Voldar: . . 1. She 2. If I Loved You 3. So Sad 4. Mercy, Mercy 5. Running Scared 6. Bewitched, Bothered and Bewildered 7. Smile 8. At Last 9. Love Is A Many Splendored Thing 10. Let It Rock 11. Beyond The Sea 1. Mr. Blue Sky 2. Evil Woman 3. Strange Magic 4. Dont Bring Me Down 5. Turn To Stone 6. Showdown 7. Telephone Line 8. Livin Thing 9. Do Ya 10. Cant Get It Out Of My Head 11. 10538 Overture 12. The Point Of No Return

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Voldar: , . Jeff Lynne debuts at both 118 and 133. In the higher spot is his re-recordings of some of ELO's biggest hits with Mr. Blue Sky: The Very Best of the Electric Light Orchestra. At 133 is his first solo album in 22 years, Long Wave. Read more: http://www.vintagevinylnews.com/2012/10/chart-watch-america-kiss-debuts-at-3.html#ixzz29ip0LvX6 http://www.billboard.com/charts/billboard-200#/album/electric-light-orchestra/mr-blue-sky-the-very-best-of-electric-light/1687111 http://www.billboard.com/#/album/jeff-lynne/long-wave/1687238

Voldar: , , - .. . Subject: A breakthrough! Date: Mon, 15 Oct 2012 14:38:22 -0700 From: dwilliams98@comcast.net As much as I love my wife, one of my biggest sorrows is that she cannot stand ELO. (And yet we've been married 25 years...imagine that!) I have been forced "into the closet" so to speak whenever I want to listen to my favorite band. [sigh] Well, the other night we had a breakthrough! As we were sitting down to supper, I decided to put on Long Wave. She didn't say a word about the music as "She" came to an end, and when "If I Loved You" finished playing, she looked at me and said, "Is this new ELO? I really LIKE IT!" Now, I'm smart enough to know when to keep my mouth shut and so if she thinks it's ELO, that's good enough for me! It was definitely a win for our team that night!

