Customer Reviews

Eldorado

5 star:		(44)
4 star:		(7)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

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.

'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.

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.

Nobody's Child is a nice bluesy tune with the choir keeping it in the symphonic realm. The strings defintiely show off their soulful stance on this number. This would sound really good if he had done it today.

Illusions in G Major - A hardcore 50s type rock and roll number. This one really shows that the band can really rock, and he brings the orchestra along for the ride.

Eldorado...well, it's the title song, and it's also the song that really shows that the main character doesn't want to leave the world that he has explored throughout the album. I don't really blame him. I wouldn't want the album to end either, but it must...and so it does with the

Eldorado Finale. An awesome revisit to the main theme, with a nice finish from the entire orchestra and the choir and the band as well. Very classically influenced rock and roll, and a fitting end to this masterpiece.

The bonus tracks basically feature a nice "cliff's notes" of the album, at least instrumentally. The Eldorado Instrumental Medley is a nice sumnation of the whole album. Well put together, and very full of life and panoramic in its scope and sound quality.

Dark City (demo of Laredo Tornado) is a nice place to see where that song started and finally hear what changes took place when you hear the actual song.

All in all, it's a wonderful album. Nice concept album of a man in a dream world, who lives and breathes in the dream world and then finds himself back in the doldrums of reality, choosing to go back to the world that he loved...many people can relate to that story. I know I can.

Not many rock bands can actually adapt their style with a full symphony orchestra, but then again, ELO is not really a typical rock band. Call it prog, call it classic rock, call it symphonic rock, call it whatever you like. I call it good music.

Today from one of my favorite long-term look-outs ... HIGH ON A HILL, IN ELDORADO))))))))

Don't laugh, this is one of the most magic-filled, melodic & memorable albums of the 70's in my opinion ("I CAN'T get it out of my head", damn that song for being overly infectious). Music like this does repel evil! This guy has such an ear for bridges, choruses, hooks, tie-ins and hopelessly dreamy anthems that you are left at the end gazing at your ruby red slippers in an unshakeable golden-glow trance. What a perfect blending of the technology (i.e., lots of Moogs, etc.), instrumentation, emotion and songcraft of the era.

The (30 piece) atmospheric orchestra with resonating cellos and booming lower register contrasting with the electric guitars (I enjoy his focused, structured playing), violins and Lynne's oddly soothing singing (and falsetto choruses with 20 piece choir in spots) ... "THE LOVE OF AGES FILLS THE HEAD" (Overture). The tradition of great music craft is respectfully channeled, albeit more simply for the pop song structure. Eldorado WILL take you on a journey if you let it, and messages shared lyrically (yes they are included with notes from lynne on meaning) add depth and timelessness that can't be ignored:

"The city boys and the country boys, They come from miles around. To defy their King and country, Save the poor folks from the hand, Of thieving dukes and abbots, And the gentry of the land" (Poor Boy - One of my favorites by ELO).

"One thing I have learned through these years, Is that no man should be stricken with fear - It should be that he walks with no care in the world. So my friends that are gathered here today, HEAR THIS CLEAR, for I'll not further say, That NO MAN shall cause me to take up arms again" (Boy Blue, a catchy and brilliant song with a good message).

"...IN BETWEEN THEIR LIES, THE PLACE TO CLOSE YOUR EYES" (Instead of the North & South, a recent parallel presents itself??? We shall always dwell in Eldorado it seems, the Earth spins round @ and never slows down).

This was my first ELO album and helped ignite a lifelong musical love affair with prog-rock for me (I did love the Beatles, Moodies and Elton when I was younger, which leads naturally to ELO) and got me thinking more about picking up the guitar (after I bought the album myself in the mid 70's around 6th grade - I was soon to delve into YES a few months later which kicked it into higher gear), which has turned into an ongoing and permanent passion thankfully, as luck would have it.

The nice package on this 2001 remaster makes the time spent (about 48 min.) all the more worthwhile. The sound quality is beautiful to me and far better than my ancient record. You will be pleased I'm sure (Some good pictures, notes and two excellent extras to close the album with a welcome extra dose of swirling magic). Put aside all prejudices and go on a Laredo Tornado ride with Jeff Lynne & ELO (FEEL IT, DON'T ANALYZE IT) ... enjoy when the world closes in!

