OvertureJune 1994
“Who are you here to see tonight?”
“ELO, believe it or not,” he said in almost a whisper.
“Me too,” I answered, shrugging off his apparent embarrassment. “I’ve been a fan since Junior High, never had the opportunity to see them in their heyday. This will have to do.”
It had been a chance meeting that early summer evening, a happy coincidence, running into an old friend from my college radio days. The venue, a roughly 2500-seat theater in the round was playing host to both Kansas and the Electric Light Orchestra Part II that evening, a classic summer season double bill. I had known of the existence of this new incarnation of one of my all-time favorite bands for nearly four years, but had paid it little heed, all but ignoring the 1990 release of their self-titled debut. Ironically, only a few weeks prior to their Long Island appearance, while perusing the bargain bin in an overpriced F.Y.E. store, I came across the CD again.
Hello, hello,
it's great to see you once again
We were such friends,
Long time ago
Hello
From the album Electric Light Orchestra Part Two (1990)
Hello
From the album Electric Light Orchestra Part Two (1990)
In the relative quiet of my home, I popped the CD in, cranked up the volume, hit play, chuckled, and within the first fifteen seconds of track one’s “Hello,” knew why this was in the bargain bin. It seemed so predictably cliché, a simple little ditty to welcome back the legions long departed. Short on patience, I was thankful for the even shorter duration of the track. I am usually not so quick to judge, but as I recognized only a handful of the members in this 1990’s version of a 1970’s icon, admittedly I had not been expecting anything out of this world (loose pun intended).The thundering crash of orchestral strings in the opening seconds of track two’s “Honest Men” abruptly hurled me two decades back in time without warning. Closing my eyes, opening my mind, and catching the breath I had not realized I had been holding, I loudly proclaimed to my empty room, “Holy S---(expletive deleted). They’re back!”
Now, sitting alongside my girlfriend, the anticipation growing while my mind rapidly ran through the seemingly endless string of hits made popular by the once mighty Electric Light Orchestra, I wondered excitedly, what could they possibly open with?
The lights, suddenly extinguished brought an expectant roar of approval from the nearly sold-out crowd. Softly, a synthesizer sets the mood, laser lights intermittently beam outwards from the center of the circular stage, the imagery of the peak spaceship years brings a fond remembrance of my youthful exuberance. I am literally perched on the edge of my seat as the music builds to its momentous climax, and with a booming crescendo, the stage now awash in moving light and color, the musicians launch into Turn To Stone, the first single from 1977’s Out of the Blue; the record that launched ELO into the strata of super-stardom.
First Movement
I was twelve years old the first time I heard the Electric Light Orchestra, or more appropriately, the first time I became acutely aware of their existence, although somewhere in the subliminal recesses of my untrained musical mind did reside Evil Woman. In the bedroom of my Junior High School sweetheart, (relax, things were different then), the two of us pored through the impressive amount of 45 rpm’s she had amassed at such a young age. I willingly forgave her minor indiscretions amongst which included a single record by Happy Days heartthrob Anson
Williams. Ironically, as television’s Happy Days was still immensely popular at that time, my musical naiveté had become somewhat attuned to the sounds of the Potsy Webber/Fonzi era. Fate stepped in when I found myself drawn to the semi futuristic look of the ELO logo adorning the front of the Telephone Line single. By the end of the first chorus of the 50’s sounding Do-wop, doobie do-do-wop’s, a musical obsession had begun to emerge.
While I (not) jokingly refer to myself as musically clueless, I did have an affinity for music curiousness in the guise of flipsides.· I had no idea what to make of the odd Poor Boy (The Greenwood), a tune that brought to my limited consciousness, a hint of Camelot ala Monty Python’s Holy Grail; one of my all-time favorite movies. Fate, destiny or providence, with the stars aligned and the heavens in harmony, this polar opposite non-radio friendly B-side called to me. Rather than make the expected move forward in my evolutionary ELO journey, I decided to take a step backward, choosing not to purchase the recently released A New World Record from which Telephone Line had achieved record single status, but deciding on Olé ELO; a greatest hits collection highlighting the band’s musical
accomplishments thus far. Immediate standouts included Evil Woman and Can’t Get It Out of My Head, both of which I had unknowingly been familiar with, the straight away rocker Ma-Ma-ma Belle, and the incredible cover of Chuck Berry’s Roll Over Beethoven. The ethereally beautiful Strange Magic appealed to my sensitive side, still being cultivated at that innocent stage in my life, while 10538 Overture completely intrigued me. The wide range of musical styles presented on this LP made it a perfect choice for the ELO beginner. Every record has its clunker’s however, and to my top-40 sensibilities, the ploddingly long Kuiama was wholly unlistenable. Showdown; probably the band’s most popular hit from those early days did not move me then, and leaves me equally unenthused today.I do not remember in what order it was that I had accumulated the remainder of the ELO catalog, nor is it most likely important to this tale. A few key points however, do resonate within the dusty catacombs of my neural pathways, beginning with Roll Over Beethoven, an early favorite that inadvertently played a key part in the future path that my life would follow. While creative writing had always been my number one passion, I had always harbored within me the
desire to become a radio disc jockey. Accidentally stumbling upon a local college station· where the on-air talent not only answered the phone, but would actually play listener requests as well, I called one afternoon hoping to hear my favorite Chuck Berry remake played over the airwaves. Flabbergasted, I found myself in a state of near euphoria listening to a version of the tune that extended well past the 4:32 running time I had known almost literally by note. A return call to the accommodating D.J. netted the information that the song came from the 1973 LP; the band’s second release suitably titled Electric Light Orchestra Two. Never having enough money from my paltry and undeserved allowance to afford purchasing the record, I am relatively convinced I made many a DJ’s life miserable insisting on hearing only the long version as per my (multiple) requests.The first time I had heard A New World Record in its entirety will always be remembered as a major event in my life; a turning point of sorts. While I did not have some type of spiritual out of
body occurrence, I did experience something I have come to consider as a life changing moment of clarity. Standing in the basement of a close friend, sipping sodas at an impromptu get together, I had been chatting up a new acquaintance of the female persuasion when, with an unexpected crash of imaginary thunder, I suddenly pictured myself as an adult at a real life cocktail party. Repeatedly as I mentally relive this scene, I can almost hear the orchestral buildup at the beginning of Tightrope; the first cut on side one, emotionally driving this climactic transformation from adolescence to adulthood. Sadly, while I enjoy remembering it this way, the drama did not exist in that capacity. This finished basement in the home of a classmate did however provide the setting for my New World Record experience. Apparently, her weekly allowance put her in a high enough tax bracket to afford the purchase of the band’s sixth release. The aforementioned lead cut on side one immediately fueled the fire of my rising ELO passion. Three decades later, the dramatic conclusion of Shangri-la, the final cut on the record still gives me goose bumps. It is truly one of the Electric Light Orchestra’s defining moments.My procurement of Out of the Blue; the next release, became an important event in that I purchased another album that afternoon which was also a
monumental step in my musical evolution; The Beach Boys, Sunflower·. I had well become familiar with Turn to Stone, having previously purchased the 45 rpm, a record whose flipside introduced me to yet another piece of musical magic dating back to the earlier years. Mister Kingdom marked the third tune I had now become privy to from 1974’s Eldorado, also featuring both, Can’t Get It out of My Head, and Poor Boy (the Greenwood), and only added to my desire for more ELO music. The New York radio market in 1977 seemed a bit gutsier then, more open to moving beyond the authorized single releases from a current LP. Night in the City became one New York City station’s song of choice, cementing in me the need to save up my literal pennies and hurry out to the local music retailer of my choice. Like most fans, Out of the Blue remains in the coveted number one position as my favorite ELO record. A double album with a gatefold sleeve, the artwork is breathtaking, and the
music within nearly flawless, once you get past the ridiculous Jungle; a song which in this humble writer’s opinion would best have been left in the can, or possibly seen limited release as an unreleased B-side. Bonus points go to the Jet record label for the inclusion of a poster featuring charcoal renderings of the band members and a great build-it-yourself cardboard spaceship. I proudly displayed both of those items within the sanctity of my bedroom for years. One footnote of mention here; my younger brother, a Kiss fan and the proverbial thorn in my ELO side would unmercifully chastise me regarding the poster, referring to my rock idol’s as a bunch of stone faces based on the artists depiction of each member. The arguments that would ensue over our differing musical opinions were loud and legendary, often shaking the very foundation upon which stood our otherwise peaceful middle class home. Further capitalizing on the success of Out of the Blue, a live concert recorded at England’s famous Wembley arena, debuted some months later on HBO. My parents, long denying the need for cable TV resulted in my brother and I viewing this sixty minute spectacle in the living room of a nearby friend, where completely mesmerized by the visuals, I had my doubts as to how live this recording might be. It sounded too good, too close to the original records, and while lip-synching had yet to reach the degree of public acceptance (or denial) it has now, I did harbor some suspicion.. “Ha, your band went disco,” the same friend who had opened his living room to me a year earlier, said tauntingly.
Not a fan of the genre he spoke of, but biased to the nth degree, I loved Shine a Little Love, yet privately worried that he might be right. After all, if the Stones could do it with Miss You, Rod
Stewart with Do Ya Think I’m Sexy, and even the Grateful Dead with Breakdown Street, why not the Electric Light Orchestra? Dare I mention the Beach Boys one-time sojourn into that dreaded territory with a remake of one of their lesser-known tunes from 1967?· While Discovery could not possibly live up to its predecessor, it did not disappoint. The mega success of Don’t Bring Me Down quickly dispelled the disco theory, although Last Train to London, while not a chart topper, clearly appealed to the Saturday Night Fever crowd. With Lush orchestration, backed by an equally moving choral performance, The Diary of Horace Wimp is the standout track on the eighth Electric Light Orchestra release. The musical saga of a nerd, who on a lifelong search for love, subsequently meets, then marries his significant other in the span of only a week did not chart here, but did receive a small degree of radio airplay. While trespassing in a neighbor’s backyard bushes during an overzealous game of adolescent Hide and Seek, I distinctly recall hearing this incredible tune resonating from the speakers of a portable radio in the yard next door, where my escape route if need be, would take me straight through the tomato plants.Ah, youth!
I am considerably fortunate, possessing what I have come to believe as a unique gift in retaining some of the most inane recollections of my adolescence, leaving me with the realization that it is hard to comprehend how important the music you hold close to your heart really is, that the musicians you have personally chosen as your favorites are in essence writing the very soundtrack of your life.
September 1978 marked the next milestone in my adolescent evolution, High School. Bringing along my undeniable fervor for the music of the Electric light Orchestra, I re-discovered (semi-ELO pun intended) another lifelong passion. Introduction to Creative Writing marked my immersion into a world I had inexplicably abandoned several years earlier. Although the urge to create had never dissipated, the motivation to produce had. Handed the task to write a modern day fairy tale, my heart leapt. Eldorado had long played in my mind as a movie that needed to make the transition to the written page. Always in creative mode, I had nearly failed 8th grade math two years earlier due to my wandering thoughts. It was during that time when I had first conceived the idea of this artistic masterpiece as a written fable. The developing intellect of a fourteen year old led to a far different concept than that of composer Jeff Lynne.
Opus InterruptusEldorado: A Concerto in Musical Cluelessness
Puberty having been reached, I envisioned the tale of a forlorn teen, not unlike myself pining for a popular, out of his league female classmate. From his lonely perch, he gazes upon her from the bedroom window while she laughs with her friends, knowing if his secret ever got out, they would be laughing at him. Barry Manilow’s Even Now reaches its climax as he pours his heart out to the silver screen, the girls below seemingly oblivious.
I will take a moment here to allow you, the unsuspecting reader to catch your breath and compose yourself.
