Eldorado

June 12, 2001 | Format: MP3

$9.99
Song Title
Time
Popularity  
30
1
2:14
30
2
4:21
30
3
5:19
30
4
5:29
30
5
2:57
30
6
5:29
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3:56
30
8
2:37
30
9
5:17
30
10
1:29
30
11
7:59
30
12
0:48


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Product Details

  • Original Release Date: June 12, 2001
  • Label: Epic/Legacy
  • Copyright: (P) 1974, 2001 SONY BMG MUSIC ENTERTAINMENT Unknown
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 47:55
  • Genres:
  • ASIN: B00138D00U
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (115 customer reviews)
  • Amazon Best Sellers Rank: #5,117 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

This album, ELO's second, is a concept album of the dream world, Eldorado.
Prog Rock Master
The orchestra worked so seamlessly with the band, and the songs are very memorable...just as well as the arrangements.
Arik U. Cotton
All of ELO's CD's are great, but for me "Eldorado" is the one I could listen to anytime.
brentfarr@aol.com

Most Helpful Customer Reviews

55 of 59 people found the following review helpful By Samhot on December 6, 2003
Format: Audio CD
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.
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31 of 32 people found the following review helpful By Arik U. Cotton on June 22, 2001
Format: Audio CD
Well, I finally got this album, not totally knowing exactly what to expect, but having a vague idea as of what to expect. After I heard the actual album (before listening to the bonus tracks), my first impression is WOW!
It has been a long time since an album has had a strong first impression on me. The orchestra worked so seamlessly with the band, and the songs are very memorable...just as well as the arrangements. They definitely hit upon something with this album.
The opening overture is very lush and beautiful, and then it goes into full gear with the strings up at maximum volume and IN YOUR FACE. And it does all this without losing its delicateness or its acoustic power. Kudos to Louis Clark and Richard Tandy and of course Jeff Lynne for writing well for orchestra.
Can't Get It Out Of My Head is the obvious single from the album. There's not much I can say about this, but on the remastered version, it brings the sweetness of this ballad some new life, which is actually something that comes to life on all the remasters that I've heard so far.
Boy Blue starts out with a nice cadenza from the brass and the strings countering with their little nice bits. Also, a nice harp bit in this as well. Then goes into a nice rocker with some pretty cool guitar licks from Jeff.
Laredo Tornado is a nice soulful tune where the strings get a bit jazzy. Nice tune with some cool falsetto from Jeff.
Poor Boy (The Greenwood) is nice as well. It shows one of the big tunes from the album where everything climaxes towards the end, and the main theme of the album comes back that was heard previously from the Overture.
Mr. Kingdom is a nice ballad that has nice string work and some beautiful arrangements throughout.
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28 of 29 people found the following review helpful By A Customer on September 10, 2000
Format: Audio CD Verified Purchase
I've recently become reacquainted with this recording, which I first fell in love with at the age of 12-13. It's funny that we live in an age that has been willing to redefine the likes of Abba and the Bee Gees as respectable music -- that is, even the most superficial pop can be celebrated from a countercultural sort of mindset -- but the art-rock excesses of the 1970s are still taboo. Over the last 20 years, pretentious displays of musical erudition within the bounds of pop music have become the unforgivable sin. Accordingly, any record with a title like, "A Symphony by the Electric Light Orchestra" is going to be sneered at. So if you buy this CD, you may feel compelled to hide it from your friend who works in the record store.
This isn't the ELO of "Livin' Thing" and "Sweet Talkin' Woman." If you've come looking for ELO at their most snappily pop, you've come to the wrong place. But what *is* here is far, far more rewarding.
To be fair, pop musicians did get carried away with this stuff in the 1970s. No doubt impressed by the Beatles' ability to combine and sequence several songs seamlessly (Sgt. Pepper, Abbey Road) in a sort of medley or symphonic-movement format, as well as their ability to incorporate classical instruments into pop songs, bands from ELP to Pink Floyd to ELO to the Moody Blues all seemed to determine to show off their classical "chops" and technical wizardy, and in the course of this, the pop aesthetic was lost amid in-your-face "Look what we can do!" messages. The difference between Eldorado and most of these records is that Jeff Lynne's songs are so darn good in a purely pop way.
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