THE UNIVERSAL DREAMER RISES UP ABOVE HIS EARTHLY BURDEN. JOURNEY THROUGH THE DEAD OF NIGHT ... HIGH ON A HILL IN ELDORADO~

ELO was already on a roll after their first three albums, but with 1974's ELDORADO (their fourth studio album), the Electric Light Orchestra launched an unabated 12-year, 9 album trail of consistently incredible brilliance. Not only did this album raise the bar for ELO, but for all progressive rock bands. ELDORADO, billed as "A Symphony by the Electric Light Orchestra" is a powerful concept album about the grandiose renaissance dreams of a poor worker, stuck at a "bank job in the city." "Overture" and "Can't Get it Out of My Head" lay out the foundation for the story, and remind us that, in dreams, "no pain may kiss the brow/the love of ages fills the head." Musically, the orchestral richness of ELO is in full bloom throughout the album...a heavenly concoction of strings, synths, and guitar work that is alternately shimmery and biting. "Boy Blue" is an underrated ELO classic, with the great line, "I have fought in some of the holiest wars/I have smashed some of the holiest jaws." "Poor Boy (The Greenwood) is a vivid Robin Hood tale and "Illusions in G Major" is another of those great ELO retro-rockers. "Mister Kingdom" is a fine prog-rock ballad and "Eldorado" is all majestic magnificence, as Jeff Lynne's voice ventures into Roy Orbisonville, singing "I will stay, I'll not be back...I will be free, of the world." Lynne carries the listener with him..."free, of the world." With this album, ELO broke free from the obscurity of being a really good "unheard" band into the pantheon of enduring classic rock artists. ELDORADO was an ambitious concept that paid off handsomely 30 years ago, and still continues to pay dividends to the listener who is willing to make the investment today. (By the way, listen to ELDORADO and TIME back-to-back sometime, and be amazed as the story continues.) Former ELO co-founder Roy Wood named this as one of his all-time favorites, and it's hard to disagree. Certainly, ELDORADO qualifies as one of the most brilliant art pop rock classics of the 1970s...and beyond! This re-mastered, expanded edition includes restored artwork and two bonus tracks that are quite interesting. Don't miss this one.

Enjoy the rich texture of tape hiss like you've never heard it on a CD before! Thrill to "bonus" tracks that have never been released before...and still haven't, for all practical purposes! If you already own a copy of this undisputed masterpiece in any other form, save your money and skip this Sony Epic "expanded" version.

As a longtime ELO fan, I find the thought of unreleased bonus tracks hard to pass up. But this is no First Light reissue with alternate versions, live performances, unique remixes, archival pictures or other goodies of historical interest. None of that rubbish here, mate.

The so-called unreleased track, "Dark City," is an early demo for what became "Laredo Tornado"--and it actually is briefly interesting, almost an inside look at the creative process. But it's only a snippet, a soundbite, a 46-second tease, half of a single potato chip.

And the purported instrumental medley scarcely seems to have been written or arranged as such at all. It appears to be nothing more than the original backing orchestral tracks, excerpted and spliced together in a way I can only describe as ham-fisted. In the Beatles anthology, George Martin and company had the good taste to present us with the complete orchestral tracks for a handful of songs like "Eleanor Rigby" and "Within You, Without You." That was most instructive and rewarding to the ear. This sorta-medley is a huge disappointment compared to that approach.

As flawed as the sound is with hiss and other audible defects, I do have to give credit where it is due. The remastering does bring out some brass parts that were easily overlooked before in various songs, and improves the clarity of some guitar parts. On the other hand, it also pushes the tympani into the background in the finale.

If you don't have this album and no other version is currently available, it's worth the money. But if you buy the Sony "expanded" version simply to get the bonus features, you'll be wasting your cash.

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!