Yes, I pictured this as a musical.
You can blame my parents and Top 40 radio for the inclusion of Barry Manilow on the soundtrack.
May I remind you that I was only fourteen?
My head bowed in shame, I shall continue to plunder forward.
Anticipate another break allowing the inevitable laughter to subside.
Following the lead of the Eldorado Overture, the two, silently whisked from their beds in a dreamlike state, awaken on a lush green hill, remarkably fully clothed (I have yet to work out some of the kinks), with only the memory of a voice summoning them to a land called Eldorado.
(Cue Music)
Can’t Get It Out of My Head
With awkward introductions out of the way, they set out on their journey. Reaching the top of a near insurmountable peak, they face yet another rolling green knoll in front of them. Dismayed at the thought of infinite hills beyond, Lisa begins to lose hope, growing increasingly fearful that the two of them are desperately lost and alone. Ever the voice of reason, Bob, takes her by the hand and vows that together, they will ascend each rise, with the assurance that something wonderful lay ahead. With renewed hope and boundless energy they continue, until at the crest of one last mound, they see off in the distance a small farm tended by a lone individual.
(Cue Music)
Boy Blue
Descending upon the isolated dwelling at full gait, they come upon an unlikely character, fondly recognized from childhood days of innocence. Little Boy Blue welcomes them to his small abode, where following another round of awkward introductions, he explains to them that no soul has ever seen Eldorado, yet all believe of its existence to the north, in the land where the sun rises (an ingenious fairy tale twist, right?). After a fine night’s rest upon a bale of hay, having never questioned the hellacious sleeping arrangements, they set forth the next morning, with a hearty farewell from their host and a word of warning. Beware the scourge, who will stop at nothing in her mad quest to destroy all that is good. At dusk, following another day of exhaustive climbing, they eye a small wisp of smoke rising in the distance.
Could it be Eldorado?
No, not yet.
We are still on side one.
(Cue Music)
Poorboy (The Greenwood)
They arrive at a small Hamlet; The Greenwood, and with the second cheerful welcome in as many days, they meet a smiling young lad, shoddily dressed and in need of an extreme makeover.
“I am Poorboy,” he states proudly.
We can take another break here to bring the fits of convulsive laughter back under control, although I foresee plenty of mirth still to come.
Bob and Lisa are mystified that this small band of people, living in squalor are immeasurably happy to the point of near giddiness.
“We are friends, we are family, we are together,” PB explains.
“What of this scourge that infiltrates these lands?” Bob asks, displaying his impressive command of fairy tale diction.
A cautious hush falls over the happy campers.
“Belle. Her name is Belle and she is pure evil. I fear your arrival here may bring her wrath down upon us. An odd whispering comes on the breeze. Look upon the horizon,” Poor Boy urges.
“Clouds, where there should never be. She sees all. She knows that you are here.”
Mealtime passes without incident. As Twilight gives way to darkness, a distant thunder begins to roll. Emaciated dogs whine, children cling to their mothers. The rustling breeze becomes a howling wind, accompanied now by cruel, echoing laughter. Rain pelts down, further adding to the blinding darkness. Lisa, succumbing to an unseen force can no longer hold her ground and while the locals run for shelter, finds herself forcefully separated from her unlikely companion. Bob fights the wind with rapidly waning strength, before falling to the ground, unable to withstand the wrath any longer.
(Cue Music)
Ma-Mama-Belle
“Who dares trespass upon these lands?” The angry voice demands.
Bob, shielding his eyes from the churning maelstrom glimpses the form of a malevolent woman, bathed in a chartreuse (or some such fairy tale color) glow.
“I have felt your powers from afar, known that this moment would one day come,” she menacingly addresses Lisa. “Alas, as you cower in fear, I grow stronger. None shall defy me.”
Her arms raised high; Belle summons the lightning, and then redirects it at her foe. Bob watches in horror as Lisa disappears in a blinding, yet silent explosion of light. Confusingly, he feels an overwhelming sense of peace and calm. The wind and rains have subsided. He opens his eyes and sees Lisa through a wispy white fog.
(Cue Music)
Laredo Tornado
“Be gone from here, Belle. Your evil is powerless here.”
The lilting voice seems to come from the heavens.
Belle screams in frustration, swears revenge and dramatically makes her exit. The fog dissipates and takes the form of an ethereal being in a flowing white gown. She calls forth the townspeople from their shanties, assures them that all is now safe and begins to fade from existence.
“Wait. Who are you?” Bob asks.
In that brief moment, Lisa perceives that the woman appears notably winded, before she is no more.
“That was Laredo,” PB informs them. “She watches over all of us, but is rarely seen. The two of you must be of some importance for her to make herself known.”
Another night’s sleep with many questions and little answers later, our heroes set forth again, this time with renewed confidence that they cannot fail. A short walk through a non-threatening forest provides a much-needed change of scenery. As they approach the edge, a golden light beckons. Emerging from the trees, they behold a shining kingdom that reflects the sunlight in every direction.
Eldorado, they think cheerfully as they enter unhindered, yet no one seems to be about. Their footsteps echo along the empty hallways, until before a great flight of steps, they hear the stirrings of someone above.
(Cue music)
Mister Kingdom
Mister Kingdom is a lonely man who blames himself for the plight his land suffers, the result of an unauthorized visit to the world of man, he explains. His search for love, and the immeasurable powers he had bestowed upon Belle, whom he had brought back with him made her hungry for more. Banished home again, the land from which Belle had arrived refused to accept her. Unknowingly bounced back to the dominion of the king, she disappeared to practice dark magic. A feeling of unease descended upon the kingdom and surrounding country. Left alone to wither in misery, Mister Kingdom conjured up what little power he could muster, giving birth to Laredo, a wraith whom would soon see her already diminished life force perish. He goes on to explain that Bob and Lisa, representing all that is innocent and good would in essence breathe new life into this place, yet belle had become too powerful and would stop at nothing in her quest to rule. A doddering, weeping fool, he falls to the ground in anguish, and suddenly the great castle is no more. Bob and Lisa are left standing alone in a field of (you guessed it) green, armed with knowledge, but not answers. As night approaches following another several hours of walking, the distinct glow of a city appears on the horizon. Warily entering, they know in their hearts that this cannot be Eldorado. Their queries as they pass people along the streets are ignored. What had appeared as paradise upon their unexpected arrival two full days ago now seemed anything but.
(Cue music)
Nobody’s Child
While Lisa disappears inside a hotel with the hope of procuring lodging and a good night’s sleep on an actual bed, Bob is being lasciviously summoned by a woman whose appearance has far surpassed anything his pubescent adolescence could imagine. Out of earshot, she promises him untold joy and passion. He shifts uncomfortably as he stares into the eyes of this incredible creature, thinking in the back of his mind, she’s not at all like the sleazy prostitutes you see on TV. Lisa watches from hotel door, dismayed at the sight of him and the woman disappearing through the door of an abandoned theater. A tear threatens, but she holds back the sorrowful emotion as she marches across the street, angry that he has so easily lost sight of their mission. Inside, the darkened auditorium she can barely make out the silhouette of Bob forlornly walking across the stage. Dramatically, he faces the empty seats. A lone spotlight illuminates him in a soft amber glow.
(Cue Music)
End of the Show (Dennis Wilson)
He pours his heart out to the empty room, singing a mournful Dennis Wilson (Beach Boys) solo tune. He is, essentially throwing in the towel. On the final note of the climactic ballad, Lisa ascends the stage, overcome with emotion and hugs him, weeping openly in a display of role reversal harkening back to their first meeting on the hill when he took charge. With the hooker, nowhere in sight and all but forgotten, she leans in to reward him with the long awaited kiss he has dreamed of, a kiss that is interrupted by the sudden activation of strobe lights all around them.
(Cue Music)
Illusions in G Major
A sudden explosion of light and sound brings forth a trio of bizarre characters dressed in futuristic sequins, with outrageously exaggerated fluorescent afro’s and sunglasses ala Elton John’s Captain Fantastic. The Illusions, sing and play feverishly while hokey special effects reminiscent of the Live at Wembley video envelope the group. A dramatic flash of light signals the end of this odd transference. Standing atop an impossibly high mountain, our heroes look around in bewilderment as they are showered with praise and confetti. Among the sea of faces, they recognize Little Boy Blue, Poor Boy and Mister Kingdom. The hooker mischievously winks at Bob, who realizes in the second before she disappears is actually none other than the evil Belle. Unable to overcome their power, fueled purely by innocence, her cheap Adam and Eve temptation ploy had failed.
(Cue Music)
Eldorado Finale
Overcome with happiness and emotion, Lisa sings now. Eldorado will now become the place she will lay down roots. Bob cannot understand this. She has friends and family at home. Was it something he said? I must stay as well, he argues. She silences him with a kiss. He falters, dizzy with the feel of her lips, yet glimpses for just a moment the black clouds above the distant mountains furiously lit from within.
He awakens in his bed the following morning, unknowing of all that has happened, the days spent in Eldorado, no longer than a few short hours in the real world. Lisa is not in school that day, something he barely realizes until the whispers of rumor reach his ears. Kidnapped, runaway, no one knows for sure.
As the last vestige of the Eldorado finale draws to its conclusion, we see from high above, a rolling green hill, Lisa walking beside an almost transparent Laredo.
The End
Wipe away the tears I envisioned, not of sadness, but of quite the opposite, and let me be frank.
Did I mention that I was fourteen at the time?
Quite simply, I drew from an album I loved, taking the songs at literal face value only on the titles. I challenge anyone to attempt a similar project with a different album, and see what happens. I know it is ridiculous to picture Bob on that first hill, singing Can’t Get It out of My Head, his plight having absolutely nothing to with the lyrics of the song. Looking back at the original 1978 creative writing project, I embellished this latter day adaptation quite a bit. The actual written version, similar to a movie screenplay based on an epic novel was simply horrendous, though I clearly recall the exhilaration I had felt on the day I read it aloud in class. Evidently unimpressed, yet diplomatic in his expression, the instructor asked aloud, “What makes this a modern day fairy tale?”
“Uh hello-o-o, there’s a hooker in it,” I should have replied.
Self consciously, I chose a safer response.
“Well it was based on a record album,” I answered unconvincingly.
Apparently, that meant something. Smiling, he returned it to his desk.
“Excellent,” he replied.
There really is no way to put into words how much the music of Jeff Lynne has affected my life. If nothing else, I hope that this haphazardly concocted vision of his 1974 masterpiece elicits something more than just the adoration and admiration I hold for his work. Should you find yourself wondering whether there might have been a sequel in store, the answer is undoubtedly yes. Bob would return, albeit with another romantic love interest. Lisa, having been taken by the evil Belle is held prisoner in the distant mountains. Bob and (whatever her name is) must conquer and then tame a devil horse known only by the name Caballo Diablo, based on a Charlie Daniels song ironically released in 1974 as well. I had also planned on penning a tale based on the Eagles Desperado album. Somewhere amongst my dusty artifacts resides the beginning pages. Unfortunately, it never progressed beyond that point. The main character, a Luke Skywalker type yearns to find action somewhere far from the uneventful domicile he calls home.
His opening song professing this desire?
Wild West Hero
Out of the Blue (1977)
What can I say?
There is simply something about a Jeff Lynne composition that just inspires.
Let’s move on.
