Day 0373 - Out of the Blue

Electric Light Orchestra "Out of the Blue" (1977)

Jeff Lynne once made the daring declaration that ELO would pick up where the Beatles left off but still presenting it on stage rather than being a studio-bound unit.

I was quite surprised to see that this was actually the 7th album by the band, they're a tad more prolific than I'd thought.  They're even prolific within the album itself, it's a double LP, over 70 minutes long and includes a 3-part 12+ minute 'concerto' that took up much of one of the sides.

This album sounds like the work of someone who could easily have 3 or 4 different bands on the go to explore all of his musical ideas, but I find it enjoyable to have the mix of elements such as rock, prog, classical, pop and even hints of disco all fighting for space on one album. I've always liked what I've heard from ELO. This album in particular sounds to me, almost like a meshing of the Beatles and 80s era Queen, among other things.

Day 0196 - All Things Must Pass

George Harrison "All Things Must Pass" (1970) - got it

 
George Harrison must have had the worst case of musical blue balls working under Lennon/McCartney, because he shot forth a triple album!

I was always a fan of George's Beatles songs, and similarly his solo work doesn't disappoint.  Even across 3 LPs there is pleasingly little (to my ears) that seems like filler, with a range of sounds being explored, all with the help of Clapton and his 'Derek and the Dominoes' band.  The album also features Billy Preston, the Organ maestro from the Let it Be/Get Back sessions.

Day 0060 - Revolver

The Beatles "Revolver" (1966) - got it

According to the 1001 Albums book, this album had working titles including "Abracadabra" "Magic Circles" (sounds like an indie band name) and "Beatles on Safari".  All in all, I think they made the right choice with "Revolver".

I find it funny that Rubber Soul and Revolver are so often grouped together; in some ways the two albums are polar opposites. where RS has a kind of diverse uniformity to it (yes I know it's an oxymoron, but then that's the nature of the Beatles) Revolver is all over the place.

There's the brassy Motown of "Got to get you into my life", the 'George-4-India-4-eva' vibe of "Love you to", and, though John is generally my favourite songwriter in the band, I have to admit that Paul's beautiful pop of "For no one" and "Here, there and everywhere" gives him a run for his money.  John counters with 'Dr Robert', 'I'm only sleeping' (a personal favourite of mine) and 'Tomorrow never knows', which the 1001 albums book jokes, with its sound collage approach and eastern flavour has pretty much been the basis for the Chemical Brothers' entire career.