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Voldar: . Jeff Lynne goes higher and higer, baby, with ELO Jeff Lynne hasnt released anything new under the Electric Light Orchestra banner since 2001s Zoom. Its been twice as long since he issued an album under his own name. But with the release of two new covers albums from Frontiers Records, the perpetually sunglassed uber-producer (George Harrison, Tom Petty) is making up for lost time. The first disc, Long Wave, is a collection of standards, show tunes, and movie music dating from 1940-1965. Lynnes first proper solo album in twenty years finds the ex-Traveling Wilbury bringing his decades of studio experience to bear on vintage songs popularized eons ago by Bobby Darin, Nat King Cole, Frank Sinatra, and Etta James in a way that refreshes the material instead of ravaging it. The second, Mr. Blue Sky: The Very Best of Electric Light Orchestra, finds Lynne covering himself with retreads of a dozen classic ELO tracks. While its a little disingenuous to put a Best Of stamp on a compilation full of previously unreleased versions of old songs, few will argue that selections like Do Ya, Turn to Stone, Dont Bring Me Down and Livin Thing arent among the crème of ELOs orchestra-rock crop. Named for the radio that transfixed Lynne as a kid, Long Wave (versus short wave) commences with a lilting acoustic guitar-based interpretation of Charles Aznavours She. Lynne references Elvis Costellos 1974 reading of the song, allowing the first verse to breathe before introducing drums and ornamental keys. Rodgers and Hammersteins If I Loved You continues in a similar vein, with Lynne decorating the Carousel cut with piano arpeggios and Beatle-esque orchestration. Lynne dabbles in country-folk on Don Everlys So Sad, where gentle acoustic strumming and Lynnes trademark layered harmony vocals milk every ounce of melancholy. Bright electric guitar leads reply to every verse, creating a colorful dialogue between singer and instrument. Originally peformed by Don Covay and The Goodtimes in 1964, Mercy Mercy boasts rat-a-tat backbeat and crackling lead guitar over Lynnes falsetto and handclaps. Its a fun salute to raucous, old-school rock and roll that offsets the quieter early tracks quite nicely. Lynne mimics departed Wilbury Roy Orbison on Running Scared, adopting a woozy baritone for a bolero ballad about a boyfriend frightened off by a rival suitor. Faux strings and piano add drama and depth to the track, but its the start-stop staccato chords that infuse urgencyand uncertainty. Bewitched, Bothered, and Bewildered (from the 1940 musical Pal Joey) has been covered dozens of times over the years by some of the best voices in the businessCarly Simon, Doris Day, Linda Ronstadt, Rod Stewart among thembut Lynne gives the simpering, whimpering, child again show tune a restrained, vulnerable voice whose sincerity convinces well enough. He pulls of a similar trick on Love is a Many Splendored Thing, but enlivens things with electric guitar slide and a quirky synth solo. ELO meets Charlie Chaplin on Smile, (the theme from the 1936 Little Tramp misadventure Modern Times) whose worded incarnation became a hit for Sammy Davis, Jr., Tony Bennett, and others. Lynne belts the lead vocal on Orchestra Wives standard At Last, (and he must, if hes to compete with previous recordings by chanteuses and songbirds like Celine Dion, Cyndi Lauper, and Beyonce) and damned if the orchestral valentine doesnt work. Lynne gives a nod to Chuck Berry with Let It Rock, (whose Bill Haley twelve-bar guitar boogie arrived two years after Johnny B. Goode) then closes out with balmy movie favorite (and TV commercial jingle) Beyond the Sea, wherein he employs guitars-as-horns to achieve a full, big band sound. Where Lynne takes a few chances on Long Wave, he opts for an if-it-aint-broke approach with Mr. Blue Sky, whose ELO recreations sound so much like the originals that casual listeners wont know the difference. The idea was to get them to sound better, Lynne told Rolling Stone earlier this month. Hoping to recapture (if not reclaim) some of the magic made with Bev Bevan and Richard Tandy, Lynne revisits his old bands biggest hits using todays technology and his own considerable four decades worth of experience in front ofand behindthe console. Stretching as far back as 1970 (10538 Overture, from Electric Light Orchestra) and ending in 1979 (Dont Bring Me Down, from Discovery), Lynne proves hes still got the Midas touch. Granted, ELO has always been something of a guilty pleasure for people, many of who immediately recognize Turn to Stone or Do Ya on the car radio and sing alongbut dont know its Jeff Lynne. The groups coupling of violins and cellos with arena rock drums and bass saw it unfairly lumped with the disco acts of the latter Seventies. But classic rock aficionados will tell you (as would Lynnes contemporaries) that the guy knows how to write and record irresistibly catchy pop-rock tunes, marinating the music in dense vocal harmonies, lush strings, and swirling synths. The credits for Mr. Blue Sky list Lynne as performing almost every instrument on the disc. Violins and cellos arent among these, so it stands to reason Lynne employed Marc Mann as his string-man and synthesizer surrogate this time out. Mr. Blue Sky still begins with the radio static of a weather forecast and features both the warbled vocoder speaking part and tink-tink-tink-tink percussion. Evil Woman relegates Lynnes clear, jangly guitar to the left channel and clavinet-like keys to the right. His daughter, Laura, makes her first appearance here on background vocal, ably subbing for every female backup on every ELO LP. Lynne dips into Face the Music and Out of the Blue waters with Strange Magic and Turn to Stone. The formers familiar plaintive intro guitar motif is louder and more resonant here, while the latter incorporates some nimble mini-Moog among the squeaky synth-strings. The electric guitar is much more prominent on Showdown, as is the pizzicato plucking of Manns strings, and the low rumble of cello still plays nicely again Lynnes R & B groove. Dont Bring Me Down still contains that wonderfully inexplicable Grus! refrain amid Lynnes sandwiched high harmonies. New World Record hit Telephone Line sends Lynnes heavenly harmonies wafting over billowy electric piano chords. The choir doesnt sound quite as thick or trebly as on the 77 recording, but that doo-wah-do-lang refrain has an infectious sweetness that doesnt get old. That forlorn dial tone is intact, we swear we hear allusions to The Beatles Hello, Goodbye in the outro. An Arabesque violin flourish and faux French horn (or is it trumpet?) kick off Livin Thing once again, only now Lynnes acoustic guitars are as audible and rhythm-centric as the strings. Daughter Laura chimes in with the dont cha do it, dont cha do it interlocutions, and Papa Jeffs echoey Im taking a dive! pronouncement still pans from left to right. We never cared much for Cant Get It Out of My Head, but the 1974 Eldorado cut is cloned accurately. Of greater note is Lynnes return to Do Ya, a jewel he penned with The Move but dusted off for a hit single in 1976. The guitars are huge here, triple-tracked and compressed for todays ears, and the percussion (cowbell and all) rings out uproariously as the strings reach their Never seen nothin like you crescendo. New track Point of No Return picks up right where Zoom left off and gives ELO fans who have everything something fresh to sing their teeth into. The song is textbook Lynne-as-ELO weaving George Harrison-like Gretsch guitars and pulsating bass together in a mid-tempo rocker that wouldin any other eraspend a few weeks climbing the Billboard charts. But just because a tune doesnt cause a splash in todays Gaga-Bieber market doesnt mean it isnt good. On the contrary, theres a lot to be said for obscure, independent, gotta-look-for-it music in these talent-challenged times, even when the author islike Lynnea formidable force in the industry. Its almost a shame Lynne didnt venture into ELOs output from the Eighties. Perhaps he wasnt as dissatisfied with longstanding versions of hits like Hold On Tight, Calling America and So Serious as with his earlier stuff. Still, wheres the 2012 version of the seemingly obvious gem Sweet Talkin Woman? Were convinced an update of 1975 instrumental Fire on High would go gangbusters (sans the Revolution 9 sound pastiche and back-masking). Still, this is a terrific pair of recordings. Ironically, the next time Lynne cuts a Greatest Hits disc (ELO has many) he could include his sleek, enthusiastic spins on So Sad, Smile, and Mercy Mercy. The English musician so thoroughly co-opts these (mostly) American tunes that they become his own. They fare well measured against anything in the ELO canon, and its to Lynnes credit that Long Wave effectively (re)introduces them to a younger generation. http://www.examiner.com/review/jeff-lynne-goes-higher-and-higer-baby-with-elo