My interest in ELO began to wane with the release of 1980’s Xanadu. Now a
High School senior complete with driver’s license and confidently dating, both I’m Alive and All Over the World did not instill in me the same thrill I had felt in years past with each new release. I did splurge for the soundtrack however, and leaned heavily towards Don’t Walk Away, feeling that somewhere within that tune remained just a hint of true ELO magic. Whether due to lack of finances or lack of interest, I mistakenly turned down an opportunity to see the band live in support of 1981’s Time. Attending college locally, I 
maintained relations with my high school chums, most of whom never truly appreciated ELO with the same fervor as I, yet had made it a priority to see the show, reporting afterwards that even sans spaceship, it had been a spectacle. Both MTV, literally in its infancy, and radio stations played Hold on Tight in heavy rotation. Having yet to purchase the LP, I owned only the 7” single. While I loved that record, it was the flipside, the unreleased When Time Stood Still, which appealed to me more. Twilight, the second single, and one of my all-time favorite ELO cuts also featured an unreleased B-side, the catchy and extremely radio friendly Julie Don’t Live Here. Those four songs represented my entire Time experience. At some point, I had finally gotten a hold of the entire LP, but wholly ignored it. Similar to the contractual obligation that I firmly believe made 
up the final Electric Light Orchestra release, I later purchased the last two records, Secret Messages (1983) and Balance of Power (1986) only from a sense of commitment. Both Jeff Lynne’s Armchair Theatre and Afterglow, the long awaited ELO box set released in 1990, featuring additional non-album B-sides and a small number of unreleased tracks were simply non-events for me. My fascination with Jeff Lynne and the Electric Light Orchestra had come to an end.
Intermezzo
June 1994
My head bowed in shame, I shall continue to plunder forward.
Anticipate another break allowing the inevitable laughter to subside.
Following the lead of the Eldorado Overture, the two, silently whisked from their beds in a dreamlike state, awaken on a lush green hill, remarkably fully clothed (I have yet to work out some of the kinks), with only the memory of a voice summoning them to a land called Eldorado.
(Cue Music)
Can’t Get It Out of My Head
With awkward introductions out of the way, they set out on their journey. Reaching the top of a near insurmountable peak, they face yet another rolling green knoll in front of them. Dismayed at the thought of infinite hills beyond, Lisa begins to lose hope, growing increasingly fearful that the two of them are desperately lost and alone. Ever the voice of reason, Bob, takes her by the hand and vows that together, they will ascend each rise, with the assurance that something wonderful lay ahead. With renewed hope and boundless energy they continue, until at the crest of one last mound, they see off in the distance a small farm tended by a lone individual.
(Cue Music)
Boy Blue
Descending upon the isolated dwelling at full gait, they come upon an unlikely character, fondly recognized from childhood days of innocence. Little Boy Blue welcomes them to his small abode, where following another round of awkward introductions, he explains to them that no soul has ever seen Eldorado, yet all believe of its existence to the north, in the land where the sun rises (an ingenious fairy tale twist, right?). After a fine night’s rest upon a bale of hay, having never questioned the hellacious sleeping arrangements, they set forth the next morning, with a hearty farewell from their host and a word of warning. Beware the scourge, who will stop at nothing in her mad quest to destroy all that is good. At dusk, following another day of exhaustive climbing, they eye a small wisp of smoke rising in the distance.
Could it be Eldorado?
No, not yet.
We are still on side one.
(Cue Music)
Poorboy (The Greenwood)
They arrive at a small Hamlet; The Greenwood, and with the second cheerful welcome in as many days, they meet a smiling young lad, shoddily dressed and in need of an extreme makeover.
“I am Poorboy,” he states proudly.
We can take another break here to bring the fits of convulsive laughter back under control, although I foresee plenty of mirth still to come.
Bob and Lisa are mystified that this small band of people, living in squalor are immeasurably happy to the point of near giddiness.
“We are friends, we are family, we are together,” PB explains.
“What of this scourge that infiltrates these lands?” Bob asks, displaying his impressive command of fairy tale diction.
A cautious hush falls over the happy campers.
“Belle. Her name is Belle and she is pure evil. I fear your arrival here may bring her wrath down upon us. An odd whispering comes on the breeze. Look upon the horizon,” Poor Boy urges.
“Clouds, where there should never be. She sees all. She knows that you are here.”
Mealtime passes without incident. As Twilight gives way to darkness, a distant thunder begins to roll. Emaciated dogs whine, children cling to their mothers. The rustling breeze becomes a howling wind, accompanied now by cruel, echoing laughter. Rain pelts down, further adding to the blinding darkness. Lisa, succumbing to an unseen force can no longer hold her ground and while the locals run for shelter, finds herself forcefully separated from her unlikely companion. Bob fights the wind with rapidly waning strength, before falling to the ground, unable to withstand the wrath any longer.
(Cue Music)
Ma-Mama-Belle
“Who dares trespass upon these lands?” The angry voice demands.
Bob, shielding his eyes from the churning maelstrom glimpses the form of a malevolent woman, bathed in a chartreuse (or some such fairy tale color) glow.
“I have felt your powers from afar, known that this moment would one day come,” she menacingly addresses Lisa. “Alas, as you cower in fear, I grow stronger. None shall defy me.”
Her arms raised high; Belle summons the lightning, and then redirects it at her foe. Bob watches in horror as Lisa disappears in a blinding, yet silent explosion of light. Confusingly, he feels an overwhelming sense of peace and calm. The wind and rains have subsided. He opens his eyes and sees Lisa through a wispy white fog.
(Cue Music)
Laredo Tornado
“Be gone from here, Belle. Your evil is powerless here.”
The lilting voice seems to come from the heavens.
Belle screams in frustration, swears revenge and dramatically makes her exit. The fog dissipates and takes the form of an ethereal being in a flowing white gown. She calls forth the townspeople from their shanties, assures them that all is now safe and begins to fade from existence.
“Wait. Who are you?” Bob asks.
In that brief moment, Lisa perceives that the woman appears notably winded, before she is no more.
“That was Laredo,” PB informs them. “She watches over all of us, but is rarely seen. The two of you must be of some importance for her to make herself known.”
Another night’s sleep with many questions and little answers later, our heroes set forth again, this time with renewed confidence that they cannot fail. A short walk through a non-threatening forest provides a much-needed change of scenery. As they approach the edge, a golden light beckons. Emerging from the trees, they behold a shining kingdom that reflects the sunlight in every direction.
Eldorado, they think cheerfully as they enter unhindered, yet no one seems to be about. Their footsteps echo along the empty hallways, until before a great flight of steps, they hear the stirrings of someone above.
(Cue music)
Mister Kingdom
Mister Kingdom is a lonely man who blames himself for the plight his land suffers, the result of an unauthorized visit to the world of man, he explains. His search for love, and the immeasurable powers he had bestowed upon Belle, whom he had brought back with him made her hungry for more. Banished home again, the land from which Belle had arrived refused to accept her. Unknowingly bounced back to the dominion of the king, she disappeared to practice dark magic. A feeling of unease descended upon the kingdom and surrounding country. Left alone to wither in misery, Mister Kingdom conjured up what little power he could muster, giving birth to Laredo, a wraith whom would soon see her already diminished life force perish. He goes on to explain that Bob and Lisa, representing all that is innocent and good would in essence breathe new life into this place, yet belle had become too powerful and would stop at nothing in her quest to rule. A doddering, weeping fool, he falls to the ground in anguish, and suddenly the great castle is no more. Bob and Lisa are left standing alone in a field of (you guessed it) green, armed with knowledge, but not answers. As night approaches following another several hours of walking, the distinct glow of a city appears on the horizon. Warily entering, they know in their hearts that this cannot be Eldorado. Their queries as they pass people along the streets are ignored. What had appeared as paradise upon their unexpected arrival two full days ago now seemed anything but.
(Cue music)
Nobody’s Child
While Lisa disappears inside a hotel with the hope of procuring lodging and a good night’s sleep on an actual bed, Bob is being lasciviously summoned by a woman whose appearance has far surpassed anything his pubescent adolescence could imagine. Out of earshot, she promises him untold joy and passion. He shifts uncomfortably as he stares into the eyes of this incredible creature, thinking in the back of his mind, she’s not at all like the sleazy prostitutes you see on TV. Lisa watches from hotel door, dismayed at the sight of him and the woman disappearing through the door of an abandoned theater. A tear threatens, but she holds back the sorrowful emotion as she marches across the street, angry that he has so easily lost sight of their mission. Inside, the darkened auditorium she can barely make out the silhouette of Bob forlornly walking across the stage. Dramatically, he faces the empty seats. A lone spotlight illuminates him in a soft amber glow.
(Cue Music)
End of the Show (Dennis Wilson)
He pours his heart out to the empty room, singing a mournful Dennis Wilson (Beach Boys) solo tune. He is, essentially throwing in the towel. On the final note of the climactic ballad, Lisa ascends the stage, overcome with emotion and hugs him, weeping openly in a display of role reversal harkening back to their first meeting on the hill when he took charge. With the hooker, nowhere in sight and all but forgotten, she leans in to reward him with the long awaited kiss he has dreamed of, a kiss that is interrupted by the sudden activation of strobe lights all around them.
(Cue Music)
Illusions in G Major
A sudden explosion of light and sound brings forth a trio of bizarre characters dressed in futuristic sequins, with outrageously exaggerated fluorescent afro’s and sunglasses ala Elton John’s Captain Fantastic. The Illusions, sing and play feverishly while hokey special effects reminiscent of the Live at Wembley video envelope the group. A dramatic flash of light signals the end of this odd transference. Standing atop an impossibly high mountain, our heroes look around in bewilderment as they are showered with praise and confetti. Among the sea of faces, they recognize Little Boy Blue, Poor Boy and Mister Kingdom. The hooker mischievously winks at Bob, who realizes in the second before she disappears is actually none other than the evil Belle. Unable to overcome their power, fueled purely by innocence, her cheap Adam and Eve temptation ploy had failed.
(Cue Music)
Eldorado Finale
Overcome with happiness and emotion, Lisa sings now. Eldorado will now become the place she will lay down roots. Bob cannot understand this. She has friends and family at home. Was it something he said? I must stay as well, he argues. She silences him with a kiss. He falters, dizzy with the feel of her lips, yet glimpses for just a moment the black clouds above the distant mountains furiously lit from within.
He awakens in his bed the following morning, unknowing of all that has happened, the days spent in Eldorado, no longer than a few short hours in the real world. Lisa is not in school that day, something he barely realizes until the whispers of rumor reach his ears. Kidnapped, runaway, no one knows for sure.
As the last vestige of the Eldorado finale draws to its conclusion, we see from high above, a rolling green hill, Lisa walking beside an almost transparent Laredo.
The End
Wipe away the tears I envisioned, not of sadness, but of quite the opposite, and let me be frank.
Did I mention that I was fourteen at the time?
Quite simply, I drew from an album I loved, taking the songs at literal face value only on the titles. I challenge anyone to attempt a similar project with a different album, and see what happens. I know it is ridiculous to picture Bob on that first hill, singing Can’t Get It out of My Head, his plight having absolutely nothing to with the lyrics of the song. Looking back at the original 1978 creative writing project, I embellished this latter day adaptation quite a bit. The actual written version, similar to a movie screenplay based on an epic novel was simply horrendous, though I clearly recall the exhilaration I had felt on the day I read it aloud in class. Evidently unimpressed, yet diplomatic in his expression, the instructor asked aloud, “What makes this a modern day fairy tale?”
“Uh hello-o-o, there’s a hooker in it,” I should have replied.
Self consciously, I chose a safer response.
“Well it was based on a record album,” I answered unconvincingly.
Apparently, that meant something. Smiling, he returned it to his desk.
“Excellent,” he replied.
