Out Of The Blue

Extra AF. Good album with a ton of interesting sounds and ideas. But man, it feels like Pink Floyd got bedazzled and thrown onstage at broadway. Overall enjoyable though, so don't get me wrong. True feelings: 3.6/5

stage 1: this album is how long? stage 2: okay jeff, we get it. you like the beatles stage 3: this album is HOW long?? stage 4a: the edibles hit stage 4b: the whale stage 5: the lights are off and the sun went down an hour ago stage 666: a c c e p t

This album feels like driving 65 in a 65 speed limit zone. There is some really fun instrumental stuff in Across the Border. Jungle has got a totally different feel and I dig it, but only kind of. This music just feels like corporate and soulless and sterile to me I guess. There’s no heart here.

Side three of the release is subtitled Concerto for a Rainy Day, a four-track musical suite based on the weather and how it affects mood change, ending with the eventual sunshine and happiness of "Mr. Blue Sky". This was inspired by Lynne's experience while trying to write songs for the album against a torrential downpour of rain outside his Swiss Chalet. "Standin' in the Rain" opens the suite with a haunting keyboard over a recording of real rain, recorded by Jeff Lynne just outside his rented studio. Also heard at the 0:33 mark of the song, which marks the beginning of The Concerto, is thunder crackling in an unusual manner voicing the words "Concerto for a Rainy Day" by the band's keyboardist, Richard Tandy. At around the 1:07 mark, the staccato strings play a morse code spelling out "ELO". The band used the song to open their 1978 World Tour Out of the Blue concerts. "Big Wheels" forms the second part of the suite and continues with the theme of the weather and reflection. Apart from its inclusion on the Out of the Blue album, the song has never appeared on any of the band's compilations or as a B-side until 2000, when Lynne included it on the group's retrospective Flashback album. "Summer and Lightning" is the third song in the suite. The raining weather theme is continued throughout the track though the mood and lyrics are more optimistic. "Mr. Blue Sky", an uplifting, lively song celebrating sunshine, is the finale of "Concerto for a Rainy Day" suite. Again, the Vocoder is used at the end of the track where, at the 4:54 mark, one can hear "Please turn me over" as it fades out. It is the only piece from the Concerto to be excerpted as a single.

I’m sure there were a lot of innovative sonic qualities in this album for ‘77, and in a way I like the orchestra integration, but overall this album just really doesn’t do it for me. Not sure what it is, but it kind of all starts to blend together after a while and not many songs really stuck out for me. Not bad by any means, just nothing overly special. And I know that’s a crime considering Mr. Blue Sky is on this album but 🤷🏼‍♂️

electric light orchestra. I hardly know her.

More like end my life orchestra.

Ahh 1977. I was more into punk than this shite. Spikey hair, ripped jeans and sucking off wheelies in alleyways was my game. ELO can fuck right off.

I love ELO and this album is not an exception! Good rock with various styles, ranging from classic to prog, and some really good instrumental songs.

There might be some good songs here but sheeesh they're hard to find under the bright, overwrought production. Like Brian Wilson on steroids, the studio effects just keep coming with little relief in sight. Somewhere under all the orchestral flourishes and choral singers and unnecessary sound effect is some good old fashioned rock songs....I guess. I wish someone had said to him; "Jeff, why don't you take a break?" 2.5 🌟

This will be…interesting. Ha. First off, this album is LONG, over an hour—20 minutes longer give or take than everything else I’ve been fed from this list so far. ELO clearly have a deep and abiding love for pop songcraft but I can’t stand their sound. God so much fucking falsetto. I don’t know anything about ELO but I’m willing to bet this band is mostly the vision of one person—going to check now. I was right! Jeff Lynne. Good for him. Bad for me. It’s taking everything in me to finish this album and I’m three songs in. I bet if I listened to this four times in a row or if I grew up listening to it I would love it. But that is not the case. Every time there’s a verse I like the arrangement gets more complicated and overwrought—Big Wheels being a good example of this. I do think a lot of it is just the big slick production that’s putting me off, it makes it hard to “hear” the songs with so much instrumentation and just Jesus it’s so fucking smooth and even. I also can’t stand the strings. Also listening the Mr Blue Sky for the millionth time (but for the first time on headphones!) makes me never want to listen to music again. God fuck this album. Objectively it’s very well done and blah blah blah but fuck. Fuck this album. Maybe it’s me but I want to kill myself more and more the longer I listen. Seriously. Stone cold garbage. Those stupid strings. Stupid stupid stupid strings. It’s like they got some Ok songs and made a sandwich but then put a big thick layer of mayonnaise on it and so all you taste is mayonnaise. And mayonnaise is fine but. You know. IT HAS ITS PLACE and that place is not in my ears. I seriously might not listen to music for the rest of the day after listening to this album. It’s too long, too coked-out, too ornate, too fucking obnoxious. If it was 2/3 the length my opinion would probably be different. It’s like watching someone masturbate and they just won’t stop. Think they’re done? Nope! Too bad. Jeff Lynne just keeps on wankin’. And wankin’. And wankin’. Anyways. Self-indulgent twaddle. 1/5 for overstaying its welcome.

