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Eldorado

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Electric Light Orchestra

 
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Eldorado
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Avg: 4.0 (134 ratings)

  • Date Released: June 12, 2001
  • Genre: Rock/Pop
  • Style: Rock
  • Label: Epic/Legacy
  • Copyright: (P) 1974, 2001 SONY BMG MUSIC ENTERTAINMENT

Demonstrates beyond a doubt that it's possible to be both pretentious and awesome at the same time

  • We Say...

    Eldorado: A Symphony was ELO's fourth album and mastermind Jeff Lynne's first true artistic success. He hits his stride here, at least partly because he was finally able to work with an entire, 30-piece orchestra. A concept record about a guy who can go in and out of his own dreams at will, the album demonstrates beyond a doubt that it's possible to be both incredibly pretentious and unbelievably awesome all at the same time. You don't believe me? In 1978, Kenneth Anger added parts of Eldorado to the soundtrack of his brilliant, trippy 1954 film Inauguration of the Pleasure Dome, much in the same way that in the 1960s Harry Smith re-soundtracked a selection of his early avant-garde films to Meet the Beatles.

    Speaking of the Beatles: they're definitely here in spirit. Lynne's an unapologetic Beatle fetishist, though he's fully capable of pushing past obvious Fab Four signifiers into a kind of majestic and overblown pop music that's a little bit like the Moody Blues if they had more than one good song.

    Lynne shows himself to be a great sappy songwriter, both in short and long form. I dare you to listen to "Can't Get It Out Of My Head," a paean to the joys of pop music itself, only once. Then there's the title track, which contains multitudes: eight minutes that interweave a dozen melodies played on George Harrison-style guitars, brass, synth, choir, lumbering drums, strings. It's a wholly ridiculous affair that somehow works — just like ELO's entire, misunderstood career.

  • They Say...

    This is the album where Jeff Lynne finally found the sound he'd wanted since co-founding Electric Light Orchestra three years earlier. Up to this point, most of the group's music had been self-contained -- Lynne, Richard Tandy, et al., providing whatever was needed, vocally or instrumentally, even if it meant overdubbing their work layer upon layer. Lynne saw the limitations of this process, however, and opted for the presence of an orchestra -- it was only 30 pieces, but the result was a much richer musical palette than the group had ever had to work with, and their most ambitious and successful record up to that time. Indeed, Eldorado was strongly reminiscent in some ways of Sgt. Pepper's Lonely Hearts Club Band. Not that it could ever have the same impact or be as distinctive, but it had its feet planted in so many richly melodic and varied musical traditions, yet made it all work in a rock context, that it did recall the Beatles classic. It was a very romantic work, especially on the opening "Eldorado Overture," which was steeped in a wistful 1920s/1930s notion of popular fantasy (embodied in movies and novels like James Hilton's Lost Horizon and Somerset Maugham's The Razor's Edge) about disillusioned seekers. It boasted Lynne's best single up to that time, "Can't Get It Out of My Head," which most radio listeners could never get out of their respective heads, either. The integration of the orchestra would become even more thorough on future albums, but Eldorado was notable for mixing the band and orchestra (and a choir) in ways that did no violence to the best elements of both. [The 2001 CD reissue on Epic/Legacy adds two previously unreleased bonus tracks: an eight-minute "Eldorado Instrumental Medley" and the 46-second home demo "Dark City," described by Jeff Lynne as an "early idea for 'Laredo Tornado.'"]

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