There really is no way to put into words how much the music of Jeff Lynne has affected my life. If nothing else, I hope that this haphazardly concocted vision of his 1974 masterpiece elicits something more than just the adoration and admiration I hold for his work. Should you find yourself wondering whether there might have been a sequel in store, the answer is undoubtedly yes. Bob would return, albeit with another romantic love interest. Lisa, having been taken by the evil Belle is held prisoner in the distant mountains. Bob and (whatever her name is) must conquer and then tame a devil horse known only by the name Caballo Diablo, based on a Charlie Daniels song ironically released in 1974 as well. I had also planned on penning a tale based on the Eagles Desperado album. Somewhere amongst my dusty artifacts resides the beginning pages. Unfortunately, it never progressed beyond that point. The main character, a Luke Skywalker type yearns to find action somewhere far from the uneventful domicile he calls home.
His opening song professing this desire?
Wild West Hero
Out of the Blue (1977)
What can I say?
There is simply something about a Jeff Lynne composition that just inspires.
Let’s move on.
My interest in ELO began to wane with the release of 1980’s Xanadu. Now a
High School senior complete with driver’s license and confidently dating, both I’m Alive and All Over the World did not instill in me the same thrill I had felt in years past with each new release. I did splurge for the soundtrack however, and leaned heavily towards Don’t Walk Away, feeling that somewhere within that tune remained just a hint of true ELO magic. Whether due to lack of finances or lack of interest, I mistakenly turned down an opportunity to see the band live in support of 1981’s Time. Attending college locally, I 
maintained relations with my high school chums, most of whom never truly appreciated ELO with the same fervor as I, yet had made it a priority to see the show, reporting afterwards that even sans spaceship, it had been a spectacle. Both MTV, literally in its infancy, and radio stations played Hold on Tight in heavy rotation. Having yet to purchase the LP, I owned only the 7” single. While I loved that record, it was the flipside, the unreleased When Time Stood Still, which appealed to me more. Twilight, the second single, and one of my all-time favorite ELO cuts also featured an unreleased B-side, the catchy and extremely radio friendly Julie Don’t Live Here. Those four songs represented my entire Time experience. At some point, I had finally gotten a hold of the entire LP, but wholly ignored it. Similar to the contractual obligation that I firmly believe made 
up the final Electric Light Orchestra release, I later purchased the last two records, Secret Messages (1983) and Balance of Power (1986) only from a sense of commitment. Both Jeff Lynne’s Armchair Theatre and Afterglow, the long awaited ELO box set released in 1990, featuring additional non-album B-sides and a small number of unreleased tracks were simply non-events for me. My fascination with Jeff Lynne and the Electric Light Orchestra had come to an end.Intermezzo
June 1994
“Roll Over Beethoven, Roll Over Beethoven, Roll Over Beethoven.”
Literally out of breath, having been musically whisked back through my adolescence in just under seventy-five minutes, I silently repeated the mantra, sending my message via psychic vibrations to the musicians, who at that minute, just out of sight behind the curtain, patiently waited for the precise moment to dramatically re-emerge on stage.
The Electric Light Orchestra Part Two did not disappoint. The thundering crash of drums and cymbals on the final note of Beethoven’s fifth had the audience on their feet, cheering loudly, and then subsequently making their way toward the exit. When Kansas hit the stage thirty minutes later, the crowd had diminished considerably.
My elation with the reborn Electric Light Orchestra extended to the following morning. Sparing neither time nor expense, I immediately purchased ELO Part Two live with the Moscow Symphony Orchestra in both CD and VHS formats. Concentrating primarily on the music and visuals, I exercised my musical cluelessness, paying little attention to the identities of the actual performers. A co-worker, wholly uninterested in my newfound adulation, argued that this manifestation symbolized nothing more than a glorified cover band, and bordered on blasphemy. Granted the very voice of the original Electric Light Orchestra was conspicuously absent, but then Jeff Lynne had always kept a lower profile than most popular musicians had. Bands recording and performing without key and founding members had also become the norm, Foreigner, Fleetwood Mac, Journey, Styx, just to name a few. There is no question that Jeff Lynne represented the sole embodiment of all things ELO, far eclipsing the role of just singer songwriter. I never paid much attention to the ELO back-story, knew little of lawsuits filed either by former members suddenly excised, nor those filed for copyright infringement over ownership of the name.
Lightning struck on an early summer’s eve in 1994.
The Journey had begun anew.
Literally out of breath, having been musically whisked back through my adolescence in just under seventy-five minutes, I silently repeated the mantra, sending my message via psychic vibrations to the musicians, who at that minute, just out of sight behind the curtain, patiently waited for the precise moment to dramatically re-emerge on stage.
The Electric Light Orchestra Part Two did not disappoint. The thundering crash of drums and cymbals on the final note of Beethoven’s fifth had the audience on their feet, cheering loudly, and then subsequently making their way toward the exit. When Kansas hit the stage thirty minutes later, the crowd had diminished considerably.
My elation with the reborn Electric Light Orchestra extended to the following morning. Sparing neither time nor expense, I immediately purchased ELO Part Two live with the Moscow Symphony Orchestra in both CD and VHS formats. Concentrating primarily on the music and visuals, I exercised my musical cluelessness, paying little attention to the identities of the actual performers. A co-worker, wholly uninterested in my newfound adulation, argued that this manifestation symbolized nothing more than a glorified cover band, and bordered on blasphemy. Granted the very voice of the original Electric Light Orchestra was conspicuously absent, but then Jeff Lynne had always kept a lower profile than most popular musicians had. Bands recording and performing without key and founding members had also become the norm, Foreigner, Fleetwood Mac, Journey, Styx, just to name a few. There is no question that Jeff Lynne represented the sole embodiment of all things ELO, far eclipsing the role of just singer songwriter. I never paid much attention to the ELO back-story, knew little of lawsuits filed either by former members suddenly excised, nor those filed for copyright infringement over ownership of the name.
Lightning struck on an early summer’s eve in 1994.
The Journey had begun anew.
Here it comes again
It’s all around me
It must be magic...
Summer and Lightning
From the album Out of the Blue (1977)
Second Movement
It’s all around me
It must be magic...
Summer and Lightning
From the album Out of the Blue (1977)
Second Movement
Nearly fourteen months had elapsed before I had the opportunity to hear ELO music performed live again. During that time, my hunger became insatiable. Albums released decades earlier seemed fresh again, the pops, clicks, and scratches of my youthful vinyl years, now phantoms as I embraced every nuance digitally. Songs I had little tolerance for, or simply overlooked in my formative years became new favorites, while those I once preferred now went ignored. The first time I listened to 1979’s Discovery via my CD Walkman, I Discovered (absolute ELO pun intended) Wishing; the fourth cut on the album side formerly known as two. In Junior High School, this track seemed bland and forgettable.
Now, artwork!
My lifelong love for country music rendered Face the Music’s Down Home Town a one-time favorite.
Now, annoying!
It had taken over a decade to familiarize myself with both Time and Secret Messages. The giddy
elation I felt in hearing these for the first time reminded me of my earliest ELO experiences. Balance of Power, the group’s 1986 curtain call featured a scaled down version of the band with only three original members remaining, and an oddly simplistic logo. The single, Calling America received light airplay here via radio and MTV, but failed to chart. Heaven Only Knows, the album’s lead off cut became an instant favorite the first time I had listened to it. The structure of the backing vocals, mixing high falsettos with lower bass was similar to the Beach Boys sound of that era. Plenty might argue that assessment, but two years later Jeff would work with Brian Wilson, contributing bass, guitar and keyboards on Let it Shine; a tune he co-wrote with the former Beach Boy. Similar to the records that had preceded it, Balance of Power would wait nearly a decade before I listened to it from start to finish. The lighter pop feel of the record, indicative of the year in which it was recorded reeks of contractual obligation. The grandiose production expected from an Electric Light Orchestra record while non-existent, left in its wake a number of radio friendly tunes with single potential. Listening to it now, there is no doubt in my mind that many of these could have been hits. I often wonder what might have happened if the album had been released without the ELO signature attached. My wife, an ELO fan by association only, finds Balance of Power to be the most listenable due largely to its non-ELO sound.
I re-visited Eldorado with the intention of fully understanding Jeff Lynne’s original concept, reaching the conclusion that either I am not intellectual enough, or my mind has thrown up some type of defense mechanism, allowing me only to see it as I originally envisioned. If anyone can tell me, just what Laredo Tornado really means it would seriously be appreciated.
The concept of Time is not entirely lost on me, but for some reason I see it as a futuristic version of my Eldorado, complete with frizzy haired, garishly clothed rockers, whisking our time traveler back to the present as they belt out Hold on Tight, accompanied again by hokey video effects ala the Live at Wembley video.
It is difficult to fathom that the only CD not in my ELO collection is the
album that started it all. 1973’s No Answer is a tough listen. Sadly disappointing in my early ELO exploration, it remains primarily unchartered territory today. 10538 Overture and Mr. Radio, the only two cuts I found listenable in my youth are still the only ones I listen to presently, and believe me I have tried on multiple occasions to give this record a fair chance. Had it been my very first ELO purchase, this epic indulgence outlining my musical obsession would not exist.
Coming into possession of a King Biscuit Flower Hour CD, Kuiama, the first ELO tune I thoroughly ignored, unexpectedly became a new favorite. The live version, recorded for the BBC in 1973 featured an impassioned solo by original violinist Wilf Gibson and a dramatic orchestral buildup, musically placing the listener upon the battlefield within the very ranks of an advancing army, grimly marching forward to the thundering climax before bridging to the disturbing confession of the reluctant soldier in the final verses.
Now, artwork!
My lifelong love for country music rendered Face the Music’s Down Home Town a one-time favorite.
Now, annoying!
It had taken over a decade to familiarize myself with both Time and Secret Messages. The giddy
elation I felt in hearing these for the first time reminded me of my earliest ELO experiences. Balance of Power, the group’s 1986 curtain call featured a scaled down version of the band with only three original members remaining, and an oddly simplistic logo. The single, Calling America received light airplay here via radio and MTV, but failed to chart. Heaven Only Knows, the album’s lead off cut became an instant favorite the first time I had listened to it. The structure of the backing vocals, mixing high falsettos with lower bass was similar to the Beach Boys sound of that era. Plenty might argue that assessment, but two years later Jeff would work with Brian Wilson, contributing bass, guitar and keyboards on Let it Shine; a tune he co-wrote with the former Beach Boy. Similar to the records that had preceded it, Balance of Power would wait nearly a decade before I listened to it from start to finish. The lighter pop feel of the record, indicative of the year in which it was recorded reeks of contractual obligation. The grandiose production expected from an Electric Light Orchestra record while non-existent, left in its wake a number of radio friendly tunes with single potential. Listening to it now, there is no doubt in my mind that many of these could have been hits. I often wonder what might have happened if the album had been released without the ELO signature attached. My wife, an ELO fan by association only, finds Balance of Power to be the most listenable due largely to its non-ELO sound.I re-visited Eldorado with the intention of fully understanding Jeff Lynne’s original concept, reaching the conclusion that either I am not intellectual enough, or my mind has thrown up some type of defense mechanism, allowing me only to see it as I originally envisioned. If anyone can tell me, just what Laredo Tornado really means it would seriously be appreciated.
The concept of Time is not entirely lost on me, but for some reason I see it as a futuristic version of my Eldorado, complete with frizzy haired, garishly clothed rockers, whisking our time traveler back to the present as they belt out Hold on Tight, accompanied again by hokey video effects ala the Live at Wembley video.
It is difficult to fathom that the only CD not in my ELO collection is the
album that started it all. 1973’s No Answer is a tough listen. Sadly disappointing in my early ELO exploration, it remains primarily unchartered territory today. 10538 Overture and Mr. Radio, the only two cuts I found listenable in my youth are still the only ones I listen to presently, and believe me I have tried on multiple occasions to give this record a fair chance. Had it been my very first ELO purchase, this epic indulgence outlining my musical obsession would not exist.Coming into possession of a King Biscuit Flower Hour CD, Kuiama, the first ELO tune I thoroughly ignored, unexpectedly became a new favorite. The live version, recorded for the BBC in 1973 featured an impassioned solo by original violinist Wilf Gibson and a dramatic orchestral buildup, musically placing the listener upon the battlefield within the very ranks of an advancing army, grimly marching forward to the thundering climax before bridging to the disturbing confession of the reluctant soldier in the final verses.
