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It's insane that one guy, Lynne, can have so much talent. Face The Music is a step along the way from the first album to the last there's always great songs and always great musicianship. Tandy was brilliant on ELO 2 and then surpassed himself on Time and Secret Messages (my first and third favourite ELO albums, with ELO 2 in between). Huge shoutout to keyboardist Richard Tandy who turned Jeff's songs into orchestral masterpieces. ( Billboard)įred Varcoe: Where to start with ELO? The first album had Roy Wood doodling as he experimented with new sounds and Jeff Lynne writing great pop songs, so it was strange that after the pair split, Roy went back to writing great pop songs and Jeff produced a sensational prog-rock album ( ELO 2), which would have been one of the all-time greats if he hadn't put Roll Over Beethoven on it.īut Jeff slowly reverted to pop and he found it impossible to write a bad song. With a softer voice than Lynne's, Groucutt provides the balance that has been missed in past albums. New to the group, however, is Kelly Groucutt, who handles bass and takes over on lead vocals from time to time. Divided fairly equally into smooth, flowing melodies fronted by equally relaxing singing and easy rockers, the guitar, vocals and writings of Jeff Lynne remain dominant. "Another beautiful set from the seven Brits who helped pioneer the merger of classical and rock on a mass basis. At the time, he was also generating songs at a breakneck pace and had perfected the majestic, quasi-Beatles-type style (sort of high-wattage Magical Mystery Tour) introduced two albums earlier. It was also their first recorded at Musicland in Munich, which became Jeff Lynne's preferred venue for cutting records. "Electric Light Orchestra's more modest follow-up to Eldorado is a very solid album, if not as bold or unified. Nor do the cellos and violin seem a mere afterthought." ( Rolling Stone) In this setting he has successfully integrated a recognisable string trio (an achievement in itself) with his own melodic strings, producing a stately music without being stuffy or saccharine.
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Leader Jeff Lynne remains one of a few Sixties rockers who has developed a new and more adventurous style with a minimum of chaff in the process.
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" Face the Music is more fine work from the Electric Light Orchestra, which rather quietly has evolved into a most consistent septet. But there was hope: Evil Woman, a song initially dismissed as filler by Jeff Lynne, gave ELO their first domestic top ten hit in three years, and set them up nicely for the next album, A New World Record. Released in autumn 1975, Face The Music was a US hit, but missed the British chart. Lynne’s approach to recording was to ‘carry’ the song around in his head and build it in the studio, while keeping everyone in the dark about details such as the melody, chorus or lyrics.īut still, Lynne finessed ELO’s usual hybrid of fiddly prog-rock and pop into something that made sense, with songs such as Strange Magic and Evil Woman suggesting that the way forward meant less of the former and more of the latter. His favourite question to Mack was: “Can you make it sound more weird?” without explaining what ‘weird’ was. Lynne’s inability to express himself manifested itself in the studio. Savall.“Every morning, his attitude would be cold, as if I’d never met him before," said Mack, "walking straight past me without even saying hello." (Forqueray's real misdeeds occurred in his personal life, where, Paul Guglietti's program notes detail, the composer ''was a man of sometimes vicious temperament,'' beating his wife and proving ''a difficult colleague professionally, with little tolerance for musicians of other than the first rank, unless they happened to be rich nobles.'')įorqueray the younger, Jean-Baptiste, who was also persecuted, indeed hounded into prison by his father, was represented in one number of the suite assembled by Mr. Savall's suave yet animated playing as anything less than angelic, even when it was propounding the amusing deviltries of Forqueray's musical portraits of Rameau, Leclair and others.
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Under the circumstances it was hard to think of Mr. The former was declared to play like an Angel, and the latter to play like a Devil.'' Savall's program, pitting a suite by Marais against another by Antoine Forqueray, took its title and epigraph from Le Blanc's essay: ''The Viol was regarded with favor by King Louis XIV, who prized the elder Marais, for his 'Pieces,' and the elder Forcroi, for his Preludes in the manner of the Italian Sonata. And he did so again last Monday evening, in a program at Weill Recital Hall, presented by the Gotham Early Music Foundation, whose value only grows as the movement's spirit seems to sag.