Perhaps the most enthusiastic ensemble you will hear—a genuine triumph.

Catchy, memorable, inventive. One of my all time favourites!

Love me some ELO. I remember listening to this album as a kid (thanks to my older siblings who were ELO fans). Those opening notes of Turn to Stone bring back memories and it's still a great song. ELO is one of those bands where I enjoy everything I hear but have never dug deeply into their catalog. Jeff Lynne is awesome and I appreciate him more every time I hear anything he's involved in. Mr. Blue Sky has been played a million times in my house since my kids got into Guardians of the Galaxy, but it never gets old. Stuff like Sweet Talkin' Woman is very 70s, but still great. Favorite non-hits - Jungle (fun track), Believe Me Now, Sweet is the Night. Basically, there isn't a weak moment on the album, which is even more impressive since it's a double album. Great stuff, easy 5.

The first album I ever bought was ELO. This one remains a favourite of mine, despite the decades they spent languishing in the mire of critical scorn. I'm glad they've undergone a minor re-evaluation, because Jeff Lynne owned the purest pop ears since Paul McCartney. The songs here feel liked they're beamed in from a softer, sunnier dimension; and it's a small marvel at just how meticulous some of the arrangements are. Lynne has the sensibility of a jeweller where creating pop is concerned - one of my favourite albums, of any genre, ever

Somehow this is bland mashup of McCartney, Queen, and Pink Floyd. Massively overproduced and twice as long as it needed to be. A couple memorable songs but mostly I just wanted it to end.

This was the first album I bought and I still love it today. It's 110% full-on from the word go with orchestral rock-n-roll pop-driven tunes and not a quiet introspective moment in 4 sides. Jeff Lynne is a genius for arrangements and tunes and it flows along with a multitude of classical and electronic tricks. I can understand how some people can't stand the whole vibe but it's so hooked into my memories I can't but love it.

Fantastical

Anyone who doesn’t put a 5 deserves death

Classic double album that seems shorter than its 70 minutes. The suite on Side 3 is perfect.

Of course I knew some ELO songs earlier but listening to the whole album is a whole another experience. Every single song made me say 'wow, this one is great!' so in the end there's none that stands out, because all of them are so extra.

I am myself surprised how it grew on me during the first listening. I love how homogenous and still internally varied this album is. Instruments are magnificent, vocals are great. That is one of the album that makes me still listening 1001.

Y'know what I just love ? Y'know, what I really fancy myself a bit of sometimes? Overproduction. Now that's typically a bad word in talking about music, but for my own money... Oh, goodness, there's just nothing like it. When you take what coulda been normal, average songs and just pump them up with so much until they become larger than life, and then some. That's why I like OUT OF THE BLUE as much as I do. Front-to-back, every song sounds like a grand adventure. Even the shorter or more lowkey ones, it doesn't sound like there could be anything bigger. Like, it hardly matters to me if these songs are "soulless" or if there's way too much cribbed from The Beatles or whatever. The mere fact that for a while there I would put on the third side of the record, "Concerto For A Rainy Day," every time I woke up to find it was raining outside should tell you how much I don't mind either of those things. Besides, it's not like I have a problem with bands wearing their influences on their sleeve; as long as they can still sound unique in spite of that, it's all good. And, well, even acknowledging the fact that Jeff Lynne would go on to produce two Beatles songs 20-some years later, I don't think I'd mistake ELO for another band, y'know? It doesn't even matter to me that this album is as long as it is. It's one of those 60+ minute albums where I feel like it truly justifies its runtime. The songs, to me, are really just that consistently solid and carry the pace so well that it hardly even feels like it's that long. Accepting the "Concerto" as a different, mini-album in the middle of this album helps, too. Honestly, if there's anything I'm down on, it's the fact that I was kinda, like... Extra-tired today when I heard this? Which gets to me, 'coz this is an album I wanted to pay the fullest of attention to. And I feel like I paid enough, don't get me wrong, but... Ehh, I just had this feeling of "tired" behind my eyes ever since I woke up two hours later than I wanted to, I'unno. But that's besides the point, and hardly impacts my enjoyment of this album. For me, it's a full 5. Jus', goodness me, so many great songs and moments. Like, that rapid-fire breakdown in "Turn To Stone"? Goodness me. All the way to the grand closer of "Wild West Hero". Which is actually how I closed my 2023, by the way, after the album had also opened that year. (Huge shout-outs as well to the "PLEASE TURN ME OVER" at the end of "Mr. Blue Sky". I've always loved that. Really, the whole outro of that song... Goodness.) Now, I'll be 100 and admit that it's not actually an album I've put on too often. Like, outside of the "Concerto," I think I've only played this album in full four times (contrat with the **53 times** I've played the "Concerto"). If there's any commitment I wanna make after this review, though, it's to listen to this album way more. It really, truly deserves it. It's a masterwork of 70's overproduced pop — which, yeah, is absolutely not for everyone. But if no one else, it's for me. Jus'... Goodness. I don't even know what else to say. Go listen to "Mr. Blue Sky" — I mean, chances are you already have, but go listen to it again. You hear how happy it is? That's me when I play this album. Nothing but clear, blue skies and sunshine as far as the eye can see.

