19 of 20 people found the following review helpful:
4.0 out of 5 stars
Primeval "ELO"-- a flawed "experiment"?, February 1, 2000
This review is from: Looking on (Audio CD)
In the wake of The Move's SHAZAM album, singer Carl Wayne departed & leader Roy Wood recorded a solo album, BOULDERS (which saw release in 1973). When he returned, he invited friend Jeff Lynne (who'd replaced him in The Nightriders / The Idle Race) to join, and the 2 hatched the idea of creating a new band to replace The Move, which would include classical instruments and experimental ideas: The Electric Light Orchestra. LOOKING ON was the first result, though their record company (at least temporarily) nixed the idea of a name-change, purely for "commercial" reasons".
This is one WILD album. As much of a major shift as SHAZAM was from earlier Move records, LOOKING ON is an even bigger departure. Both Wood & Lynne, whose earlier sound & styles were quite similar, come across doing & sounding almost completely unlike anything either of them had done before! Loud, heavy, ponderous, explosive, and downright bizarre are a few words that come to mind. This album is NOT an easy "first listen"! There's the ominous "Looking On", the growling-yet-bouncy "Turkish Tram Conductor Blues", the ethereal "What?" and the noisy "When Alice Comes Back To The Farm", with its almost honky-tonk piano. Things get extremely strange on Jeff Lynne's "Open Up Said The World To The Door"-- you have to HEAR this one, you still won't believe it! The one almost "normal" track is "Brontosaurus", a single recorded earlier, and I believe the only song here that includes departed bassist Rick Price. "Feel Too Good" makes for a relentless, hard-driving 9-minute finale. (But watch out for the "surprise" epilogue!) I've long considered this a "flawed experiment"; when they returned for their next outing, MESSAGE FROM THE COUNTRY, everything they were working toward seemed to fall in place!
This reissue includes a number of bonus tracks; mostly good songs in their own right, though wildly at odds with the style of the album they're backing. For new listeners, of course, they may wind up being the "best" part of the CD-- depending on taste.
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Roy Wood and Jeff Lynne !, June 19, 2000
This review is from: Looking on (Audio CD)
This album is the first of three times that Roy Wood and Jeff Lynne would work together and it's a good introduction to the experimental sounds they would use for The Electric Light Orchestra. One can also hear the radically different musical styles that would Split ELO down the middle. Lynnes songs "What?" and "Open Up Said the World at the Door" are complex and grand while Woods songs are hard driving,loud proto-metal. One can almost tell that from the very start that these two guys had very different ideas in their heads about music but that still doesn't take anything away from the brillance of their input. Pay close attention to Roy Woods songs on this album("Looking On" and "Turkish Tram Conductor Blues) and see if you can notice how much they sound like something a Grunge band would play(SoundGarden?). This is a first rate album and I recommend it very highly. I wish these two guys would have stayed together and created more brilliant work.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Heavy Move, January 27, 2005
This review is from: Looking on (Audio CD)
Fans of The Move's earlier pop-oriented material will likely be in for a surprise when first listening to Looking On. Their previous release, Shazaam, with its greater empahsis on a heavy guitar sound and experimentation with exotic instrumentation, hinted at the direction the band were to take with Looking On. However, while there are heavy moments on Shazaam ("Cherry Blossom Clinic Revisited", "Hello Suzie"), they pale in comparasson to the primal thunder of "Looking On", "Turkish Tram Conductor Blues" (great title!) and "Feel Too Good". The title track could be an outtake from a Black Sabbath album of the same period except for its superior lyrics and song construction. However, the song's stiff, tacked-on psuedo jazzy coda is totally unnecessary, in my opinion. This album's dense and overly-compressed sound may not make it the favorite of audiophiles, but it seems to contribute to its overall power. While not a masterpiece, this is one of the better early-70's hard rock albums.
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