One record at a time: 89. The Electric Light Orchestra - The Electric Light Orchestra

In 1988 I bought my first CD player; a Sony CDP-M35. Despite saving hard for this machine, it still put me in debt to my mother for about 10 years, but it broke down after only three. On the plus side, the player came with a flyer that entitled the buyer to four free CDs from a selection of about a hundred titles. One of the CDs I chose was Electric Light Orchestra "Greatest Hits" because I thought the name sounded futuristic and a family friend suggested they were "kind of electronic". Thus, I became indoctrinated with the melodies of Jeff Lynne and have been a fan ever since. 

A few years ago I decided to acquire as many ELO albums as I could on vinyl. My copy of their fist, eponymously entitled album, seems to be still in the cellophane. There is a price sticker for £2.99 from Virgin Records and a barcode is printed on the reverse, so I'm guessing this is a pressing from the early eighties. Inevitably, given its title, the album opens with the song that started it all "10538 Overture". To modern ears the recording of this track sounds raw and muddy. I'm guessing the relatively poor sound of the acoustic instruments is due to the limited technology available at the time. The distorted cello chugs away as Jeff asks us, "Did you catch his face, was it 10538?" This is a still a good song, its just not a good recording.

If released today, "Look at me now" would be called a 'reinterpretation' of "Eleanor Rigby" and attributed to ELO vs. The Beatles feat.  Roy 'Wizzard' Wood. "Nelly takes her bow" gives us some clues as to what ELO will turn into but Roy Wood's bizarre middle section derails Jeff's composition. "Battle of Marston Moor (July 2nd 1644)" is an instrumental piece in which Roy seem to have had great fun overdubbing numerous cello parts but he forgot to include a tune. 

A much better Roy Wood instrumental "1st Movement" opens side two with its driving beat and intricate melody. The next track "Mr Radio" gives us the clearest indication of Jeff's talent and is of sufficient quality to withstand Roy's constant scraping at the cello. "Manhattan Rumble" is yet another instrumental but there is a great deal of charm in Jeff's piano sections and that means this is probably the pick of the bunch.

The sound of badly played staccato cello is beginning to become quite wearing by the time we reach "Queen of the Hours" which has a melody reminiscent of "Days" by The Kinks. The album closes with "Whisper in the Night" which is probably one of the most accomplished productions on the record - but those bloody cellos! Save me from the cellos! 2/5