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35 of 36 people found the following review helpful:
5.0 out of 5 stars
ELO: The purveyors of practically perfect proggy power pop, September 13, 2006
HERE IS THE NEWS
This brilliant newly re-mastered edition of A NEW WORLD RECORD makes a strong case for it being simply the best art-pop album of the 1970s--or maybe ever. Featuring a dynamic, fresh, big sound and updated graphics with many rare band photos and artifacts plus--AND THIS IS HUGE--a previously unheard track that is absolutely "out of this WORLD."
Many fans (including ELO's guiding light himself, Jeff Lynne) count OUT OF THE BLUE as ELO's brightest moment. And while there's no arguing the brilliance of that long-play release, I would like to respectfully disagree; for me, A NEW WORLD RECORD is THE ultimate ELO album.
THE SONGS
Let's look at the track-by-track evidence:
"Tightrope" is sheer brilliance; a seemless melding of orchestral grandeur with driving rock and roll. It's a thoroughly gripping and dramatic opener where synths, strings, choirs, and guitar riffs all swirl together in a perfect summation of the ELO sound.
"Rockaria!" is a thrill-a-second, over-the-top romp that is well described by its title...it's old-fashioned, foot-stomping rock and roll married with operatic flourishes, rolled up in a tongue-in-cheek story about a girl who's "sweet on Wagner," but not too hip when it comes to modern sounds--or is she?
"Mission (A World Record)" is sad, chilling, and profound, and oh so lovely. It is both a re-visiting of some of the cosmic themes explored in ELO's 1973 album, ON THE THIRD DAY, and also pre-figures the sci-fi imagery of OUT OF THE BLUE and TIME.
Perhaps you've heard of "Telephone Line," one of ELO's biggest singles, which wraps bitter loneliness in a sweet candy coating. It's one of those cathartic pop songs that remains a staple on radio, 30 years after it's release, thanks to a timeless melody and beautiful arrangement.
"So Fine" is a quirky, bright, danceable confection with a strange-but-engaging middle section that sounds like a Morroccan wedding celebration, before yielding once more to sweet strings and insistent chorus.
The classic "Livin' Thing," another huge hit, is the textbook definition of pure pop. Recently named by "Q" magazine as the #1 "Guilty Pleasure" single in rock history, it is--like Belgian chocolate, Lobster Thermidor, rich Corinthian leather, Cuban cigars, and glittery diamonds--a sublime indulgence. Who cannot immediately identify that swooping violin, Spanish guitar, castanets, and plucked strings which cascade into a giddily delicious chorus. And all of the flash delivers a positive, refreshingly innocent payload: love is a living thing...don't throw it away.
But ELO is not all lightness and froth. The oft-covered classic "Do Ya" is up next, and it's one of the great rockers of the 1970s. There's that opening heavy riff, the building tension and drama, and those surreal lyrics...I heard Bev Bevan bashing on the drums, myself. It is, of course, a re-make of a song Lynne originally wrote and recorded in 1971 with "proto-ELO" band The Move (Lynne, Roy Wood, Bev Bevan, Rick Price) and the debate rages to this day as to which version is better. I'll go with this 1976 ELO version, though...dynamic, crisp, and powerful.
"Above the Clouds" is simply sublime, a heavenly slice of balladry that wafts in and out all too quickly. It's Brian Wilson-esque, in a very soulful way.
Then, there is the gorgeous and majestic closer, "Shangri La," which is absolutely heartbreaking and haunting...again with the achingly gorgeous melody, the swelling strings and chorus, and a gripping coda that is, in its own way, as effective as The Beatles on "Hey Jude."
BONUS MATERIAL
Really, it's all about "Surrender," the previously unheard gem that makes its debut on this re-mastered edition. While it clocks in at a shade under three minutes, it makes an immediate impact--instantly memorable and so catchy it should be illegal, with briskly strummed guitars and some honking saxes. There are some interesting instrumental takes, plus a version of "Telephone Line" with a slightly different (and very fine) lead vocal than appeared on the "official" final release.
