ELO -Electric Light Orchestra (1971)

Undoubtedly one of the 1970s biggest acts, ELO’s debut album was the only one to feature the band’s two founding fathers: Jeff Lynne and Roy Wood. Both had previously been in The Move (who still hadn’t officially disbanded at this point and from whom ELO’s drummer, Bev Bevan, was taken) but were looking to expand their musical repertoire, moving away from the 60’s pop stylings of The Move and experimenting with the blending of classical instrumentation with rock and a commercial edge.

The album opens with 10538 Overture, a live staple throughout the band’s career and a highpoint of this album. A picked guitar riff – later ‘used’ by Paul Weller on The Changing Man – is blended with later to become trademark high pitched vocals and a strings backing, making for a somewhat unique sound at that time. ‘Overture’ is certainly a strong opener and raises the expectation levels of the listener for the remainder of the album.

Look At Me Now is a heavily Eleanor Rigby-influenced number sung by Roy Wood and is evidence of the band’s intentions to follow in the steps of The Beatles with strongly orchestrated, but accessible, pieces. It works quote well here – although the extent that ELO lived-up to the creativity and innovation of The Beatles is a moot point!

Next we get a glimpse of more ‘Wild West Hero’ era ELO with Nellie Takes Her Bow, the embryonic sound that was to later characterise the band is very much in evidence here in its rawest form.

Unfortunately, things take a rather odd twist following Nellie Takes Her Bow with a largely Roy Wood effort, The Battle Of Marston Moor, which explores Wood’s interest in Baroque traditional English folk. Rumour has it that drummer Bev Bevan was so appalled by the track he refused to play on it! I’m with Bev on that one.

First Movement goes some way to rescuing things with a classical/Spanish guitar intro to an upbeat instrumental piece that works nicely throughout, including the rather rasping cello accompaniment that is a trademark of the album, the majority of which being played by Wood.

The Lynne influence is then felt with the more mainstream Mr Radio that would quite as easily have not sounded out of place on Out Of The Blue and employs a few trademark ELO tricks such as running the string intro backwards and a rather ‘honky tonk’ style piano with Lynne’s vocals effects-laden throughout.

Manhatten Rumble is an instrumental piece following a rather ominous sounding and discordant riff that builds without ever really getting anywhere. This dissonance runs into the intro to Queen Of The Hours which then abates to a melancholic, and heavily strings orchestrated, vocal track that leans towards a sound you’d expect to hear on early George Harrison albums: someone with whom Lynne would later work.

The album closes with Wood’s Whisper in The Night which is a mellow acoustic guitar and strings ballad that you sort of hope the rest of the band will come in on at any minute, but to no avail.

This is a very interesting album, if not one of the best you’ll hear, as it gives glimpses of what would become the classic ELO sound and has a few standout moments. The experimental edge to the work is also interesting, although it sometimes misfires, but would, I’m sure, have been ironed out and honed by the second album if the battle of the egos between Wood and Lynne hadn’t got to unsustainable proportions following their debut leading to Wood’s departure, triggering a shift to a more mainstream approach and mega stardom for Lynne.

I would recommend listening to 1977’s Out Of The Blue for those who are not familiar with ELO but for those that are, listening to this album will be of interest and if I had to rate it, I’d give it a 7/10 “must try harder” . . . and they did!

• Roy Wood – Guitars, Bass, Cello, Vocals
• Jeff Lynne – Guitars, Bass, Keyboards, vocals
• Bev Bevan – Drums
• Bill Hunt – French horn
• Steve Woolam – Violin