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Jesus , Jeff. The sleeve art marks the first appearance of the iconic ELO jukebox spaceship designed by John Kosh; highly appropriate considering the band were about to blast off into the stratosphere, as Paul Gambaccini might say. Written by Lynne in three and a half fucking weeks , this double album has shifted more units than all the other records in the world combined and squared um, possibly and features some of the band's best-loved songs. But that's not all! There's the odd misstep here and there, but nothing disastrous; 'Jungle' for example is pretty crass, but it draws from the same well of ethnotronic idiocy as Joni Mitchell's 'The Jungle Line' and is also maddeningly catchy.

The album's best kept secret is a truly stunning instrumental entitled 'The Whale' in which Jeff Lynne inadvertently invents Air the French band, not the clear gas which forms our planet's atmosphere Discovery Jet, Ideally, Discovery would live up to its title and showcase Lynne's wholehearted embrace of disco, thumbing his nose to the rockist screed of the times and Unfortunately, only two tracks really justify the allusive title; fortunately, they happen to be 'Shine A Little Love' and 'Last Train To London', two of the finest fusions of metronomic groove and shiny pop songcraft ever created.

Lynne clearly relished the challenge of getting booties shaking to his overwrought melodic masterpieces, but didn't feel quite confident enough to stage a full-blown crossover. Thankfully, the best of the rest of this album is even better than Out Of The Blue. He ends up in love and married, so that's all cool, but the huge relief engendered by that revelation is overshadowed by the song's enormous symphonic outro.

Because it really is, whatever that actually means. Along with ON-J's subliminally filthy 'Magic', they're the only tracks you need from this album — for god's sake don't buy it or anything stupid like that. Great film, though. Well, I was wrong, because this is. Pulsating, momentous, charged with purpose and overstuffed with hooks, counter-hooks, sub-hooks and semi-hooks, 'Twilight' makes being abducted by time travellers sound like the most fun you can have without growing a big, bushy beard, getting your hair permed and fronting one of the biggest bands in the universe.

Barely any filler at all, instead a whole bunch of inspired and frequently unhinged compositions which haven't been hammered into over-familiarity through endless repetition.

At this point, Lynne was more inspired by his roomfuls of synths than he was orchestral textures — one imagines Louis Clark's string arrangements were carried out with eyes squeezed tight in anticipation of the dreaded P45 — and accordingly, every song is buffed to biomechanical perfection. Two of the least hailed tunes of Lynne's career, 'Stranger' and 'Bluebird' constitute the album's twin peaks, both slightly homesick and enervated yet still immaculately beautiful.

More crucial ELO ballad action appears in the form of 'Take Me On And On', in which Jeff comes over all Dave Bowman, floating on a monolith of soft rock towards the farthest reaches of the cosmos, while the power pop quota is filled by 'Four Little Diamonds' and 'Danger', the latter of which is the most cheerful harbinger of the apocalypse you could ever hope to hear. The original vinyl LP ends on a bum note with 'Rock 'N' Roll Is King' not anymore it isn't Jeff, it's fucking but the CD reissue glides to a close with 'After All', a devastatingly sorrowful instrumental which always reduces me to tears.

I'm just no fun at all, am I? The closing "Shangri-La" has a supreme melody and an effective double ending. The chorus lyric "My Shangri-La has gone away, faded like the Beatles on Hey Jude" may be a little corny, but it reflects the major influence of the Beatles music on Lynne's compositions. Among the remaining tracks are a routine ballad "Telephone line" and a reworking of the classic Move track "Do ya". The version here is extra heavy with some wonderful guitar riffs. There is no question this is a pop orientated album. It is however unfair to simply label it as such without recognising the quality of the compositions, the production, and the performances.

This is an album of very high quality.

TELEPHONE LINE CHORDS by Electric Light Orchestra @ phon-er.com

Still, it will be one of the best number of this album. Jeff is really only second to him to write such beauties. Very nice indeed. So far, this album is not too bad, but with "Mission" ELO will produce a middle of the road track, a bit boring I must say. Totally out of purpose but Lynne and Olivia will strike again some years later.