As mentioned earlier, the album graphics are awesome; not only fully restored, but "chock full" of photos and artifacts and enjoyable commentary from Lynne and ELO historian Rob Caiger. Special thanks to Caiger, webmaster Ken Greenwell, and ELO Communication Queen/super fan Lynn Hoskins for helping to make this historic and vital project possible!
RECOMMENDATION
Overall, A NEW WORLD RECORD is the perfect art pop/rock album that sits quite high indeed in the realm of stellar 70s releases. It is as important as, say, TAPESTRY by Carol King, RUMOURS by Fleetwood Mac, SATURDAY NIGHT FEVER by Bee Gees, FRAMPTON COMES ALIVE by Peter Frampton, BREAKFAST IN AMERICA by Supertramp, or ALIVE by Kiss. And it's better than all of them. Put together.
Hyperbole? Am I being over the top? Overly effusive? Yeah, maybe. So, pass the Belgian chocolate and champagne and crank this sucker up to "11" on the dial. We're really gonna rock tonight!
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11 of 11 people found the following review helpful:
5.0 out of 5 stars
A stellar, slick and melodic follow up to "Face the Music", September 22, 2006
Written and recorded in record time after the US tour for "Face the Music" "A New World Record" cemented ELO's reputation as making great records. Recorded in Germany (again)the album featured 8 Lynne originals and a remake "Do Ya" his tune from his days in The Move (which also became a hit single). This reissue sounds terrific (particularly when compared to the original CD release). There's sharper detail throughout the CD.
The bonus tracks are a great addition. The best bonus track is the rocking "Surrender" which should have been on the album (although it's lack of orchestral overdubs would have made it stand out a bit). It's a terrific slice of rock that wouldn't have sounded out of place on The Move's last album. We also get rough instrumental mixes of "Tightrope", "Above the Clouds", "So Fine" and "Telephone Line". Additionally we get an alternate version of "Telephone Line" (which became the band's biggest single to date world wide with a UK Gold record the result)with a different vocal take (and without the filter effect at the beginning where it sounds Lynne is singing over the phone). The keyboards are a bit more prominent here as are the backing vocals while the orchestration is a bit further back in the mix (Bevan's drums also sound a bit distorted and fuller here).
We get liner notes on the making of the album how it charted and Lynne briefly commenting on the various songs on the album. This is a terrific reissue that fans have been waiting for. The only thing missing is a replica of the original embossed sleeve (they could have done that to the cover artwork).
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Same old world, but a better world record!, October 11, 2006
I remember when this album was new. I was in the University District in Seattle and I walked into the U of W bookstore and they were playing this record and cranking it up through the store sound system. I was hooked. I bought it and then ended up buying all the ELO I could get my hands on. This album made me an ELO fan.
Anyway, I'll spare the track-by-track description here and just give you the low-down on what's going on with this new remastered-with-bonus-stuff release of this 1970's power-pop classic.
First, I this is the third of the new re-mastered ELO CDs that I've listened to within the past week (the others being Face the Music and On the Third Day) and I must say that this one is the best. The re-mastering process gave this record the mid-high to high-end detail that we missed in the old vinyl days, so there's a good bit of detail for you to hear on this release that you may have never heard before. Be sure to listen with high quality equipment and punch up the mid-high with your tone control or equalizer.
Second, the bonus tracks here are the best of any ELO re-release in my opinion. The alternative version of Telephone Line is a great way to hear the song all over again, this time with the vocals up front insteat of sounding like they were "phoned in", which I think was the point of the original version.
Surrender is a very fitting track as it is catchy and fun and could have been right at home on the original version of this album. It might have been a good change of pace, actually.
The "rough mix" instrumentals aren't that rough at all, they are beautiful and fascinating in their own right. Crank and enjoy!
Finally, why is this album considered so "old" anyway? Since when does great music get "old"? I recently went to see the "Beach Boys" (the touring act with Mike Love) and Bo Diddley (he's 77) and people of all ages and three generations were at both concerts having a wonderful time. Maybe there is a young person in your life who needs to be exposed to this stuff. How about playing it for your son or daughter and seeing what happens? Maybe it's an "old world record" to us, but it just might really be a New World Record to them.
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