Jeff Lynne's ELO - From Out Of Nowhere

Thanks for the beautifully written and very insightful review! Didn't have very high hopes for this one, but your review has me excited to hear the record.

 

I'm probably not the most impartial of critics, but I was genuinely surprised by this album's scope - I'd been told to expect something a little different and certainly evolved from the overall sound of Alone In The Universe, and Jeff certainly hasn't disappointed!

 

After reading some of these early reviews, I can't wait for November 1st!

 

In listening to the album, these DR numbers are a big reason why his releases lately don't sound organic as they should. He just crushes the dynamic range which makes it sound so compressed and a bit lifeless. No room to breathe! If he released the same album and allowed the parts to separate in space, I think some of the complaints about his sound would be helped. Granted his structure and playing wouldn't improve, but to me, this is my biggest gripe of his recent output. Its all crushed in dynamic range too much.

 

Spot on SE!
Is it me, or does the guitar sound like a crane or other bird on the solo in Songbird?

 

ELO always has a somewhat of a comnpressed style and sound.. Jeff loves it.

 

True, but recent releases and remasters have DR numbers in the single digits compared to the original tape, cd and vinyl releases before 2000.
Album list - Dynamic Range Database

See the example of FTM.

 

I think "One More Time" is pretty cool - but that's the theme of the "Phantom of the Opera" in the middle section - oops?

 

Thanks for your review of the album, ShardEnder! Nicely detailed. But "genius?" That's a pretty high standard to make. can't wait to listen to it after 1 November.

 

That's stretching the definition of "company." And that's not the implied context in the review.

Throw RT in there for 3.5 minutes on one track, but that doesn't move the needle at all. RT is the biggest reason JL can call this Jeff Lynne's ELO because RT is the only connection to the original ELO involved in this project (and like Zoom, playing on only one track). But this is still, after all, a solo album. Does the album's inner sleeve have a picture of his new band? Or at least the touring band, such as when they were at his studio? A great photo op!

I'm starting to think that on OTTB ELO had eight members - the seven in the band, plus Reinhold Mack. Mack had a significant role during the glory years of ELO, impact upon the sound.

 

I just ordered the Deluxe CD and Standard Vinyl of the new album £33 for both UK.

 

AITU was a little different. It's good that he's continuing with the different sound. As I hoped and predicted he would. I have ordered the std vinyl and Deluxe cd. I'll let you know if your review is alright, on Nov 1st

 

He was the sound engineer, JL was the boss. I was reading about The Wall, had a cast of thousands, yet R Wright, hardly played on it, by then it was mostly Waters, with Gilmour and Mason, yet it was considered an epic Pink Floyd album.

This album is JLsELO no less than any other ELO album. It's a brand name.

If this was ELO pt 2, it wouldn't be classed as ELO.

 

I am feeling this album.

 

I believe another word which would be good here is that there are certain Jeff Lynne fans who are apologists!

 

Some kind folks were able to help me give the album a listen. I’m going to barf out some thoughts on this without having read anybody else’s album review; an attempt at a first look at my thoughts uninfluenced by any other reviews.

First, some general overall thoughts, after which I'll go quickly track-by-track: I would say very, very generally speaking, the album is in line both in quality and style/scope to “Alone in the Universe.” There are some interesting deviations here and there; it’s not a carbon copy. But as I would expect (and I generally like, with a few exceptions that will be noted), the album sonically is very, very similar to AITU. One could even argue that FOON has many direct analogs to a respective AITU track. There is somewhat of a seeming formula to grouping these tracks together.

While I don’t think Jeff has had the *exact* same production sound “since Cloud Nine” as some often say, I’d say he has generally had a pretty similar sound since the Flashback/Zoom 2000/2001 timeframe. “From Out Of Nowhere” continues in that sound/style, but I would say on the mixing and mastering side, things are getting a bit more muddy to the point where it is distracting. Not to the point of seriously impacting the music. But it’s notable, and as much as people complained about the mixing/mastering of “Zoom”, I’d say that one sounded far better than FOON or AITU.