I don't even need to relisten to this to know that I'm giving it 5.5 if that were possible, but I will anyway because ELO is one of my top 5 bands of all time and deserve even more praise than they have already. But getting back on topic, this album just has so many essential tracks in their discography that it's almost absurd, alongside deeper cuts that could have been hits if they were released. Turn To Stone. Sweet Talkin' Woman. Night In The City. And don't even get me started on how absolutely magnificent the Concerto For A Rainy Day is. It starts strong, keeps up with the usual excellent orchestral work, and just becomes basically perfect when the one ELO song everyone's heard comes on. Mr. Blue Sky is just perfection, front to back. And again, this is a 5.5 star album, maybe even a 6 if I'm in the right mood for it.

That’s obviously a 5. This is my first time listening to this album in full – obviously, I know Mr. Blue Sky, but that’s about it, really. My experience with ELO as a whole is super minimal – maybe an occasional thing heard on the radio, but the big thing, other than Mr. Blue Sky, is reading once that John Lennon reportedly said the Beatles, had they stayed together, would’ve likely sounded like ELO. That sentiment rings pretty damn true here: this feels like a Beatles album, in a very good way. Perhaps there’s a bit more bombast and synth, but in terms of the overall compositions, vocal styles, and just the underlining intangibles… yeah, this feels like where they all could’ve gone. Admittedly, I’m not quite sure how to describe my overall thoughts here – I think this is just fantastic across the board, from top to bottom, but I wonder how much of it is simply a factor getting really into the zone with this general style. This clicked extremely well with me; just about everything I like in this album can be traced back to every style present in the genre around this time. There’s some jukebox U.S. rock influence ala Boston or Kansas, there’s obviously the Beatles, there’s occasionally a dip into some Zeppelin/Stones style stuff, the piano feels sort of Elton John-esque at times, and the synth/vocoder work blends in part of what was making disco, pop, and R&B work incredibly well at the time. I do wish there were a few more chances to have me, as the listener, breathe a bit within the songs themselves, as some of these go at a breakneck speed without much of a pause, but I kinda love the rollercoaster feel. It’s an album that feels tailor-made to me, which makes it all the more baffling that I’ve never really interacted with it until now. It also makes it sort of baffling that, once the experience of the album wore off, it almost felt like the cracks started to pop up, oddly enough. Again, this is a great album, it’s easily deserving of a 5, and I loved everything here, but… I couldn’t help but get a lingering sense that maybe, just maybe, the album’s bombast overstays its welcome and creates just a bit of a homogeneity that stops some of the tracks at an individual level from feeling as memorable. That is to say, I kind of found it hard to remember why I was super into stuff like Turn to Stone, Sweet Talkin’ Woman, Across the Border, Night in the City, etc – those feel incredible in the moment, and they work cohesively and brilliantly within the album, but until I went back to listen to them again, I couldn’t really place why I had liked them after I was done listening to the album. Perhaps it’s just a “first time listening” thing. Ultimately, though, this is just too damn good to let little cracks or perceived imperfections get in the way of what this is, at its core: 70 minutes of blistering rock, that maybe sometimes goes a little too fast for its own good, but it more than makes up for it with the orchestral instrumentation, the huge variety of influences, and a very distinct style that clicks extremely well with my tastes. Someone else can write about the nitty gritty of the compositions and really break down why this has all those intangibles that just work, but for my ears, good music is good music, and this is fantastic music. It’s an absolute highlight of the 1970s, and a crime that I haven’t heard it until now. Very, very easy 5.

Used to spin this on vinyl often over a decade ago. It was a pleasure revisiting an album I haven’t thought about in quite some time. So many delicious melodies. Jeff Lynne bringing fun symphonic pop to the masses. This is prog rock stripped of a lot of the pretensions.

Nobody sounds like ELO! All of these songs are so infused with life and charm. The hits are HITS and the rest of the stuff is all good fun. Shoutout to Wild West Hero. Unsung classic

A really fun ride, filled with unexpected chords progressions and sumptuous orchestrations. Loved it!

