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 Excellent!!! I hadn't heard this in 4 years (due to a house fire) and it brought tears to my eyes. This goes beyond classic ELO.
Talented singer, guitarist and main songwriter Jeff Lynne set out to create a concept album about the "going's on in a dream world." Thus, ELDORADO: A SYMPHONY BY THE ELECTRIC LIGHT ORCHESTRA (1974) was born. One thing that struck me about this album was the cover art featuring a girl with red shoes, and how it reminded me of Dorothy and her magical "red shoes" in THE WIZARD OF OZ. To try and describe the music to someone who possibly hasn't heard this, or anything by ELO before without possibly sinking into lowest common denominator territory (in the pejorative sense), their music resembles The Beatles in slight traces, particularly in the vocals (Jeff Lynne's vocal mannerisms at times resemble John and Paul), while everything else seems quite unique and futuristic. This album in particular recalls some Beatle elements, while reminding one even more of The Moody Blues; particularly their DAYS OF FUTURE PASSED (1967) album, where a concept was consistent, and lush orchestration could be heard through many of the songs; as interludes, as segues, and as a backdrop to blend naturally into the atmosphere of each track. However, ELO don't necessarily sound *like* The Beatles and The Moody Blues, but elements of these two bands can be traced in some of their music. "Eldorado Overture" starts this album off as an exciting orchestral instrumental, and in typical overture fashion, features snippets of songs that will appear later in the album. The beginning features a robotic voice, before slipping into some exciting orchestral passages. Then, comes the lovely hit "Can't Get It Out of My Head," which bears some small traces of The Beatles, with the switches from major to 7th modes, and the vocal mannerisms. "Boy Blue" is a sunny number with lovely vocal harmonies, and a breathtaking instrumental section with elegant piano, violin and strings to resemble some of the elegant works of Beethoven or Schubert. This track is probably one of the earliest examples of a *condensed* prog-rock track, along with the impressive contrasts, the complex arrangements, and the infectiousness of it all. Fabulous track. To enhance my point on the chameleonic ability of Jeff Lynne's voice, "Laredo Tornado" features vocals that recall Todd Rundgren. The song doesn't sound too radically different in style to a Rundgren song either. A sophisticated pop track highlighted by Jeff's compelling falsetto on the chorus, as well as the orchestration underpinned by a funky drum beat. Elsewhere, "Mr. Kingdom" is a beautiful, haunting, atmospheric number with lovely chord changes (the Bbmin6-ish chord is an excellent touch), orchestration, and vocals, while later tracks like "Illusions in G Major," are pure rock n' rollers -- with the orchestration. The title track is probably the most poignant lyrically, as it deals with the dreamer, and his wish to escape reality, and withdraw back into his dreamworld. The instrumentation is generally of a melancholic, minor tone, and Jeff Lynne's vocal mannerisms, and the piano tones bring some slight resemblance to Queen, and it's lead singer, Freddie Mercury. The bonus tracks on this release feature an instrumental medley of many of the tracks on this disc, as well as a brief piece that showcases the formative beginnings of what would become "Laredo Tornado" (listed as "Dark City.") I'm not sure who to recommend this to, as the music on here is multi-dimensional, and features more than the sum of it's parts would possibly indicate. Think of a futuristic Beatles, with more orchestral leanings. Think of the Moody Blues with more of a 70s flavor (as opposed to a 60s flavor.) Chances are if you like The Beatles, The Moody Blues, Todd Rundgren, Supertramp, or imaginative rock with ample orchestration and subtle amalgamations, you may like ELO.
Also, this is the first ELO album that is produced extremely well. The orchestral arrangements are outstanding and work well with the songs, which isn't always true with records like this. The interludes actually add to the proceedings. Finally, Lynne is in particularly fine voice here. He's smoothed out some (but not all) of the rough edges. He sounds much more relaxed on this album as compared to ELO II and ON THE 3RD DAY, but still has more of an edge than he would have on any of the band's later output. ELO would have a hard time living up this one.....
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A minor progressive rock classic from the 1970s, "Eldorodo", with it's romantic 'Wizard of Oz' cover and medieval full orchestrated sound has always been a favorite, although then, and now, still a bit vague in assessing the place, Eldorodo, as a state of mind. Who cares? I'm off to join the good fight where "men have fought the holiest wars", and "smashed some of the holiest jaws". Love the god-like voice that opens and closes the album, either welcoming or cursing you "high on a hill in Eldorodo!", and that South Sea Island guitar that soothes the weary warrior after the battle. Opener "Can't Get It Out Of My Head" remains a melodic mental fixtation, "Boy Blue" sounds like trying to remember the song 'Hang On Sloopy' after too many mugs of ale, fave "Laredo Tornado" is a whirling dementia of words and sound, "Poorboy" is the perfect Robin Hood fantasy. "Mister Kingdom" is still alluring yet distant and a bit vacant in describing a man alone in a cityscape, "Nobody's Child", finds our fantasy hero tempted by a prostitute, "Illusions in G Major" is rock and roll boogie filler, and the album closes majestically with the luscious title track. We apparently were very economical in the '70s and didn't let much go to waste, hence the bonus tracks, a kareoke like overview and an unfinished song structure, are scraps. Includes written commentary for each song by writer, composer, lead Jeff Lynne.
