Electric Light Orchestra
The Gold Collection

THE REVIEW

Interesting collection released in 1996 that effectively revisits the band's first glorious period (1971-1973).

Jeff Lynne, Ron Wood, and Bev Bevan, having gained notoriety with the intelligent beat of the Move, venture into an even more cultured genre. Namely, that early Seventies urge to offer rock, folk, and hints of classical music. They propose a titanic sound, at times even grim and dark, thanks to that fantastic use of the cello, French horn, oboe, and clarinet.

Before the disco music shift of 1975 with "Face The Music," always characterized by exquisite and high-level stylings ("Evil Woman," "Sweet Talking Woman," "Can't Get It Out Of My Head," and "Telephone Line"... not the Bee Gees of "Night Fever"...), they debut with the extravagance of the first three works.

The first, certainly the most beautiful and complete, does not allow the band to be compared with anyone else.

They are neither Gentle Giant, nor Procol Harum, nor even the most intrinsic Moody Blues. It's a true dancing orchestra on resounding, dizzying melodies that always aim for a direct impact on the ear without distracting it with a thousand flourishes.

"10538 Overture" is their unmatched masterpiece. Not even the subsequent hits or "Eldorado," the last progressive trace, will manage to have such a fresh idea. A historic initial riff, a goosebump-inducing attack, and the rest of the composition that is a continuous up and down. A melody sculpted by the thundering French horn and a rhythmic fabric filled with violin and cello airs. Even John Lennon was particularly enthusiastic and impressed by the ELO...

"Mr. Radio" is the other gem of the first work. We are increasingly amazed by the flash the band got from the Beatles (which was already evident with the Move...) and their ability to re-propose in their personal style the various English Sixties baroqueness. The picturesque theatricality of the classical instruments and the fresh catchiness of the vocal lines create a magical effect.

Purely symphonic are "Manhattan Rumble" and "In Old England Town." The first is instrumental and creates a dark, mysterious suspension, the second is an "orchestral boogie," colossal in its progression and enhanced by Lynne's filtered voice (part of the second album where Wood was already absent). Then we find a bit of rock'n'roll with the famous revisitation of "Roll Over Beethoven," transformed by lavish inserts, and with "My Woman" (the first version of "Ma Ma Belle").

The dark "Queen Of The House" is an example of Jeff's dreamy and soft voice always in perfect harmony with the powerful rhythmic fabric. "Showdown" offers a timid beginning of the band's subsequent journeys. Funky bass, excellent choirs... in short, a seductive high "pop" design fused with cultured baroque elements. Nothing more elegant.

"First Movement" bears Wood's signature and is another instrumental that gives voice to classical guitars and joyful dances. The same author who produces "Whisper In The Night," endowed with heartbreaking sadness, almost a hymn to the moon. "Momma" is placed as the last track of the "Gold Collection" and we find the first saccharine sonic caresses of the combo.

The first period, for those who disdain or underestimate "Last Train To London," is absolutely worth considering, thus doing justice to a band that had much more to say compared to Supertramp.