When the day is done and there's nowhere to run And the people of the city have all lost and won In your city dress you stand and stare And you smoke another cigarette and comb your hair And the light that shines Paints a trace of sadness On the street I wait But I can't seem to get to you. Well, you start to sway check your Cartier Cause it's getting late you can't afford to wait So you move along where it's going on And the people of the night are playing 'til the dawn And the sun that shines Paints a trace of sadness In your eyes that cry Wishing and hoping Oh Sweet, sweet is the night Now you are near Dark dark were the days They disappear Sweet sweet is the night Now you are near Yeah, this album is pretty fucking great. 5/5

Holy shit was this album great. I don't know if there was a bad song on it. I've only heard the ELO hits before and wow I need to keep deep diving. I'm blown away. The Whale was probably my least favorite track, but it wasn't bad at all Favorite songs: Mr. Blue Sky (obv), Across the Border, Sweet is the Night, Wild West Hero, Night in the City

Mr. Blue Sky es una de mis canciones favoritas desde hace unos años y sin embargo, nunca la había escuchado en el contexto de su disco original, y me encantó ahora oírla como parte de una cosa conceptual que está justo en medio del Rock y la sobreproducción del Disco que empezaba en esa época. Muy buenos solos de guitarra, sintetizadores, motivos que se repiten pero utilizados sutilmente, creo que el disco tiene de todo. Perfecta la coincidencia que, después de Blue de Joni Mitchel siguiera Out of the Blue.

Mr Blue Skyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy

Amazing space/rock opera. 4/5

Rocking prog rock classic. Tasty jams that everybody loves.

cool rock and synthy fun. I've never heard of ELO before but I enjoyed this quite a bit. Sweet Talkin' Woman got me hooked. also unrelated to the music, I absolutely love the cover art, weird 70's sci fi does it for me. great energy throughout, it gets a little too bombastic here and there but man was this fun.

So many songs, but so many highlights. I really enjoyed this one. It was a strange mix of prog and pop that works incredibly well. Great arrangements. Key tracks: Turn to Stone It's Over Sweet Talkin' Woman Mr. Blue Sky

Great prog pop. As usual, a double album could probably be an even better single album but there is something about it being too long that is appropriate to the genre. Several tracks such as "Stepping Out" would be at home on an alternate universe Let It Be album - down to the overblown arrangement.

Much as a philosopher proposed for Jonathan Richman on this here website, Jeff Lynne looked at The Beatles and said "I can do that"; from time-to-time, he would succeed. You might think I am an ELO's Greatest Hits kinda guy, and you would be correct (apart from Discovery, which I love for nostalgic reasons). This one is too much and too long (often both at once), but when it gets it right it hits hard. "Sweet Talkin' Woman" and "Mr Blue Sky" are always a pleasure, and kudos also for inventing Daft Punk. I'm too old for double albums that are not particularly varied throughout, but I probably would have loved this if I discovered it 35 years ago. I'll be kind

The Disco Beatles. Sorry, I just call ‘em like I see ‘em…

This was a double disappointment as when the name and cover turned up, as my perma-daze simultaneously translated this into Jeff Wayne’s War of the Worlds soundtrack - which may be terrible, but I haven’t heard since I loved it as a pre-teen - and OMD, of whom I’ve heard enough to know I want to hear much more when I can be bothered to. Listened to this at work, started it with my first coffee of the day, finished it three more coffees later with a blazing caffeine hangover. Work wasn’t hard, sun’s been shining, I have had relatively fine sleep, so I can only blame this record, which confounds me by being both lovable and tedious. I understand the Beatles’ debt, but they are a frictionless version, too cuddly, slightly pantomime, and don’t have enough choruses with bite. Here’s a tip: I gave up a second playthrough to listen to Miles Davis’s “A Tribute to Jack Johnson”, which shreds. Maybe listen to that instead.

Not bad per se, but hasn't aged well and annoys me

God I love ELO

Great album

i fsr kinda bounced off this when i heard it a few years ago but idk what was happening other than maybe i was overwhelmed by the embarrassment of riches FHJFS. so monumental it kinda freaks me out...one of those double albums thats not this long for such pedestrian reasons as Wanting To Make A Big Statement That Requires A Lot Of Space but simply due to the fact that apparently jeff lynne was waking up just accidentally coughing out genius musical ideas every morning and he had to put them down somewhere. the effect is certainly inherently exhausting, ur eating a whole rich cake by urself in one sitting, but no quibbles can be had with the cake itself. all the harmonic elements make me feel like im swimming in them, all the arrangements are attuned to maximum color, half the lyrics feel like childhood daydreams treated with the gravity of the world's proggiest rock opera. something truly elemental here. i need to hear way more ELO

Excellent album

“Hey Paul! It’s your cousin Leroy McCartney. You know that new sound you were looking for?!” “Jungle” was a highlight for me

I had the chance to see ELO a few months ago and most of these songs live are incredible. The story behind “Concerto for a rainy day” and the move from Steppin’ Out to Mr. Blue Sky really is incredible. Great album.

