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25 of 26 people found the following review helpful:
5.0 out of 5 stars
Lovely, Charming 70s Classic, December 6, 2003
Electric Light Orchestra were quite a phenomenon in, and throughout the 70s with their catchy, infectious harmonies blended with lush orchestral arrangements. However, not unlike their contemporaries, they were also the source of infamy for the many ambitions that typified that respective decade: mythological/fantasty-oriented lyrics, overblown orchestral arrangements, spectacles (including a live tour featuring members playing inside of a flying saucer) and other such things, but regardless, ELO have created some wonderful music that continues to be enjoyed by many.
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 "ruby slippers" 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.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
Mission Accomplished! ELO's Classic Album, December 10, 2004
'Eldorado' is the only ELO album that accomplishes ELO's goal: to carry on where the Beatles left off with "I Am the Walrus." The production values on this album are stunning, and pack a serious punch lacking in ELO's later, more singles-oriented sound. Arrangement-wise, ELO expertly mixes real string instruments, a straightforward rock rhythm section, the occassional electric guitar, plenty of synthesisers (I hear the MiniMoog in a few instances), and some Mellotron choirs. None of which would matter if the writing were weak - but with 'Eldorado,' Jeff Lynne contributed a strong series of songs examining the conflict between fantasy and reality, escapism, hope, and depression. Thus, 'Eldorado' holds up as a true concept album and it's difficult to discuss any of the songs in isolation. This is a CD that holds up to repeated listening, compares favorably to late-period Beatles, and has its own unique identity. It's a consistently entertaining CD in which the various songs blend nicely into one another, unlike most of ELO's work.
"Mister Kingdom" is the best song here, with a chord structure and tempo similar to "Across the Universe," although with a considerably sadder message. All songs on the CD, however, are similarly concise. ELO ditched extended solos starting with this album but hadn't yet succumbed to poppier songwriting structures so, despite the melodramatic orchestration nothing seems overblown or kitschy.
For this reissue, Jeff Lynne also included two pointless bonus tracks and minimal liner notes. The first bonus track is a re-edited medley of several instrumental segments of 'Eldorado,' most likely created exclusively for this collection, and a brief demo of 'Laredo Tornado.' Neither bonus is anything special, and it's particularly disappointing that Jeff Lynne has nothing interesting to say about "Eldorado," but the CD's main content is so good that it's impossible to deduct stars because the bonuses are so weak.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Album rock at its finest!, October 10, 2001
I love this album, especially all the characters that popped out of Jeff Lynne's head for this concept! Let's see, we have "The Dreamer" who finds himself in "El Dorado," but then faces reality with his everyday life (Eldorado Overture, Can't Get It Out Of My Head, Eldorado), the Arthurian Superman (Boy Blue, Poor Boy), the everyman who asks God to find the rainbow's end (Mr. Kingdom), the crying indian character from the T.V. anti-litter commercial (Laredo Tornado), the teenage loser who is seduced by the "painted lady of the Avalon" (Nobody's Child), the guy on the couch talking to a p-shrink about his visions... probably LSD-fueled (Illusions in G Major). You wonder which character Jeff draws from imagination, and which one is a version of himself.The bonus tracks were a welcome addition. I liked the melded instrumental. The first time I heard it I fully expected lyrics to start up in several places... the jazzier "Nobody's Child" instrumental is just FUN! "Dark City" could have been better expanded. Being a Texan, I like Laredo Tornado, even though it has no basis in Texas fact. (Laredo is one of the smaller cities in Texas.) It's demo is okay, and I can see where it grew into "Laredo Tornado" but it kinda left me hanging. Oh, the overall sound? Fantastic, especially considering the 1974 technology (4-track? 8-track? Today's audio standard is 32-track, and digital can go darn near infinite tracks)! This is definitely an album to put in the stereo, open the windows, crank it up to 22, and annoy the neighbors with! Who knows, you may win converts!
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by Electric Light Orchestra 