Kuia, please believe me, I just couldn't help myself.
I wanted to run, but they gave me a gun
I wanted to run, but they gave me a gun
and they told me the duty I owed to my Fatherland.
I made my stand
I made my stand
Kuia, I just shot them
I just blew their heads open,
And I heard them scream in their agony
And I heard them scream in their agony
Kuiama, she waits there for meTrue blue,
you saw it through.
Kuiama
From the album Electric Light Orchestra II (1973)
This exhilarating performance, so full of vivid imagery soars emotionally, before poignantly reaching its conclusion. As the synthesizer fades to its final demise, the audience, silently stunned, breaks into exuberant applause. A true moment captured, this is what live music is all about!
Recordings of the original Electric Light Orchestra in a live setting were often difficult to find. I remember finding a copy of the 1974 release; The Night the Light Went on (in Long Beach) at a
local retailer. Pricier than some of the other albums I had acquired due to its import status, I eagerly purchased it. The slightly longer version of Roll Over Beethoven alone made this a must have. Seeing both Day Tripper and Great Balls of Fire listed on the back cover only added to my jubilant expectation. Thirty years later, I can confidently say that I went straight to Roll Over Beethoven before listening to the rest of the album. Too young, and not in possession of a decent stereo, I hardly noticed the muddy quality of the recording, which years later I would find out had been mistakenly compiled from the wrong set of master tapes. With only eight tracks, three of them instrumentals, this record elicited a poor representation of the band. While Mik’s Violin solo coupled with the Orange Blossom Special appealed to the country fan in me, and made sense from a medley standpoint, I could not understand the abrupt transition from the classic composition, In the Hall of the Mountain King, to the rollicking Great Balls of Fire. I loved their interpretation of the Beatles classic Day Tripper with its brief infusion of classical violins and piano minuet. Roll Over Beethoven notwithstanding, the standout track for me on this collection was 10538 
Overture featuring the (too) brief Do Ya guitar interlude. Remastered in the mid 1990’s and featuring alternate cover art, the disc now provides an honest look into the band before the pinnacle of success. Shortly following the re-release of 
this classic, ELO fans embraced both Live at Winterland 1976, and Live at Wembley 1978. Winterland captures again, the raw sound of the band on stage. I had long awaited a live version of Ma-Ma-Ma Belle, an early favorite of mine, and this version, with the extended ending and blistering guitar solo made it worth the price of the disc alone. I wish I could say the same for Wembley. Longing to believe that my earliest 
suspicions were not true, this CD is a blatant forgery. Word of lawsuits revolving around the band lip-synching during the space ship tour had not escaped my attention; however, I have not thoroughly researched the allegations to dispel the rumors.
With the advent of the Internet, I was finally afforded a glimpse into what I missed by not attending the Time tour in 1981. Twilight, an audience recorded bootleg captures the band live in Koln Germany, albeit sans Bev Bevan who missed a number of shows due to illness. The twenty-minute medley of songs spanning the band’s musical catalogue is outstanding. My
biggest disappointment in this show lies in the fact that nearly eight minutes were wasted on Richard Tandy’s keyboard solo and a cover of the Beatle’s Across the Universe.
Admittedly, I am not a Beatles fan!
I had also never heard of the song before acquiring this disc in 1998. Clearly, Jeff Lynne had this tune on the brain while composing Mister Kingdom for the Eldorado album. Never having seen the original Electric Light Orchestra in person, this CD remains my favorite live disc. Unedited, it embodies the total live experience without the mastering or sweetening of a professional recording. Now, thoroughly sated, I eagerly awaited another opportunity to catch the latter day version of the band Jeff Lynne had formed so many years ago.
Third Movement
June 1995
To the casual outsider strolling past me in the opposite direction, my rushed gait exuded nothing more than a typical working class New Yorker possibly running late for a meeting. Inside however, emotions were in turmoil, my mind racked with guilt as I hurriedly made my way across town to a rendezvous with destiny. Left behind to fend for himself, my co-worker inwardly fumed at my seemingly inexplicable departure. Circumstance, coincidence, destiny, the words danced gleefully through my head while I reveled in the stroke of sheer luck at being in the car with the radio on at exactly the right moment just twenty-four hours ago.
“Make sure to drop by tomorrow afternoon, say hello to members of the Electric Light Orchestra Part Two and pick up a copy of their soon to be released CD,” the DJ announced. They were due to perform the next evening at the nearby Meadowlands with the Little River Band. The fact that they were playing on the main stage at the state fair taking place in the parking lot rather than inside the mammoth arena did not surprise me.
Yes, how the mighty hath fallen, I thought to myself. Regrettably, a combination of logistics and a decidedly misplaced dedication to the workplace made attending this show a near impossibility. My disappointment however was unmatched to the excitement I felt at the prospect of not only shaking hands with members of rock royalty whom I deemed instrumental in contributing to the virtual soundtrack of my life, but finally getting my hands on new ELO product after an interminable wait. Turning the corner, I prepared myself for what would certainly amount to an endless wait at the rear of an equally interminable line. The questions came in a torrent as I moved closer towards the hallowed location. Where are the police barricades, the traffic, and the blaring car horns? Unencumbered, I walked inside to an equally, uneventful atmosphere, more questions rapidly coming in succession.
Is it canceled?
Did I get the time wrong?
Did I get the date wrong?
Had the DJ been misinformed?
Befuddled, confusion turned to shock, as I looked upon the unbelievable sight of a band member standing on line to purchase guitar strings.
“Why is he standing on line like a common customer,” I shockingly wondered!
Upon further inspection, I recognized some of the other band mates aimlessly standing about, looking decidedly unhappy.
Warily approaching bassist Kelly Groucutt, I shyly asked, “Is there an autograph signing happening here?”
"No," he laughed loudly, flamboyantly waving his arms in the air, comically calling attention to the library like atmosphere.
“We have nothing to sign," his voice piercingly echoed.
I looked around nervously, expecting an immediate admonishment from one of the nonplussed sales clerks.
Until that very moment, the absence of any band related paraphernalia on display had escaped me. It was a scene right out of Spinal Tap, the hysterical mid-80’s cinematic romp detailing the rise and fall of a fictional rock and roll band.
"Well, what's happening then," I persisted.
"I'll tell you what's happening. We’re going to kick the crap out of our bloody manager, that's what. You may want to stick around a bit."
Not having much to say, I waited awkwardly for guitarist Phil Bates, the newest member of the band to pay for his purchase.
“Why don’t you join us for a couple of pints,” Kelly offered, gesturing towards the pub across the street.
It was single-handedly one of the most surreal moments in my life, standing there like an idiot contemplating the impossible.
Do I stick around and drink with ELO or should I return to work?
Drink with ELO or go back to the office?
I waited patiently for the opposing miniature versions of me to appear on my shoulders, The angelic and the satanic, each with a valid reason for my staying or leaving.
Drink with ELO or go back to the office?
Do it.
Don’t.
Do it.
Don’t.
I wonder what it looked like from the perspective of the thirsty Mr. Groucutt.
I had no camera and therefore no proof of my ill-timed decision. Cursing my sense of priority, values and stellar work ethic, I chose to return to the side of my harried co-worker on the other side of town. I did however learn an important lesson that afternoon and happily offer a bit of wisdom here.
No job is worth it!
Disgusted with myself for not acting upon my good fortune, I was even more disappointed that the show in Jersey that evening marked the only appearance in the tri-state area. Not knowing the reasons behind the botched meet and greet, I grew increasingly worried that the band’s touring days may be seriously limited. From that moment forward, I made a personal vow to myself to attend any upcoming gigs within reason.
I was finally able to obtain a copy of the new CD a few short weeks later, and while it had been
well worth the wait, I found myself hard pressed agreeing with other ELO enthusiasts that Moment of Truth had far surpassed the bands first outing. The voice and music of Phil Bates brought a dynamic to the band that harkened back a little closer to the original ELO sound. Breaking Down the Walls, the second cut on the album sets the tone in much the same way Honest Men had from the previous release, preparing the listener to take a trip back in time to the heyday of the Electric Light Orchestra. The song possesses all of the magic ingredients both vocally and instrumentally to stand alongside some of founder Jeff Lynne’s greatest creations. Eric Troyer’s equally satisfying; Power of a Million Lights, another high point on the album, draws on many of the same large production elements. Voices; a song of inspiration that lyrically may come off as a bit cliché, yet delivers a powerfully emotional vocal performance is my clear cut favorite track. Whiskey Girls, the Phil Bates, Bev Bevan penned rocker would most likely find greater acceptance by fans of either the UK’s Status Quo, or Atlanta's Georgia Satellites. A fan of both bands, I easily connected with the tune, though will agree wholeheartedly it is totally out of place on any unit bearing the Electric Light Orchestra moniker. Perfecting my burgeoning skills as a video editor, I chose the tune as the musical base for a self-indulgent tribute to myself seen only by a few friends, family members, and quite possibly ELO Part II members.
Several months later on a Labor Day excursion to the Jersey shore, fate had chosen to make another appearance in my life, this time in the guise of a local music paper. Sitting poolside, lazily
turning the pages, my eyes widened at the sight of a casino ad touting an upcoming performance by the Electric Light Orchestra Part Two! Six Weeks later, not quite kicking and screaming, the girl who would eventually become my wife acquiesced, having grown used to some of my idiosyncrasies like traveling inordinate distances to see a show. Unfamiliar with the practice of bribing theater staff with a well-placed twenty-dollar bill for good seats, we sat well above the stage on the second level for the early show. My pulse raced as I expectantly wondered what they might open with this time. With a sudden 
dimming of the lights, and sans any fanfare, a generic voice announced simply, “Ladies and Gentleman, The Electric Light Orchestra Part Two!” The curtain still rising, Phil Bates had already begun singing the first line of the mega-hit, Evil Woman. Even without the spectacle of the laser lights and synthesized overture I had remembered from the first performance so many months before, I enjoyed the show, though felt a small bit of disappointment by the lack of newer original material. Kelly’s passionate vocal performance on The Fox, a tune describing in detail the story of a foxhunt as seen through the eyes of the title character, while not one of my favorite Part Two compositions, received vigorous applause from the audience. During the later show, now a little the wiser, I waited from a front table for the conclusion of Whiskey Girls, before approaching the stage and throwing several copies of my video (now on glorious VHS) to Kelly, who with a look of confusion mouthed the words “what is that?” as they were taken backstage by one of the road crew. Clearly labeled Whiskey Girls, and with my business card attached to each copy, I patiently waited days, weeks for a call from someone within the ELO Part Two organization, sadly to no avail.
Yet another year would pass before the next show, this time in New York City’s esteemed Carnegie Hall. My front row seat, stage right, came not through a twenty-dollar bribe, but from filling out a mailing list request at the previous Atlantic City show, something I do all the time because of my love for junk mail. I do not recall seeing or hearing anything even remotely close to promotion with the exception of an unfavorable blurb in the New York Daily News Summer
Preview pull-out section. A comprehensive listing of all things warm weather related in the big apple, the trite mention, more insult than promo read simply,
E.L.O. Part II with The New York Philharmonic at Carnegie Hall. Yeah, right!