La pochette était intrigante et je n’avais entendu parlé ni du disque, ni du groupe. Ça part fort avec « Turn to Stone », un bon disco entraînant. Rapidement, on fait des parallèles avec Queen , autant dans les harmonies vocales, que dans la voix du chanteur, que dans les orchestrations. Puis on arrive à la 3e chanson « Sweet Tallin’ Woman », avec des arrangements intéressants de cordes et des passages plus électroniques à la Daft Punk. Ensuite, des orchestrations de cuivres et de cordes pincées surprennent dans « Across the Border », et on croit entendre des cloches à vache parmi les guitares électriques et les samplings de sirènes dans « Night in the City ». Et on continue d’être étonné par la difficile à classer « Jungle », à la fois beatlesque, belafontesque et électro-futuriste, avec même un petit intermède de chorale gospel. Les influences des Beatles et de Queen reviennent tout du long, mais avec une sauce éclectique et originale. Disque ambitieux, dense, mais franchement réussi. Très belle découverte pour ceux et celles qui aiment les orchestrations touffues et lourdes.

Odlican

Apparently I know the opening track. I really don’t know what ELO that I knew. So far this is great. On track 4. This album is great. I love everything about this album so far.

What a fantastic album! From memory, Jeff Lyme has never actually been able to read music, but he sure can play a mighty fine assortment of instruments. Love it.

I know this one well. Gorgeous production and lovely songs, although I do think it starts off strong and falters towards the end. Still a fantastic record though and one I will come back to. 4.5

High quality

If you couldn't give this 5 stars you may have an ear infection

Gee, I really enjoyed this. I felt like I should have known it more, and that it was a special discovery. Yes the Marvel movies use of ELO flavoured that, but I always thought there was something to them even when I couldn't find them on the airwaves or in the record/tape/CD shop.

A meticulously produced and truly epic and cohesive orchestral pop-rock masterpiece. One of the best albums of the 70s, and one of the few double albums that doesn't overstay its welcome.

Just great!

one of the best

Love me some ELO! And Mr. Blue Sky is one of the happiest songs ever written. :)

Somehow my favourite Beatles album

I grew up with this album. Have probably listened to it a few hundred times. At the time also special since it is a double LP (and therefore quite long). Today, I think it's ok. But still, there are sooo many songs on it which I really love. So it's a five.

Quel incroyable album, je frissonne à chaque fois que je l'écoute. L'orchestration est top notch, le groove est là et tu te rempli de bonne humeur à force à mesure que le double album progresse.

Amazing album, maybe a little too long and could be rearranged. But I don't know what I would cut.

Hype music for cardigan-wearers.

what a group!

You know that Autotune trend that was everywhere 15 years ago? That's Jeff Lynne's creation, from thirty-five years prior. But unlike that trend, Lynne knew when to rein in the autotune so it isn't so overwhelming. Electric Light Orchestra were electronic pioneers but used rock and pop to make it accessible. They sure created some catchy songs, like the electronic chorus in "Sweet Talkin' Woman"! Lynne created a beautiful album that has highs and lows--but most importantly has bangers, some of ELO's most iconic songs. But even the songs that weren't hits were great and engaging. ELO never shied away from pure instrumental songs, and this album was no exception. The instrumentals aren't throwaway songs but are engaging and impactful. I was struck by how similar to a musical Out of the Blue is. Its creation was purposeful, to the point that the position of each song was carefully determined. One motif in particular popped up multiple times, and it was a chord from "Mr. Blue Sky." This connected the album musically but ensured the listener could connect the themes, too.

ELO holds a sentimental value to me, i bought this album for my mom as a present as a child. The combination of slow pop-rock, string orchestras and vocal harmonies really hits me strong. it's easy listening music, for some it might be a bit boring. But the album also has some of their big hits like Mr. Blue Sky

I like it very much! Perfect album! It is very melodious. Vocals are brilliant! Every track is a Masterpiece.

This is like the 5th best Electric Light Orchestra album, and yet it's still getting the maximum rating. I know why this one is on here though, it obviously has the "Concerto For a Rainy Day" suite, you can't really argue with "Mr Blue Sky". I do think something like "A New World Record" or "Time" are better albums all around though, because this one is a little overlong and some songs are a bit forgettable, in comparison to the all killer, no filler albums I rank above it. You have an impure soul if you're rating this under 3 stars. I'm sorry, I don't make up the rules.

Disco with classical instruments? You son of a beautiful woman, I'm in!