I’d say Jeff has front-loaded the album with the best tracks. The more pop/melodic stuff is at the front end of the album. The back end of the album for some reason has been filled with a number of more sort of “old timey” retro-style tracks, a lot of 50s/60s pastiches. I generally find that type of material relatively less interesting.

I’ve often said that I think “Zoom” is a pop masterpiece, while AITU felt like an album of solid “Zoom” outtakes. I’d say generally I feel similarly about FOON. Jeff is incapable of *not* being melodic and putting some great hooks in his songs. He can do it in his sleep.

Also, I’d say Jeff’s voice is still amazingly intact. This is not a McCartney situation where the voice is eroding at an exponential rate. Jeff, presumably with little and/or no use of autotune, still is singing great (both leads and vocal stacks).

A track by track (I guess I have mixed thoughts on whether this needs to be put in "Spoiler" mode, but I'll go ahead and do it for the track-by-track):

Spoiler: Spoiler - Track by Track Discussion

“From Out of Nowhere” has been discussed a great deal already; can’t add much on this one. Similar to “When I Was a Boy” in that it’s a pleasant lead-off mid-tempo track that Jeff can knock out in his sleep.

“Help Yourself” is probably one of the highlights on the album for me. Another mid-tempo melodic pop/rock song. Some good hooks and chord changes on this one, nice little guitar flourishes. This album also indicates what I feel is a very subtle shift in Jeff’s drum sound, towards a more snappy, almost electronic-ish sort of drum sound. Also, above average lyrics for Jeff on this one. This is a bit a case of this album’s version of “Dirty to the Bone”, both musically and maybe even a bit lyrically.

“All My Love” is an interesting one. It has a slight 80s synth/electronic vibe, more on the sort of “synth ballad” style. Similar to how a few AITU tracks just *slightly* touched on Jeff’s 80s sound, this one does it a tiny bit as well. Maybe just slightly reminiscent tempo/style wise to “Borderline” as well? Nice lead vocal, good vocal stacks. The track only features minimal drums/percussion.

“Down Came the Rain” is another mid-tempo pop/rock tracks that Jeff can write in his sleep. Also a bit like “Dirty to the Bone.” Familiar Jeff chord changes. Pleasant. As with much of this stuff, it all sounds similar to an amalgam of “Armchair Theatre”, “Zoom”, and AITU with a bit of other influences.

“Losing You” goes into slower tempo ballad mode. It’s got a few of those old timey George Harrison-esque chord changes and guitar parts. It’s kind of a combo of “I’m Leaving You” and “All My Life” from AITU and George’s “Never Get Over You.” These types of songs that Jeff does are nice, but they do kind of slow the pace of the album down. His breezy pop/rock songs these days are often a bit on the slower side of “Mid Tempo”, so when he slows it down even more on some tracks, it can plod a bit.

“One More Time” is this album’s version of “Ain’t It a Drag”, where Jeff ups the tempo and does an old fashioned “rock and roll” song. I suppose with the punchy 4/4 thing going on with this one, one might be tempted to say it sounds a bit like late era ELO (meaning original late era, like “Secret Messages” or “Balance of Power”). Richard’s piano solo is cool. Like “Ain’t It a Drag”, “One More Time” is pleasant and fun, but a bit slight. But it at least gives the album track styles a bit of texture and difference.

“Sci-Fi Woman” might be my least favorite on the album. It’s very much a sort of 50s Grease/Rocky Horror Picture Show (musically) sort of pastiche, with a bouncing sort of sax sound. I suppose it’s a fun slight deviation on his norm, but it screams novelty/pastiche throughout.