Obviously coming from the same mindset of my esteemed co-worker who still considered any form of ELO without Jeff Lynne, blasphemy, or from a non-fan in general, it did not make a difference. The sold-out show was simply magical, and left me with the question, why hadn’t Jeff Lynne considered this during the arena years? It is simply the only way to experience ELO music in a live setting. The numerous shows I had attended following that New York City night could never measure up. I don’t know much about the time spent overseas, but the brief stints the band did here in the states revolved around casinos and summer rib fests, often leading to ridicule regarding their management decisions. Content just knowing that the band continued to tour on a semi-regular basis led to a degree of complacency on my part making trips to Jersey’s casino capitol less of a priority. Passing on attending one such show resulted in shock and
bewilderment upon my return to work following the weekend to learn that Bev Bevan had announced his resignation. I could not imagine how the band could carry on without the last true link to the original Electric Light Orchestra, and became convinced that I had seen the last of them. I had been saddened to learn of Phil Bates departure months earlier, though replacing him with California guitarist Parthenon Huxley had worked well. One of the biggest disappointments in losing Phil had been the expected lack of even further tunes played live from their own catalog. By the time Bevan had left, the band had dropped all of their originals from the set list with the exception of “Over London Skies,” a tune he co-wrote with Huxley. With Gordon Townsend in the drummer’s seat, the band continued to tour, now under the name ELO2, due to increasing legal pressure from Jeff Lynne, who ultimately re-acquired full ownership of the Electric Light Orchestra name, forcing the remnants of the current touring outfit to either change theirs or cease and desist!
Luckily, with only a scant few shows left to play on the current tour, there would be more than enough time to find a new identity.
Unluckily, those shows were played with no identity, the band, now; a literal rock and roll John Doe.
Walking into a small Long Island Playhouse, the marquee and lobby stripped of all references to the band now formerly known as ELO2, I sadly wondered, “hath the mighty fall any further?”
With a sense of both professionalism and bravado however, the band played on, paying reverence to that timeless creed, the show must go on. Following the final encore for which they
received vigorous applause from the tiny, yet packed house, I waited outside the backstage door with a scant few others where I briefly regaled Kelly with the tale of our previous meeting under bizarrely similar circumstances.
"Not one of our brightest moments,” he laughingly agreed.
"It must be odd fulfilling these gigs without a name.”
"Did you have a good time tonight," he asked, still smiling.
"Absolutely."
"Ah, what's in a name anyway," he joked.
Apparently not much!
Having survived years of either mismanagement, or no management, they lazily decided on calling themselves The Orchestra! The ridiculously generic name makes it nearly impossible to find them on the web via any reputable search engine. They did however manage to put out a
CD, No Rewind, which most will agree is the most satisfying of the Part II related releases. The biggest disappointment lies in the lack of material submitted by Kelly Groucutt. His closing contribution, Before We Go, had been kicking around for several years, appearing on an acoustic Phil Bates release. A Little Light on an Electric Night featured guest appearances by ELO alum, Kelly, Bev, and Mik Kaminski who joined Phil on unplugged versions of Showdown, Whiskey Girls, One More Tomorrow, and Evil Woman. Kelly’s solo performance of No One Was Saved, an early version of the aforementioned Before We Go, showcases his boundless vocal and songwriting talents. Who knows what may have resulted decades earlier, had Jeff Lynne allowed Mr. Groucutt more input into the original Electric Light Orchestra recordings? The finished version of the song on the Orchestra’s No Rewind makes a fitting closing for what will most likely result in the band’s swan song. Should that be the case, at least they bow out on a high note. Parthenon Huxley’s Jewel and Johnny kicks off the disc in glorious ELO fashion. I remember hearing it performed a year earlier in NYC’s BB King’s, a smaller six-hundred-seat venue not nearly filled to capacity. The promise of new material on the way was encouraging, and the debut of the song, reminiscent of the classics Mr. Blue Sky and The Diary of Horace Wimp showed that Huxley had admirably filled the shoes of former guitarist/vocalist Phil Bates. Eric Troyer’s If Only, an emotionally powerful ballad far surpasses any of his previous contributions to the Part II catalog. Still not a Beatles fan, I am willing to overlook the quasi Eleanor Rigby cello break in the song’s bridge. Beatles jokes aside; this is simply one of the most beautiful tunes I have ever heard. The disc overall, does maintain a decidedly Beatles feel, even without the inclusion of the 60’s classic Twist and Shout. Having heard enough of the tune during its 80’s resurgence in movies like Ferris Bueller’s Day Off, and Rodney Dangerfield’s Back To School, this version is wholly original. Beginning with only an acoustic guitar, Eric’s vocal somberly delivers the first verse before the strings are introduced, dramatically rising towards the unmistakable chorus. The song comes full circle with Eric’s falsetto accompanied only by the distinctive violin of Mik Kaminski, mournfully taking it to its conclusion. Had radio programmer’s gotten a hold of this tune; I can only believe that it may very well have breathed new life into the ELO franchise.
Kuiama
From the album Electric Light Orchestra II (1973)
This exhilarating performance, so full of vivid imagery soars emotionally, before poignantly reaching its conclusion. As the synthesizer fades to its final demise, the audience, silently stunned, breaks into exuberant applause. A true moment captured, this is what live music is all about!
Recordings of the original Electric Light Orchestra in a live setting were often difficult to find. I remember finding a copy of the 1974 release; The Night the Light Went on (in Long Beach) at a
local retailer. Pricier than some of the other albums I had acquired due to its import status, I eagerly purchased it. The slightly longer version of Roll Over Beethoven alone made this a must have. Seeing both Day Tripper and Great Balls of Fire listed on the back cover only added to my jubilant expectation. Thirty years later, I can confidently say that I went straight to Roll Over Beethoven before listening to the rest of the album. Too young, and not in possession of a decent stereo, I hardly noticed the muddy quality of the recording, which years later I would find out had been mistakenly compiled from the wrong set of master tapes. With only eight tracks, three of them instrumentals, this record elicited a poor representation of the band. While Mik’s Violin solo coupled with the Orange Blossom Special appealed to the country fan in me, and made sense from a medley standpoint, I could not understand the abrupt transition from the classic composition, In the Hall of the Mountain King, to the rollicking Great Balls of Fire. I loved their interpretation of the Beatles classic Day Tripper with its brief infusion of classical violins and piano minuet. Roll Over Beethoven notwithstanding, the standout track for me on this collection was 10538 
Overture featuring the (too) brief Do Ya guitar interlude. Remastered in the mid 1990’s and featuring alternate cover art, the disc now provides an honest look into the band before the pinnacle of success. Shortly following the re-release of 
this classic, ELO fans embraced both Live at Winterland 1976, and Live at Wembley 1978. Winterland captures again, the raw sound of the band on stage. I had long awaited a live version of Ma-Ma-Ma Belle, an early favorite of mine, and this version, with the extended ending and blistering guitar solo made it worth the price of the disc alone. I wish I could say the same for Wembley. Longing to believe that my earliest 
suspicions were not true, this CD is a blatant forgery. Word of lawsuits revolving around the band lip-synching during the space ship tour had not escaped my attention; however, I have not thoroughly researched the allegations to dispel the rumors.With the advent of the Internet, I was finally afforded a glimpse into what I missed by not attending the Time tour in 1981. Twilight, an audience recorded bootleg captures the band live in Koln Germany, albeit sans Bev Bevan who missed a number of shows due to illness. The twenty-minute medley of songs spanning the band’s musical catalogue is outstanding. My
biggest disappointment in this show lies in the fact that nearly eight minutes were wasted on Richard Tandy’s keyboard solo and a cover of the Beatle’s Across the Universe.Admittedly, I am not a Beatles fan!
I had also never heard of the song before acquiring this disc in 1998. Clearly, Jeff Lynne had this tune on the brain while composing Mister Kingdom for the Eldorado album. Never having seen the original Electric Light Orchestra in person, this CD remains my favorite live disc. Unedited, it embodies the total live experience without the mastering or sweetening of a professional recording. Now, thoroughly sated, I eagerly awaited another opportunity to catch the latter day version of the band Jeff Lynne had formed so many years ago.
Third Movement
June 1995
To the casual outsider strolling past me in the opposite direction, my rushed gait exuded nothing more than a typical working class New Yorker possibly running late for a meeting. Inside however, emotions were in turmoil, my mind racked with guilt as I hurriedly made my way across town to a rendezvous with destiny. Left behind to fend for himself, my co-worker inwardly fumed at my seemingly inexplicable departure. Circumstance, coincidence, destiny, the words danced gleefully through my head while I reveled in the stroke of sheer luck at being in the car with the radio on at exactly the right moment just twenty-four hours ago.
“Make sure to drop by tomorrow afternoon, say hello to members of the Electric Light Orchestra Part Two and pick up a copy of their soon to be released CD,” the DJ announced. They were due to perform the next evening at the nearby Meadowlands with the Little River Band. The fact that they were playing on the main stage at the state fair taking place in the parking lot rather than inside the mammoth arena did not surprise me.
Yes, how the mighty hath fallen, I thought to myself. Regrettably, a combination of logistics and a decidedly misplaced dedication to the workplace made attending this show a near impossibility. My disappointment however was unmatched to the excitement I felt at the prospect of not only shaking hands with members of rock royalty whom I deemed instrumental in contributing to the virtual soundtrack of my life, but finally getting my hands on new ELO product after an interminable wait. Turning the corner, I prepared myself for what would certainly amount to an endless wait at the rear of an equally interminable line. The questions came in a torrent as I moved closer towards the hallowed location. Where are the police barricades, the traffic, and the blaring car horns? Unencumbered, I walked inside to an equally, uneventful atmosphere, more questions rapidly coming in succession.
Is it canceled?
Did I get the time wrong?
Did I get the date wrong?
Had the DJ been misinformed?
Befuddled, confusion turned to shock, as I looked upon the unbelievable sight of a band member standing on line to purchase guitar strings.
“Why is he standing on line like a common customer,” I shockingly wondered!
Upon further inspection, I recognized some of the other band mates aimlessly standing about, looking decidedly unhappy.
Warily approaching bassist Kelly Groucutt, I shyly asked, “Is there an autograph signing happening here?”
"No," he laughed loudly, flamboyantly waving his arms in the air, comically calling attention to the library like atmosphere.
“We have nothing to sign," his voice piercingly echoed.
I looked around nervously, expecting an immediate admonishment from one of the nonplussed sales clerks.
Until that very moment, the absence of any band related paraphernalia on display had escaped me. It was a scene right out of Spinal Tap, the hysterical mid-80’s cinematic romp detailing the rise and fall of a fictional rock and roll band.
"Well, what's happening then," I persisted.
"I'll tell you what's happening. We’re going to kick the crap out of our bloody manager, that's what. You may want to stick around a bit."
Not having much to say, I waited awkwardly for guitarist Phil Bates, the newest member of the band to pay for his purchase.
“Why don’t you join us for a couple of pints,” Kelly offered, gesturing towards the pub across the street.
It was single-handedly one of the most surreal moments in my life, standing there like an idiot contemplating the impossible.
Do I stick around and drink with ELO or should I return to work?
Drink with ELO or go back to the office?
I waited patiently for the opposing miniature versions of me to appear on my shoulders, The angelic and the satanic, each with a valid reason for my staying or leaving.
Drink with ELO or go back to the office?
Do it.
Don’t.
Do it.
Don’t.
I wonder what it looked like from the perspective of the thirsty Mr. Groucutt.
I had no camera and therefore no proof of my ill-timed decision. Cursing my sense of priority, values and stellar work ethic, I chose to return to the side of my harried co-worker on the other side of town. I did however learn an important lesson that afternoon and happily offer a bit of wisdom here.
No job is worth it!