Sooooo much better than the first time I listened to this. There's something just so correct about Jeff Lynne's songwriting, you put on a song and go yep, that's a song right there, it's got everything I need. About as simple as that, this album is a joy

Ó já. Hljómsveitin sem ég elska en hlusta samt aldrei á. Af hverju? Ég veit það ekki því þetta er algjört meistaraverk. Ekki margar hljómsveitir sem fá mig til að dansa eða hlaupa um úti á götu en þessi gerir það. Ég verð svo glaður. Ef það er ekki fimm stjörnur þá er ekkert fimm stjörnur

WOW

Fun fact: This was the first album I ever bought on CD. This was my favorite album for a long time, but it's been out of my rotation for a few years now. I'm stilling giving it a 5/5 because I feel I'm obligated to do so but it's not really the kind of stuff I listen to these days. The Vibe: You are zipping through space at a zillion miles an hour to see a performance of Beethoven's 9th, which is being played on one of Saturn's moons.

Echt een briljant album. Alles voelt als een opbouw naar Mr Blue Sky toe. Vind dat nummer eigenlijk helemaal niet meer zo leuk als je de rest hoort. Jammer dat hun imago zo erg op dat ene nummer is gebaseerd. Heb een brandweerauto gehoord. Dikke dikke vijf sterren.