“Goin’ Out on Me” continues with the 50s sort of doo-wop pastiche sound. Simply put, this one sounds like Jeff put his cover of “At Last” and “In My Own Time” from Zoom in a blender. It’s fine, but I’m not personally into a ton of the ¾ time throwback stuff like this.

“Time of Our Life” is indeed a very direct, descriptive recounting of the Wembley gig. Lyrically this can’t help but sound a bit clunky and, while I don’t think he intends it, a bit self-congratulatory. It’s the sort of lyric Mike Love likes to write; singing about himself and even calling back song titles/lyrics. Musically this one, while also a bit of a retro/throwback, is interesting enough and has some nice ear-catching chord changes. The chorus goes a bit into “One Step at a Time” territory, which isn’t a bad thing.

“Songbird” ends the album on an interesting if slightly dirge-ish, slightly bluesy ballad. It’s an interesting *just slightly* alternative texture to hear from Jeff, but it's kind of like a less melodic, less interesting version of “A Long Time Gone” from “Zoom.” A bit of a weird way to end the album.

Overall, it’s on par with what I expected. Jeff sounds good, and I’m glad he’s still making albums. As I mentioned, this isn’t a McCartney situation where you (in my opinion of course) have to strain some muscles trying to wring out some positive things to say. This is Jeff doing what he does. Melodic pop. It’s a bit same-ey and seems a bit low energy/low effort, and I do think adding 2 to 4 tracks to this album would have helped. It’s brevity alongside the very similar, somewhat homogenous style doesn’t do it a ton of favors. More tracks might have helped that at least a bit.

I’ll undoubtedly have more to say as we continue to discuss.

 

The title track 1. is a throwback to the late sixties, early seventies, in style.

 

Jeff vocals are stellar throughout. Touring has been good for him.
His vocals on the last track makes me think of Telephone Line's vocals.
I feel he's caught a second wind and feels mighty good where he's at.

 

Pretty much everything thing Jeff Lynne has ever recorded is a 60s/70s throwback.. Just sayin

 

I think Jeff's music has been devoid of any contemporary/modern influences for many decades now. Which is preferable I think. That's not to say getting out of one's comfort zone can't help from time to time. But the fact that Jeff is following his own muse rather than trying to match what's hot now is generally to the benefit of his music.

In his modern music, I think the cutoff for any discernible era sort of sound is his occasionally dabbling in 80s sounds.

 

Picking up the deluxe vinyl version next Thursday, I sure hope the sound quality is good. I'm sure the music will be, at least I'm hoping so. Has anyone heard the vinyl yet?

 

I think it has been established for a couple of decades now that Jeff Lynne = ELO and vice versa. Maybe not in the minds of some fans. But obviously legally, but more importantly just in terms of logistics. Jeff is using the ELO name both because it sells more, and probably because he feels his writing and leadership were always the driving force behind the band.

The fact that he would release two albums at the same time (back in 2012), one under his solo name and one under the ELO name, both with the same musician "lineup" more or less, would indicate he sees it as interchangeable. I tend to look at it less like Jeff is absconding with the ELO name now, and more like he could have easily just called all those old ELO albums "Jeff Lynne" albums (I think he even said that in an interview years ago).

I dig all the guys that played with Jeff, and I do think Jeff hasn't been exactly generous with even discussing those members, let alone praising their work. But the info is all there. He thanked all the members (even Kelly Groucutt) in the 2000 "Flashback" set. He doesn't hide who's on those albums.

I think that review referring to Jeff "and company" was just using the term generically, maybe because he puts the music out under a group name.

 

Just read the 'Jeff speaks' in MOJO not much but interesting.

 

I subscribe to the belief that a band belongs to person X if that person meets BOTH of the following criteria:
A) they write the vast majority of songs
B) they are the lead singer

The other members have had a great influence on ELO, but saying “Jeff Lynne isn’t ELO” is a little ridiculous. He wrote virtually every song on their biggest albums. I have no problem with Jeff using the ELO name for however he sees fit.