Disgusted with myself for not acting upon my good fortune, I was even more disappointed that the show in Jersey that evening marked the only appearance in the tri-state area. Not knowing the reasons behind the botched meet and greet, I grew increasingly worried that the band’s touring days may be seriously limited. From that moment forward, I made a personal vow to myself to attend any upcoming gigs within reason.
I was finally able to obtain a copy of the new CD a few short weeks later, and while it had been
well worth the wait, I found myself hard pressed agreeing with other ELO enthusiasts that Moment of Truth had far surpassed the bands first outing. The voice and music of Phil Bates brought a dynamic to the band that harkened back a little closer to the original ELO sound. Breaking Down the Walls, the second cut on the album sets the tone in much the same way Honest Men had from the previous release, preparing the listener to take a trip back in time to the heyday of the Electric Light Orchestra. The song possesses all of the magic ingredients both vocally and instrumentally to stand alongside some of founder Jeff Lynne’s greatest creations. Eric Troyer’s equally satisfying; Power of a Million Lights, another high point on the album, draws on many of the same large production elements. Voices; a song of inspiration that lyrically may come off as a bit cliché, yet delivers a powerfully emotional vocal performance is my clear cut favorite track. Whiskey Girls, the Phil Bates, Bev Bevan penned rocker would most likely find greater acceptance by fans of either the UK’s Status Quo, or Atlanta's Georgia Satellites. A fan of both bands, I easily connected with the tune, though will agree wholeheartedly it is totally out of place on any unit bearing the Electric Light Orchestra moniker. Perfecting my burgeoning skills as a video editor, I chose the tune as the musical base for a self-indulgent tribute to myself seen only by a few friends, family members, and quite possibly ELO Part II members.Several months later on a Labor Day excursion to the Jersey shore, fate had chosen to make another appearance in my life, this time in the guise of a local music paper. Sitting poolside, lazily
turning the pages, my eyes widened at the sight of a casino ad touting an upcoming performance by the Electric Light Orchestra Part Two! Six Weeks later, not quite kicking and screaming, the girl who would eventually become my wife acquiesced, having grown used to some of my idiosyncrasies like traveling inordinate distances to see a show. Unfamiliar with the practice of bribing theater staff with a well-placed twenty-dollar bill for good seats, we sat well above the stage on the second level for the early show. My pulse raced as I expectantly wondered what they might open with this time. With a sudden 
dimming of the lights, and sans any fanfare, a generic voice announced simply, “Ladies and Gentleman, The Electric Light Orchestra Part Two!” The curtain still rising, Phil Bates had already begun singing the first line of the mega-hit, Evil Woman. Even without the spectacle of the laser lights and synthesized overture I had remembered from the first performance so many months before, I enjoyed the show, though felt a small bit of disappointment by the lack of newer original material. Kelly’s passionate vocal performance on The Fox, a tune describing in detail the story of a foxhunt as seen through the eyes of the title character, while not one of my favorite Part Two compositions, received vigorous applause from the audience. During the later show, now a little the wiser, I waited from a front table for the conclusion of Whiskey Girls, before approaching the stage and throwing several copies of my video (now on glorious VHS) to Kelly, who with a look of confusion mouthed the words “what is that?” as they were taken backstage by one of the road crew. Clearly labeled Whiskey Girls, and with my business card attached to each copy, I patiently waited days, weeks for a call from someone within the ELO Part Two organization, sadly to no avail.Yet another year would pass before the next show, this time in New York City’s esteemed Carnegie Hall. My front row seat, stage right, came not through a twenty-dollar bribe, but from filling out a mailing list request at the previous Atlantic City show, something I do all the time because of my love for junk mail. I do not recall seeing or hearing anything even remotely close to promotion with the exception of an unfavorable blurb in the New York Daily News Summer
Preview pull-out section. A comprehensive listing of all things warm weather related in the big apple, the trite mention, more insult than promo read simply,E.L.O. Part II with The New York Philharmonic at Carnegie Hall. Yeah, right!
Obviously coming from the same mindset of my esteemed co-worker who still considered any form of ELO without Jeff Lynne, blasphemy, or from a non-fan in general, it did not make a difference. The sold-out show was simply magical, and left me with the question, why hadn’t Jeff Lynne considered this during the arena years? It is simply the only way to experience ELO music in a live setting. The numerous shows I had attended following that New York City night could never measure up. I don’t know much about the time spent overseas, but the brief stints the band did here in the states revolved around casinos and summer rib fests, often leading to ridicule regarding their management decisions. Content just knowing that the band continued to tour on a semi-regular basis led to a degree of complacency on my part making trips to Jersey’s casino capitol less of a priority. Passing on attending one such show resulted in shock and
bewilderment upon my return to work following the weekend to learn that Bev Bevan had announced his resignation. I could not imagine how the band could carry on without the last true link to the original Electric Light Orchestra, and became convinced that I had seen the last of them. I had been saddened to learn of Phil Bates departure months earlier, though replacing him with California guitarist Parthenon Huxley had worked well. One of the biggest disappointments in losing Phil had been the expected lack of even further tunes played live from their own catalog. By the time Bevan had left, the band had dropped all of their originals from the set list with the exception of “Over London Skies,” a tune he co-wrote with Huxley. With Gordon Townsend in the drummer’s seat, the band continued to tour, now under the name ELO2, due to increasing legal pressure from Jeff Lynne, who ultimately re-acquired full ownership of the Electric Light Orchestra name, forcing the remnants of the current touring outfit to either change theirs or cease and desist!Luckily, with only a scant few shows left to play on the current tour, there would be more than enough time to find a new identity.
Unluckily, those shows were played with no identity, the band, now; a literal rock and roll John Doe.
Walking into a small Long Island Playhouse, the marquee and lobby stripped of all references to the band now formerly known as ELO2, I sadly wondered, “hath the mighty fall any further?”
With a sense of both professionalism and bravado however, the band played on, paying reverence to that timeless creed, the show must go on. Following the final encore for which they
received vigorous applause from the tiny, yet packed house, I waited outside the backstage door with a scant few others where I briefly regaled Kelly with the tale of our previous meeting under bizarrely similar circumstances."Not one of our brightest moments,” he laughingly agreed.
"It must be odd fulfilling these gigs without a name.”
"Did you have a good time tonight," he asked, still smiling.
"Absolutely."
"Ah, what's in a name anyway," he joked.
Apparently not much!
Having survived years of either mismanagement, or no management, they lazily decided on calling themselves The Orchestra! The ridiculously generic name makes it nearly impossible to find them on the web via any reputable search engine. They did however manage to put out a
CD, No Rewind, which most will agree is the most satisfying of the Part II related releases. The biggest disappointment lies in the lack of material submitted by Kelly Groucutt. His closing contribution, Before We Go, had been kicking around for several years, appearing on an acoustic Phil Bates release. A Little Light on an Electric Night featured guest appearances by ELO alum, Kelly, Bev, and Mik Kaminski who joined Phil on unplugged versions of Showdown, Whiskey Girls, One More Tomorrow, and Evil Woman. Kelly’s solo performance of No One Was Saved, an early version of the aforementioned Before We Go, showcases his boundless vocal and songwriting talents. Who knows what may have resulted decades earlier, had Jeff Lynne allowed Mr. Groucutt more input into the original Electric Light Orchestra recordings? The finished version of the song on the Orchestra’s No Rewind makes a fitting closing for what will most likely result in the band’s swan song. Should that be the case, at least they bow out on a high note. Parthenon Huxley’s Jewel and Johnny kicks off the disc in glorious ELO fashion. I remember hearing it performed a year earlier in NYC’s BB King’s, a smaller six-hundred-seat venue not nearly filled to capacity. The promise of new material on the way was encouraging, and the debut of the song, reminiscent of the classics Mr. Blue Sky and The Diary of Horace Wimp showed that Huxley had admirably filled the shoes of former guitarist/vocalist Phil Bates. Eric Troyer’s If Only, an emotionally powerful ballad far surpasses any of his previous contributions to the Part II catalog. Still not a Beatles fan, I am willing to overlook the quasi Eleanor Rigby cello break in the song’s bridge. Beatles jokes aside; this is simply one of the most beautiful tunes I have ever heard. The disc overall, does maintain a decidedly Beatles feel, even without the inclusion of the 60’s classic Twist and Shout. Having heard enough of the tune during its 80’s resurgence in movies like Ferris Bueller’s Day Off, and Rodney Dangerfield’s Back To School, this version is wholly original. Beginning with only an acoustic guitar, Eric’s vocal somberly delivers the first verse before the strings are introduced, dramatically rising towards the unmistakable chorus. The song comes full circle with Eric’s falsetto accompanied only by the distinctive violin of Mik Kaminski, mournfully taking it to its conclusion. Had radio programmer’s gotten a hold of this tune; I can only believe that it may very well have breathed new life into the ELO franchise.I was thinkin' of the past,
I was tryin' to wrack my brain,
I was looking at the future,
I was tryin' to wrack my brain,
I was looking at the future,
I was trying to play the game.
Didn't want to do it, 'cause I knew what I'd find,
You're really only livin' in a state of mind, yeah.
State of Mind
From the album Zoom (2001)
State of Mind
From the album Zoom (2001)
A few short months following the release of No Rewind, Jeff Lynne, now in full control of the 
Electric Light Orchestra name, tried to do just that. With Sony records on board, he released Zoom in June of 2001. Complete with new spaceship bearing the famous ELO logo, Zoom promised to be the true comeback that devout fans and purists had long awaited. Alright, the alleged single release received roughly a week’s worth of radio airplay here before quickly fading into obscurity. I purchased the CD in much the same fashion I had done with the last few vinyl releases in the 1980’s, primarily out of a sense of obligation. Back then, my retailer of choice had been Record World, due mostly to its convenient proximity. I distinctly remember finding stickers affixed to either solo records or soundtracks as a reminder to sales associates to group the record within its proper category. For instance, the Xanadu album would display a sticker, which read; file under “E” for ELO. During my first half-hearted listen to Zoom, I immediately reached the conclusion, file under “L” for Lynne. Either biased, or too quick to judge, I felt as most longtime fans will begrudgingly agree, that Zoom, even with the inclusion of strings, was more a Jeff solo project than a true ELO product. Determined to give the disc my undivided attention, I made a solo trip down to the Jersey shore several weeks later. Equipped with homemade cassette featuring Zoom on the A-side, and Jeff’s 1990 Armchair Theatre on the B-side, I set out. The tape provided the soundtrack to an unexpected peaceful, yet memorable weekend, resulting in both albums earning newfound respect. I find myself during the winter months listening to Zoom, which never fails to take me back to that sun drenched lazy getaway spent swimming, parasailing, reading, and sipping a few
cold ones. Regardless, I still consider it an extension of Jeff’s solo work rather than a full-blown ELO production. The announcement of a tour to support the record meant that I would finally be afforded the opportunity to see the man, single-handedly responsible for the music that has so been a part of my life. The tour, set to take place in an arena setting rather than a theater setting came as a surprise. The ultimate cancellation due to weak ticket sales did not.
All the talk and whispering over the years that had revolved around poor management pertaining to the Part II camp could never measure up to this debacle. Jeff Lynne, having always kept a lower profile than most, coupled with the thirty-five year lapse in anything ELO related, not to mention the blatant disregard by the media ELO often received throughout their career, simply did not add up to any type of arena experience. The companion DVD; Zoom Tour Live, at least provided a glimpse into what may have been. While ELO Part II had covered a substantial amount of the older tunes, it was the inclusion of nuggets such as Tightrope and Face the Music’s One Summer Dream that made Zoom Live worth the price of admission alone. Admittedly, I have yet to make it through the recording in one sitting. While every note is pristine, the performance lacks the excitement I had grown used to either via the Live at Wembley video or the aforementioned Twilight bootleg recording from 1981. Jeff, while nearly legendary is just not a great front man. The setting, complete with seated cellists exudes more of a chamber feel than that of a concert, nearly to the point of sterility. I often wonder that if bootleg recordings had appeared as the tour progressed and Jeff had loosened up a bit if my opinion might not have changed.