"Out of the Blue" by Electric Light Orchestra (ELO) is a landmark album showcasing a rich blend of orchestral arrangements, lush harmonies, and a sophisticated mix of rock and pop. As a producer, engineer, and writer hybrid, there are many layers of musical theory, production techniques, and compositional choices that can be both insightful and inspiring. ### 1. **Complex Harmonic Structure** - **Extended Chords and Non-Diatonic Modulation**: Jeff Lynne often uses **extended chords** (7ths, 9ths, 11ths) and **non-diatonic modulations** to create rich harmonic textures. In "Mr. Blue Sky," for example, the song moves through unexpected key changes that maintain a bright and uplifting character, often modulating through keys like F major, Bb major, and C major. - **Writing Insight**: For a writer, using extended chords can help add color and complexity to an otherwise simple progression. The clever key changes in "Mr. Blue Sky" contribute to a feeling of constant movement, making the song unpredictable and engaging. These modulations also provide contrast between sections, adding to the song's narrative and emotional arc. - **Production Note**: For a producer, ensuring these harmonic shifts are clean and coherent requires careful arrangement, especially with orchestral instrumentation. Each modulation needs orchestral voices to align properly to avoid dissonance that isn’t intended. ### 2. **Orchestral Arrangements in a Rock Context** - **Layering Strings, Brass, and Choirs**: ELO's signature style blends rock with orchestral instrumentation—strings, brass, and choirs. In songs like "Sweet Talkin' Woman," the strings are not merely in the background but actively participate in creating the harmonic rhythm and sometimes even take over melodic duties. - **Engineering Insight**: Balancing a rock band with an orchestra requires an astute understanding of frequency management. Strings and guitars often occupy similar frequency ranges, so panning decisions and EQ are critical. In "Out of the Blue," orchestral strings are frequently layered with guitars, but each instrument's part is arranged so that they complement rather than compete. Cutting low mids on the strings helps them sit well with electric guitars. - **Production Insight**: These arrangements use a combination of **counterpoint** and **layering** to provide both movement and depth. For example, each string line might serve a distinct purpose—one line playing rhythmic stabs while another plays a counter-melody. Understanding how to layer these elements to create a coherent wall of sound is crucial. ### 3. **Use of Ostinatos and Hooks** - **Repetitive Motifs and Hook-Driven Writing**: Many tracks feature **ostinatos**—repeating rhythmic or melodic motifs that drive the song forward. The opening of "Turn to Stone" is characterized by an infectious, repeating synth and guitar line that underpins the entire verse, giving a sense of urgency and excitement. - **Writing Perspective**: An ostinato can provide a hypnotic quality to a track, making it instantly recognizable. Jeff Lynne’s use of these motifs is a reminder that repetition, if done effectively, can be the foundation for memorable hooks. Writers can use ostinatos not only in melodic parts but also in rhythmic sections to build cohesion across different sections. - **Production Insight**: Producing such hook-driven tracks requires ensuring that the ostinato stands out. In "Turn to Stone," compression is likely used on the repeating motifs to keep them prominent without overpowering the vocals. Each repetition is also slightly varied with automation—changing the EQ or the level to keep the ostinato evolving. ### 4. **Layered Vocal Harmonies** - **Choir-like Harmony and Vocoder Use**: Songs like "Mr. Blue Sky" and "Jungle" utilize dense, **choir-like vocal harmonies**. Jeff Lynne employs multi-tracked vocals, often creating lush, Beatles-esque harmonies that are both uplifting and ethereal. The use of a vocoder in tracks like "Mr. Blue Sky" adds a futuristic, robotic character that contrasts with the warmth of the human voice. - **Writing and Arrangement Insight**: For a writer, these harmonies are a critical component of ELO's sound, adding emotional depth and grandeur. Harmonizing in **thirds**, **fifths**, or even more complex intervals can enhance the richness of a melody and make choruses feel more powerful and climactic. - **Production Techniques**: As a producer and engineer, capturing this kind of vocal harmony requires meticulous attention to panning and reverb. Vocals are often spread widely across the stereo field, using subtle panning variations to give the harmonies more space. The use of tape delay on individual vocal layers helps create a thick, lush texture that feels expansive without sounding cluttered. ### 5. **Contrasting Rhythms and Rhythmic Experimentation** - **Polyrhythms and Syncopation**: "Jungle" incorporates various **syncopated rhythms** that reflect its title, using percussive sounds that create a groove almost independent of the underlying 4/4 beat. This contrast in rhythms gives the song a unique feel, almost hinting at world music influences while still maintaining its pop-rock core. - **Engineering and Production Insight**: To make polyrhythms and syncopation work in a mix, it’s crucial to prioritize rhythmic clarity. This might mean using EQ to carve out space for each percussive element or panning different rhythmic components to distinct areas. The key is ensuring each rhythmic layer feels like it contributes to the overall groove, rather than creating muddiness. - **Writing Considerations**: Syncopation helps keep even repetitive sections engaging, as it plays against the listener’s expectations. This unpredictability is one of the tools Jeff Lynne uses to add forward motion to his compositions, and it keeps the listener on their toes. ### 6. **Effective Use of Dynamics** - **Soft Verses and Explosive Choruses**: ELO masterfully uses **dynamic shifts** to differentiate sections of their songs, such as in "Sweet Is the Night." Verses are often relatively sparse, with soft vocals and minimal instrumentation, building up to large, lush choruses with full orchestration and vocal harmonies. - **Engineering Insight**: Capturing this dynamic range in the studio means strategically using compression but not to the point of squashing the natural rise and fall of the performance. Often, automation plays a key role—slowly increasing gain on the strings or guitars as the chorus approaches to enhance the natural crescendo. - **Production Insight**: The shift from a soft verse to an explosive chorus is made even more effective by reducing or removing elements in the build-up—stripping back instrumentation before allowing it to flood back in during the chorus. For example, Jeff Lynne might mute backing vocals and hold off on the strings for the verse, then reintroduce them in full force for the chorus to maximize impact. ### 7. **Synths and Electronic Elements in Orchestration** - **Analog Synth Layers**: "Standing in the Rain" and other tracks use analog synthesizers to add a futuristic, almost sci-fi atmosphere. These synth parts often play in unison with the strings or brass, adding an electronic sheen that contrasts with the acoustic elements. - **Production Note**: Balancing analog synths with orchestral instruments requires careful frequency separation. Often, the synth is used to add body in the low-mid range, while orchestral strings take care of the upper harmonic content. Understanding how to blend the warmth of analog synths with acoustic elements without them clashing is key to achieving ELO's characteristic lush sound. - **Engineering Insight**: Adding modulation effects like chorus or flanger to synths can help integrate them more smoothly with orchestral strings. Additionally, reverb and delay settings can be matched between synths and orchestral elements to create a unified space where both electronic and acoustic textures coexist seamlessly. ### 8. **Concept Album Approach and Thematic Cohesion** - **Unified Motifs Across Multiple Tracks**: "Out of the Blue" is considered a semi-concept album, with many songs sharing thematic elements, such as the **weather-inspired suite** on side three (including "Mr. Blue Sky"). Motifs and themes recur, providing cohesion across different tracks. - **Writing Insight**: Recurring motifs, whether melodic, lyrical, or rhythmic, help build a sense of unity throughout an album. As a songwriter, this can be a useful tool for creating a larger narrative arc. Repeating musical themes across songs or within a suite allows you to link disparate pieces together. - **Production Consideration**: From a production standpoint, maintaining a consistent sound palette across related tracks (e.g., using the same string patches, reverb settings, or synth tones) reinforces this cohesion. It can also help listeners feel they are part of a larger journey, enhancing the album experience as a whole. ### Conclusion "Out of the Blue" is a sophisticated blend of rock, orchestral arrangements, and electronic elements, showcasing Jeff Lynne’s ambitious approach to songwriting, production, and arrangement. For a producer, the meticulous layering of instruments, creative panning, and frequency management are crucial lessons in how to make a dense mix feel expansive and balanced. For an engineer, capturing both the power of rock and the subtleties of orchestral dynamics requires precise microphone placement, EQ choices, and modulation effects. For a writer, the use of extended harmonies, dynamic shifts, and recurring motifs provides tools for crafting rich, emotionally engaging songs.

I have to say, I really liked this one, and it surprised me. I had purchased two or three ELO albums back in the 70s, and by the time this one came out I was quite tired of them. Everything kind of sounded the same to me. I didn’t hear Mr. Blue Sky until much later in life, but really did like that one. But needless to say, I had low expectations for this record, but I really did like it a lot. Probably would give it nine out of 10, so I’ll round up to a five. If I see this used in a vinyl store someday, I’ll pick up a copy unless it’s too expensive.

