestness as his calling card, uncut by even a trace of irony. When he coos to a newfound lover "this air is blessed, you share with me" on the second line of Dashboard Confessional's A MARK, A MISSION, A BRAND, A SCAR--the group's third full-length album--one can be assured he means those words with every fiber of his being.
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Snowglobe is a partnership between singer/songwriters Brad Postlethwaite and Tim Regan, whose contrasting musical and lyrical perspectives complement each other on the ambitious Doing the Distance. Postlethwaite is the more complicated of the two. His songs often boast imagistic lyrics that seem to trace the non-linear, arbitrarily changing nature of dreams; indeed, he frequently suggests that dreams are his chief inspiration. ("Ms. June": "I get lost in a dream. Yeah, I dream to forget that I'm dying. So, I had a dream. I had a big, distorted dream." "Baby": "Oh, perfect beauty was all around my eyes as I searched for its soothing amidst a cloudy fight whose seed was planted deep inside my head, wove round my movements and my thoughts its thread as I was fast asleep in bed." "Aimless Sailor": "Your dreams seemed holy as you were watching them uncurl, chasing them up that ladder to the top of the world....") You also get the feeling that hearing Neil Young's song "After the Goldrush" for the first time was a revelatory experience for him, suggesting that lyrics could be packed with interesting, if ambiguous images drawn from the subconscious ("all in a dream," as Young sang). Postlethwaite sets those lyrics to equally complex, if always melodic music, adding horns and strings here and there, ever ready to make dramatic changes in tempo and instrumentation. The most ordinary element of his music is his singing voice, a nasal, slightly flat deadpan tenor reminiscent of They Might Be Giants' John Linnell. Regan is much more straightforward in his songs. He is no stranger to musical elaboration, but on songs like "Regime" and the generically titled "Rock Song" he opts more for simple, direct guitar rock and words that, while not without the occasional flourish, rarely take off for the heavens as Postlethwaite's do. (Dreams are mentioned in Regan's lyrics, too, but his characters usually seem to have woken up.) Alternated with his partner's tracks, Regan's serve to anchor the album, making this an effective musical partnership in a neo-progressive rock style. ~ William Ruhlmann
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