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Voldar: , ? , Do Ya 10538 14-15 , . Subject: MBS: Audio problem? Date: Fri, 12 Oct 2012 05:21:19 -0700 From: "Stuart Paterson" <stpat@rogers.com> Hi guys, I've noticed what sounds like some sort of audio defect on the new Mr. Blue Sky CD... Listening to the guitar intros of "Do Ya" and "10538", I hear noise on the right channel. On "Do Ya", it sounds like rattling, on "10538" it sounds like some sort of crackling. *Maybe* the sound on "Do Ya" is deliberate (but I'd be surprised), but on 10538 it sounds like random crackling.... no way that is intentional. Has anyone else noticed this? I have 2 copies of the CD (one I bought for me, one for my mom, and it's present on both of them). Out of curiousity, I downloaded a torrent of the CD off the net to check it out (yes, I know, it's not right to do that, but I bought two copies, and this was in the name of scientific research :) and the noise was on the downloaded version too (which I'm guessing was a CD rip.) So... anyone NOT have these "oddities" on their copies? ********** Subject: Re: MBS: Audio problem? Date: Fri, 12 Oct 2012 23:28:39 -0700 From: "van Ek, Marcel" <marcel.vanek@atos.net> Stuart, yes on 10538 it's on the .14 and .15 sec mark right channel. Must say I had not noticed before. Didn't notice anything odd on Do Ya, but I'm at the office, using the laptop with less than proper headphones, so need to do the check at home. But 10538 : yes I'm afraid so. Marcel Netherlands ********** Subject: Re: MBS: Audio problem? Date: Sat, 13 Oct 2012 01:31:45 -0700 From: Guido Beijderwellen <Guido@Beijderwellen.com> Hey Stuart, I heard the same noise on my versions as well. I first thought it was digital overdub or caused by the fact that I was having my stereo to loud. But after I checked the CD's itself on another HiFi set I noticed the same and without having the CD loud. And also only in the right channel, and exactly on both songs on the intro, but also every now and then mainly when the guitars "light up"... Now I'm not the only one that is hearing it, I know I'm not getting mentally retarded or my hearing is going down the line! Should we ask Jeff to redo the songs? And when he is at it, can you also please ask him to put in the correct full ending of Mr Blue Sky ?? That would be great!! ;-))) The rest is fine, no changes required. Now I'm going to get the Japanese CD's and LP's maybe they are better????

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Voldar: . Album Review: Jeff Lynne Long Wave and Mr. Blue Sky The Very Best of Electric Light Orchestra By Sarah Grant on October 29th, 2012 in Album Reviews Every avowed Beatles fan rues and revels in the day when he or she turns 64, and Jeff Lynne is no different. The master wall-of-sounder turned 64 this year and released a double album (one of ELO hits and one of covers). He raises the question: Do we still need him? Will we still feed him? Of course we need you, Mr. Lynne. Who else can deliver a line like you took my body and played to win with such boyish charm? Rod Stewart? As the song goes: Ha, ha. Evil Woman is one of 11 beloved ELO songs that Lynne re-recorded in his studio in Los Angeles for Mr. Blue Sky The Very Best of Electric Light Orchestra. Given recording limitations of the 70s and 80s, Lynne thought the songs needed some retouching. So he went back and did all the instrumental and vocal parts himself. It will be exactly like when Beyonce re-records the Destinys Child catalogue due to certain limitations, such as all of the voices that are not hers. Whatever digital rosin Lynne is using these days seems to be working. Strange Magic, Dont Bring Me Down, and Do Ya are just a few tracks that sound faster and fresher. But the real treat on the album is the previously unreleased, Point Of No Return. Its rollicking guitar lick and ball-and-chain motif could have easily been on Tom Pettys Full Moon Fever, which Lynne helped write, produce, and accompany twenty years ago. Although original material would have been welcome, Long Wave proves that every song can be an ELO song if it really tries hard enough. Even the deeply regal At Last sounds like it could be the B-side to Mr. Blue Sky. Lynne shed some electric light on artists that inspired him as a radio-head in Manchester, England, such as the Everly Brothers and Don Covay. Surprising pre-rock songs choices include Bewitched, Bothered and Bewildered and Love Is A Many Splendoured Thing. She has a Strawberry Fields Forever softness, while Running Scared features Lynne doing an entertainingly accurate impression of the late, great Roy Orbison. 40-years into his rich musical career, its perfectly fine for Lynne to be taking stock just as long as he doesnt stop. Essential Tracks: Mercy, Mercy, Running Scared, So Sad, Point Of No Return http://consequenceofsound.net/2012/10/album-review-jeff-lynne-long-wave-and-mr-blue-sky-the-very-best-of-electric-light-orchestra/

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