An absolute gem. Transports you to a different mind state. Also you have to applaud the creative risk for combining orchestral instruments with a rock band.

ELO transports you to another world with whimsical romantic orchestral rock. Rarely is pop music this interesting and catchy.

Sooo many good tracks on this album.

I've been listening to ELO since i was a kid, and honestly, this is not nearly my favorite album of theirs. it's their big pop album with many of their huge hits, but i just think it's a lot less interesting than a lot of their other work. it's probably also the album that introduced me to the concept of an album being too long and having too much filler. i still love it, and comparing it to the rest of this list in general, it's gotta get a 5, but if Face the Music, Eldorado, ELO 2, etc etc were on here it'd be getting a 4 just in relation to those

Some classic tracks (Turn To Stone, Mr Blue Sky, etc)... really interesting sounds, so rich and layered.

brilliant.

Just a masterpiece.

9/10…

Gonna listen more. Every song felt like an anthem. I love Jeff lynne

Loved every minute of it.

Great sound and songs.

This was a lovely start to my day. Woke up put this on made myself coffee sat on our lawn swing drank said coffee went to Costco returned our shit ass pans went to home goods got a good ass pan and then the album ended. Long but not only did I not get bored I enjoyed the whole thing. I feel like what I do during albums impacts my opinion a lot. 8.75/10

One of the easiest 5s I could ever give. The singles are so incredible and memorable and catchy it's unreal. As a record, it has a real love and reverence for all genres, leading to its massive planetary scope. Jeff Lynne is absolutely one of the greatest underrated songwriters of the last 100 years. I understand it's nowhere near as cool as the punk that surrounded it in the 70s, but if John Lennon said this is the band the Beatles would become, then I have nothing else to say. 19/08/24

Recognised the album for Mr Blue Sky, remembered it for all of the absolute gems in the rest of it. Sweet Talking Woman and Night in the City the highlights

It's trite, but the word that kept recurring for me was "orchestral". It's all here: soaring harmonies, string sections, killer walkdowns, and unexpected chords that redirect the songs to something even more interesting. It might be overwhelming if the songs weren't so tightly written and well-paced. This is a literal rock opera. I'd recommend the mid-album oddity "Jungle" for your classic album deep cut.

Originell, krestiv, mitreißend, nahezu perfekt! Seit langem ein Favorit in meinem Regal! Volle Punktzahl!

Otherworldly masterpiece. Jeff Lynne is a musical genius who is sadly so underrated and under appreciated. This whole album is a euphoric journey of sounds and textures that delight on a cellular level. Perfection. It is a long album, which I typically don't like, but it doesn't feel nearly as long as it is because every song slaps and it's such a flawlessly arranged album. Every tracks flows wonderfully into the next. This is one of the GOATs of classic rock and a staple for any collection.

I’ve always seen ELO as a really unique, standalone band. While I’m not familiar with all of their albums from front to back, I’ve heard a lot of their music over the years, and I’ve always appreciated how they have tracks that range from straightforward, pop-inspired soft rock to grand, orchestral ballads, and even some experimental, synth-driven songs. One thing that stands out to me is how ELO’s strong use of strings and orchestral elements gives them a very full, rich sound that’s incredibly colorful.

I know I’ve said this for other albums before, but this just might be one of the best albums I’ve ever heard. The music verges on prog at times with how interesting and unusual it gets, and the vocals are absolutely pristine. The harmonies are comparable with Queen - I genuinely couldn’t say who pulls it off better as the harmonies are of very similar style and both are just so pleasing to hear. In another parallel to Queen, ELO often toe the line between pop and rock to make some beautifully catchy music. I love this album.

I absolutely loved it. Braden’s in laws are onto something here. There are a lot of times where I felt like the situation I was in impacted how I felt about an album. For this album, I was sitting outside an urgent care with a sick wife and sick baby and I loved the whole album. Very familiar-seeming. I didn’t know them before, but I knew the melodies. Excited to do some digging and see all the things they’re connected to.

Very easy to listen to and cool music.

Love this double album which always seems to play shorter than its actual ~70 minutes; great songwriting, great production. And how many bands try to channel the Beatles and fail horribly. For me its an easy 5. I can certainly understand those that don't really like it. Its Prog Pop; 2 genres that can be unpopular with a lot of people. Even I can feel the sugar buzz after listening. But it works wonderfully because its unique sound and great songwriting and arrangements. But I do have another "list" complaint: why include this album and not New World Record? NWR came 1st. It solidified their unique signature sound. Their previous albums, while good, were a more raw and fragmented. NWR spawned multiple hits. It gave us the space ship. It sold 5 million copies in its 1st year. While I probably like them equally, which one was more important?

simply fantastic music