Completely melodious and symphonic. Quite poppy as well. Another good number. The album closes with "Shangri-La" : a melancholic ballad, not bad nor great. Not offending anybody, not interesting anyone. This comment is actually valid for the whole album. I guess Jeff needed a rest so that he can again recover his creativity. He tries though with this one to reach the levels he was used to. But he did not succeed. This album is probably their weaker so far. My advice is to stick with their previous work.

Prog orientation is completely gone but this is not a news. Two stars. The album starts off with an ominous, dark theme that alternates back and forth with a happy-go-lucky rock and roll motif throughout "Tightrope. And in the wild and wooly mid-seventies the ability to stand out from the herd was crucial to a group's success. The set up with the ringing phone signal is very effective and Lynne's altered voice singing to no one epitomizes a sadness that many of us can relate to.

Here he incorporates old school doo wop background vocals to manufacture a catchy pop song that will stick in your head the first time you hear it and remain there for the rest of your life. Bevan again but the percussion break that I assume he was in charge of producing has got to be one of the lamest you'll ever hear. Thank God it doesn't go on for more than a few bars. The highly recognizable Spanish violin intro to "Livin' Thing" follows and what can I say?

ELO’s ‘Don’t Bring Me Down… Bruce!’

It's an expertly composed, memorable pop hit that kept ELO on the radio constantly in and helped to propel this album's sales through the roof into the platinum stratosphere. It's about as far from prog as you can get but it's hard to criticize success on that scale. Next is "Above the Clouds," a nostalgic, 40s-sounding tune that has a cool, sophisticated chord progression. The song sorta sneaks up on you, and then disappears before you know it.

I appreciate that Jeff knew he had a smash tune just sitting in his back pocket with "Do Ya" but I will always prefer the rough, punkish, original version that The Move recorded. I'm glad that Jeff kept the arrangement intact and only added the tasteful, radio-friendly ending to this monster of a song. It's another number about a broken-hearted man whose love has gone away and "faded like The Beatles on Hey Jude.

7 Comments so far

ELO has always been a source of simple, uncomplicated enjoyment for me with their tongue-in-cheek, quasi-pretentiousness and sometimes frivolous attitude but, when all is said and done, they did produce excellent pop music with an eccentric flair that kept things from getting too stale on the Top 40 list. If you were to only own one album by this band this one might be the most representative to have in your collection. As music, especially rock, has been in my life since I was a six-year old child, it's hard not to memorize how Electric Light Orchestra shone a bright light in music industry during the glory days of rock music in seventies.

Oh yes, "Telephone Line" was a major hit at that time through local radio stations using AM and SW frequencies because at that time FM was not invented yet. I sometime tuned Radio Australia through the SW channel to broaden my knowledge about rock music industry. On top of that, "Telephone Line" was really popular song for the teenagers like me at that time. Hey, I was 16 by the time this album was released. And you know what? This album was one of favorites as airplay for my amateur radio station: Thunderstorm Broadcasting. Wow man.! I was so proud airing tunes from ELO because it's quite unique: pop song but with intense orchestration.

The album starts with "Tightrope" which to me it sounds like The Beatles style and melody with the flavor of orchestra. I like the way the string arrangements that are nicely combined in this composition. It flows nicely to the major hit "Telephone Line" which starts with its memorable narration: "Hello, how are you..?

It's so simple but it represents a down to earth example in standard day-to-day conversation using a telephone line. I like the title of the next track "Rockaria!

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I can sense the bass playing is dynamic right here. It's a nice song. The album concludes with a ballad song using nice howling guitar at opening : "Shangri-la" Overall, this album has been part of my life as well as yours those of you who lived during the glory days of rock music in 70s. Even at that time, this album was not considered as really "rock" music but most of them who loved rock, they loved this band and this album. The compositions in this album are solid and the album represents a cohesive whole as the style of music is similar from one song to another.