Finale
Electric Light Orchestra name, tried to do just that. With Sony records on board, he released Zoom in June of 2001. Complete with new spaceship bearing the famous ELO logo, Zoom promised to be the true comeback that devout fans and purists had long awaited. Alright, the alleged single release received roughly a week’s worth of radio airplay here before quickly fading into obscurity. I purchased the CD in much the same fashion I had done with the last few vinyl releases in the 1980’s, primarily out of a sense of obligation. Back then, my retailer of choice had been Record World, due mostly to its convenient proximity. I distinctly remember finding stickers affixed to either solo records or soundtracks as a reminder to sales associates to group the record within its proper category. For instance, the Xanadu album would display a sticker, which read; file under “E” for ELO. During my first half-hearted listen to Zoom, I immediately reached the conclusion, file under “L” for Lynne. Either biased, or too quick to judge, I felt as most longtime fans will begrudgingly agree, that Zoom, even with the inclusion of strings, was more a Jeff solo project than a true ELO product. Determined to give the disc my undivided attention, I made a solo trip down to the Jersey shore several weeks later. Equipped with homemade cassette featuring Zoom on the A-side, and Jeff’s 1990 Armchair Theatre on the B-side, I set out. The tape provided the soundtrack to an unexpected peaceful, yet memorable weekend, resulting in both albums earning newfound respect. I find myself during the winter months listening to Zoom, which never fails to take me back to that sun drenched lazy getaway spent swimming, parasailing, reading, and sipping a few
cold ones. Regardless, I still consider it an extension of Jeff’s solo work rather than a full-blown ELO production. The announcement of a tour to support the record meant that I would finally be afforded the opportunity to see the man, single-handedly responsible for the music that has so been a part of my life. The tour, set to take place in an arena setting rather than a theater setting came as a surprise. The ultimate cancellation due to weak ticket sales did not.All the talk and whispering over the years that had revolved around poor management pertaining to the Part II camp could never measure up to this debacle. Jeff Lynne, having always kept a lower profile than most, coupled with the thirty-five year lapse in anything ELO related, not to mention the blatant disregard by the media ELO often received throughout their career, simply did not add up to any type of arena experience. The companion DVD; Zoom Tour Live, at least provided a glimpse into what may have been. While ELO Part II had covered a substantial amount of the older tunes, it was the inclusion of nuggets such as Tightrope and Face the Music’s One Summer Dream that made Zoom Live worth the price of admission alone. Admittedly, I have yet to make it through the recording in one sitting. While every note is pristine, the performance lacks the excitement I had grown used to either via the Live at Wembley video or the aforementioned Twilight bootleg recording from 1981. Jeff, while nearly legendary is just not a great front man. The setting, complete with seated cellists exudes more of a chamber feel than that of a concert, nearly to the point of sterility. I often wonder that if bootleg recordings had appeared as the tour progressed and Jeff had loosened up a bit if my opinion might not have changed.
Finale
The stars that shine so brightly
They call to me
I dream of how it might be…
Take Me On and On
From the album Secret Messages (1983)
Take Me On and On
From the album Secret Messages (1983)
The first ELO Part Two bootleg I had acquired was recorded in Los Angeles at the infamous Whisky-a-Go-Go in 1991. It was loud, it was raucous, and it oozed excitement. The musicians, well into their 40’s played with the energy and the enthusiasm of a band just starting out, which in essence is exactly what it was. The recording captures the raw excitement of a new band rising. (Loose ELO pun intended). Supporting their debut release, this disc featured four brand new tunes including Eric Troyer’s Thousand Eyes. One of my favorite tunes from the disc, this was another one that had sold me on the new ELO sound. I always considered Bev Bevan’s Heartbreaker among one of the best tunes in the post-Jeff repertoire, often comparing it with Out of the Blue’s “Night in the City.” Had they been taken a little more seriously, I think this tune would most definitely have seen some radio action. This disc has been met with a good deal of derision from older ELO fans claiming that it’s pop sensibilities stray far from Jeff Lynne’s original intentions. I agree wholeheartedly, and stand firm that this is not ELO! This band represented an extension of what Jeff had set forth two decades earlier, enhancing it with their individually personal signatures.
The result?
Nearly twenty additional years of Electric Light Orchestra music played for the masses, be it in a parking lot, a casino, or Carnegie Hall.
Still ignorant to the ELO back-story, I cannot fathom why Jeff, in re-forming the ELO brand could not reunite the ELO band! It is abundantly clear via the scant live recordings of the original lineup, that while Jeff was undeniably the brains of the outfit, Kelly Groucutt was its heart and soul. Notably, while not an original member at the bands inception, he was imminently the most recognizable and remembered band member long after their fade into rock and roll obscurity. Who knows what might have happened had the opportunity arisen for some type of collaborative effort in a truly reunited incarnation of the band?
Sadly, the world will never know.
Kelly Groucutt suffered a fatal heart attack in the days immediately following the German leg of the Orchestra’s 2009 tour, leaving in his wake a gaping hole impossible to fill. His dynamic stage presence and rapport with audiences both on and off that stage were awe-inspiring. Honest, sincere and genuine, he left us with the magic of music, and laughter in our hearts. I had the opportunity to speak with Kelly on several occasions. His talent’s far exceeded that of just musicianship. He possessed the natural ability to make people smile, make everyone around him feel welcome, while looking upon all of us, not as fans, but as friends. I am both humbled and honored; having met someone whom was not just a part of music royalty, but who stood taller than most, and faced the world smiling, either looking down from the top, or up from the bottom. Kelly, quite simply, you will be sorely missed.
I still envision in my heart an ELO reunion with Jeff at the helm, backed by the immeasurable talents of those who have carried on his legacy for the last several years. His music and that of his peers continues touch my life, the hunger inside of me craving for more.
Rise up and sound the sirens,
Send out the searching powers,
All we need is a few good men
The result?
Nearly twenty additional years of Electric Light Orchestra music played for the masses, be it in a parking lot, a casino, or Carnegie Hall.
Still ignorant to the ELO back-story, I cannot fathom why Jeff, in re-forming the ELO brand could not reunite the ELO band! It is abundantly clear via the scant live recordings of the original lineup, that while Jeff was undeniably the brains of the outfit, Kelly Groucutt was its heart and soul. Notably, while not an original member at the bands inception, he was imminently the most recognizable and remembered band member long after their fade into rock and roll obscurity. Who knows what might have happened had the opportunity arisen for some type of collaborative effort in a truly reunited incarnation of the band?Sadly, the world will never know.
Kelly Groucutt suffered a fatal heart attack in the days immediately following the German leg of the Orchestra’s 2009 tour, leaving in his wake a gaping hole impossible to fill. His dynamic stage presence and rapport with audiences both on and off that stage were awe-inspiring. Honest, sincere and genuine, he left us with the magic of music, and laughter in our hearts. I had the opportunity to speak with Kelly on several occasions. His talent’s far exceeded that of just musicianship. He possessed the natural ability to make people smile, make everyone around him feel welcome, while looking upon all of us, not as fans, but as friends. I am both humbled and honored; having met someone whom was not just a part of music royalty, but who stood taller than most, and faced the world smiling, either looking down from the top, or up from the bottom. Kelly, quite simply, you will be sorely missed.
I still envision in my heart an ELO reunion with Jeff at the helm, backed by the immeasurable talents of those who have carried on his legacy for the last several years. His music and that of his peers continues touch my life, the hunger inside of me craving for more.
Rise up and sound the sirens,
Send out the searching powers,
All we need is a few good men
Send the s.o.s. and red alerts
All across the universe
Calling your honest men
Honest Men
from the album Electric Light Orchestra Part Two (1990)
Honest Men
from the album Electric Light Orchestra Part Two (1990)
As I dwell upon this thought, I feel the embers of creativity welling up from underneath again, a vision of The Illusions, garishly attired, surrounded by the swirling cheesy effects of Wembley past, reaching through time, summoning those would be heroes, the innocent elite, to quell the dark rising in some far off dimension. The music calls to me once again, bringing with it the hope that together, the remaining leaders of two opposing Electric Light Orchestra factions may set 
aside their differences and work together as one, keeping the melody and dream alive so that future generations of long-winded writers not unlike myself may live to continue the tale.
aside their differences and work together as one, keeping the melody and dream alive so that future generations of long-winded writers not unlike myself may live to continue the tale.From our mistakes,
It should be clear
No one should lose
No one should lose
what they revere
No One was Saved
Kelly Groucutt
A Little Light on an Electric Night (1996)
No One was Saved
Kelly Groucutt
A Little Light on an Electric Night (1996)
Rest in Peace, Dear Friend.
Tom Mortensen
April 2009
· Record biz talk for the opposite side of the small record with the big hole in the center.
· http://mortmaz.blogspot.com/2008/10/legal-ids-and-hitting-post.html
· The Beach Boys; my all-time favorite band, will be covered next in the musically clueless series.
· 1967’s Here Comes the Night appeared as an eleven-minute disco remake on The Beach Boys 1979 release, the Light Album.
· http://mortmaz.blogspot.com/2008/10/legal-ids-and-hitting-post.html
· The Beach Boys; my all-time favorite band, will be covered next in the musically clueless series.
· 1967’s Here Comes the Night appeared as an eleven-minute disco remake on The Beach Boys 1979 release, the Light Album.
3 comments:
Just yesterday I took my kid to a park in an industrial area (no people around), literally blasted ANWR out of my car, and the two of us played and danced to the music in the dark, and my kid is now an ELO fan. She now sings ELO tunes to herself. I can't wait to introduce her to OOTB. She already loves several other albums.
What's better is the more she hears real music means the less she hears modern music, so it's like a double blessing. And in my opinion, ELO music is about as good as it gets.
Anyway, your story was very interesting. (And hello to [ELO-SHOWDOWN]!)
I skimmed through most of the story which I'll read in full later.
I'll just say that the time for putting aside differences between Jeff and his old band mates is simply not going to happen anytime soon. After the experience of The ZOOM endeavor he has pretty much decided to return to solo act status because of the shenanigans of concert promoters expecting one
thing while getting something else entirely.
And some fans didn't have the faintest idea that the others went on to do their own thing but still the franchise as an excuse to not write more original music and show it off in concert.
It was a wonderful period to be an ELO fan and I always will be. Even I know I have let the reunion dream go eventually.
Found your blog while looking for an image of the "Time" album for a post I was putting together. Read some, skimmed some, like what you wrote.
I've got two teens, both of whom were "subjected" to my love of ELO growing up. Both enjoy it immensely now.
My son recently purchased the 8GB iPod and proceeded to add all the hardcore music he enjoys: Hollywood Undead, Saliva, etc. Imagine my excitement when he asked to rip almost ALL of the ELO CD's I have so he can listen to them!! He was downstairs 2 hours ago, working on a book report with tunes from Discovery coming out of his player.
I got to catch ELO Pt II in Cleveland, they were playing at a restaurant/night club in the Flats, out on the deck (it's by the Cuyahoga River). We bought some beers and went out there before it started. We're looking around, looking for the stage they'd be playing on, and found a platform that was about 8 inches off the deck, with amps, a drum kit, keyboard and etc. all set up. My brother and I looked at each other and asked "They'll be on HERE?!?!"
We stood 15 feet from Kelly and the group through the entire concert. It was fantastic. Really REALLY wished it had been Jeff and the original group, but you take what you can get, I guess.
Thanks for letting me pass that along.
Mark T.
www.locophotogblog.com
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