At the moment, what this reviewer can't get out of his head, are the Eldorado Overture and Finale tracks (not to mention "All Over", from Out of the Blue).
To listen to all these ELO tracks, ranging from classical string arrangements to slow and often romantic tunes (such as, "Can't Get it out of my Head"), even to the infectious pop so gorgeously arranged by maestro Lynne across the map of Electric Light Orchestra albums, I can't understand how so many are able to so unquestioningly dismiss the work of the Electric Light Orchestra, and to heap distain and criticism--practically hate sometimes--on the band's leader, Mr. Jeff Lynne. I have come to believe that we the fans of the Electric Light Orchestra (small in number was we seem to be) must take a stand and defend Jeff Lynne and his work against the public of critics and of course those destined to complain about the production on anything he worked on (from the Traveling Wilburys albums to The Concert for George). It may be an acquired taste, but this does not justify the vitriolic venting against Lynne I have often read on these and other pages. As a human being and, in my opinion, as a skilled composer, musican, and producer, Jeff Lynne needs, DESERVES, more respect than he is getting. I am not suggesting that everyone should be forced to love ELO (though I do think it should be regarded as compulsory listening for true music lovers, even if just due to Jeff Lynne's production wizardy and the uniqueness of the sound in blending classical with pop), I just think people should give Jeff Lynne more respect as a human being and as an independent artist- and also perhaps give him a fair chance, leaving behind the preconcieved notion that seems to permeate modern music criticism that ELO was a patently inferior act. If you can't respect a human being's unique style and out-put, what business do you have in experiencing art anyway? If you can't stop shouting abuse at Jeff Lynne for supposedly ruining the Beatles reunion tracks and Harrison's Brainwashed (while also missing out on such fab tracks as, 'Real Love', 'Any Road', 'Looking for my Life', 'Rising Sun', 'Brainwashed' and more), what when wrong in your upbringing? Why must you insult, deride, and abuse the man to get a point across? And, isn't something wrong if you feel the urge to? We are all entitled to our own opinions, but this does not give us the right to express objection without at least some degree of civility. OK; that aside, I am a BIG fan of ELO and have the utmost respect for Jeff Lynne. About Eldorado...
A concept album about dreams and their influence upon man, this brilliant album, is bookended by the Eldorado Overture and the Eldorado Finale; both infectious tracks, they create the great possible (if most frustratingly short) intro and epilogue for the album In between, some of the highlights include: "Can't Get it out of my Head", a gorgeous love ballad (and musically catchy) that proves Jeff Lynne's lyrical capabilities for yours truly. Also: "Boy Blue" which, philosophically, seems to me to represent those dreams that are indescribably joyous, better than life itself; "Lorado Tornado", describing the low of awaking from a good dream. 'Mr. Kingdom' includes some interesting lyrics and the usual great music and arrangments, while 'Nobody's Child' is a haunting tune (perhaps about the fulfilment of strong desires, wishful thinking, through dreams?), 'Illusions in G-Minor' is catchy and lyrically, here, there and everywhere. The title track is a soaring one, and emotionally delivered as well. "I will be freeeeeee" is one of those lines that will likely stay with me for the rest of my life (Jeff Lynne really CAN sing,too!). The track also joyfully asserts the superiority of imagination and fantasy to reality, perhaps a fitting epitaph for the band itself and a position I can certainly identify with. I would argue that, 'Poor Boy' is a cut below the others, definetly lyrically (though there are some fun lines in there) but is indescribly redeemable thanks to its melody and, as ever, arrangement. All in all, what a listen! It may take a few times for the full, surprisingly deep concept to set in ( to a point, I'm still working through it honestly).

All in all, a great listening experience, highlighted by the blending of the classical and pop, and by the philosphical and varient nature of the lyrics... and by that plain old rock 'n' roll fun so prominent within the work. 5/5

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.

The Electric Light Orchestra's 1974 album, "Eldorado," is a true classic, and arguably the album where ELO's orchestral arrangements work their absolute best. This is symphonic rock of the highest order! "Eldorado" is also a concept album, about the adventures of several characters in the land of dreams known as Eldorado, featuring as many colorful characters as ELO leader Jeff Lynne could devise. Outstanding pop-rockers with equally-outstanding orchestral decorations populate "Eldorado," such as the classic "Can't Get It Out Of My Head," the delicious pop of "Boy Blue," the totally funky "Laredo Tornado," and other excellent songs like "Mister Kingdom," the slinky shuffler "Nobody's Child," and the rockin' "Illusions In G Major." Jeff Lynne's songwriting is strong & cohesive (and so is his singing and guitar-playing), the band's performances are first rate, and the production is very handsome. "Eldorado" is without question one of ELO's finest achievements ever. So pick it up, and have a magical time in ELO's magical land of dreams, "high on a hill in Eldorado."