Electric Light Orchestra - Eldorado (SuperVinyl)
ORDER LIMITED TO ONE ITEM PER CUSTOMER
Jeff Lynne – lead & backing vocals, electric & acoustic guitars, bass, Moog, production, orchestra & choral arrangements
Bev Bevan – drums, percussion
Richard Tandy – piano, Moog, clavinet, Wurlitzer electric piano, guitar, backing vocals, orchestra & choral arrangements
Mike de Albuquerque – bass & backing vocals
Mike Edwards – cello
Mik Kaminski – violin
Hugh McDowell – cello
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g SuperVinyl
Record color : black
Speed : 33RPM
Size : 12”
Record Press : RTI
Label : MOFI
Original Label : Warner Bros Records
Recorded February–August 1974 in Studio De Lane Lea Studios, London
Produced by Jeff Lyne
Originally released in 1974
Reissued in April 2022
Side A :
Side B :
"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." AllMusic Review by Bruce Eder
“Eldorado was their first complete concept album, and provided the band a true commercial break-out. Recorded a few years after Tommy, by The Who, ELO now had their own rock opera. It was the vision of Jeff Lynne, the de-facto leader of the band, who both produced, composed, arranged, and was the band’s lead vocalist. The inspiration for the album was Lynne’s father, a classical music aficionado.
The band was originally founded by Roy Wood, with the intention of mixing rock and classical motifs. Wood recruited Jeff Lynne, who took over leadership after their second album. The band’s early use of strings was by overdubbing, but for this project they used a 30 piece orchestra, as well as a choir.
Eldorado has an esoteric theme of a spiritual dreamer attempting to escape reality. Throughout the tracks this “message” is revisited. Its rich melodies brought out with soaring classical influences was quite unique for its era. The group was also influenced by The Beatles psychedelic period (i.e. “I am a Walrus”) on “Mister Kingdom.”
The big hit on the album was “Can’t Get It Out of My Head,” which reached the Top Ten after the album’s release. But there are many memorable tunes that have stood the test of time with the group’s unique rock/ classical blend.
They include “Laredo Tornado,” with its hook laden rock guitar, clavichord, and funk overtones supported by Lynne’s high pitched vocals. “Poor Boy (The Greenwood)” is anthemic, with use of reverb, while “Illusions in G Major” has a “rock-a-billy” 50s vibe, supported by heavy guitar. The title track has lovely strings, and is a melancholy ballad. It merges into a closing finale allowing the choir to take it into stratospheric heights.
This album was an instant hit in the US market, setting the stage for the Electric Light Orchestra’s future albums. The opportunity to hear this project in full acoustic splendor is one the band’s fans should not pass up…” Jeff Krow, Audiophile Audition, April 2022
AllMusic : 5 / 5 ; Discogs : 4.15 / 5