On The Third Day - ELO

...in 1974, was the first on which leader Jeff Lynne successfully honed his songwriting and arranging skills down to shorter, more commercial numbers. The first two had been far more experimental, one being a collection of nine separate tracks (almost separate projects) split between Jeff and original co-leader Roy Wood, and one a set of five pretty lengthy pieces.

This was closer to the mark. Although Jeff hadn't yet mastered the knack ...
...a vague concept theme. On the third day, we are told, the land and seas were formed, and some of the song titles reinforce this idea, especially as they segue into each other. The opening instrumental, "Ocean Breakup", which leads into the first song "King Of The Universe", has an interesting grandeur that sets the tone for what follows. Pomp rock? If you like, but at least both are fairly short and compact, never threatening ... more

ELO's third album, released early in 1974, was the first on which leader Jeff Lynne successfully honed his songwriting and arranging skills down to shorter, more commercial numbers. The first two had been far more experimental, one being a collection of nine separate tracks (almost separate projects) split between Jeff and original co-leader Roy Wood, and one a set of five pretty lengthy pieces.

This was closer to the mark. Although Jeff hadn't yet mastered the knack of writing commercial songs that were potential hit singles in his sleep, here he came up with a more cohesive programme of songs and instrumentals, with a better, less self-indulgent balance between the main instruments of violin, cellos and synth.

The record has a vague concept theme. On the third day, we are told, the land and seas were formed, and some of the song titles reinforce this idea, especially as they segue into each other. The opening instrumental, "Ocean Breakup", which leads into the first song "King Of The Universe", has an interesting grandeur that sets the tone for what follows. Pomp rock? If you like, but at least both are fairly short and compact, never threatening to turn into tedious 20-minute mock symphonies.

Proceedings get weighed down a little by the next two rather mournful numbers, "Oh No Not Susan" and the even more doomy "Bluebird Is Dead". But fear not, everything picks up in style after that with the two best tracks, which opened side 2 of the original vinyl LP. Another instrumental, "Daybreaker", is an exhilarating cello and synth-driven rollercoaster of a piece which brings to mind such varied tunes as "Fanfare For The Common Man" and the Love Affair's "Everlasting Love". This segues into one of the most forceful rockers ELO ever recorded in their entire career, the Top 30 hit "Ma a Ma Belle". If you don't remember it, imagine the Stones' "Brown Sugar" with sawing cellos instead of sax reinforcing the slashing guitar chords, and suitably Jaggeresque lyrics to match.

The album ends with a number often used as the stage encore, a splendidly over-the-top rearrangement of the finale from Grieg's "Hall of The Mountain King". It does seem a little naive, though, to see the composer credited on the record as 'Trad - arr. ELO'. As Jeremy Paxman might have said, "Oh, come on!"

I'd certainly recommend this to anybody who likes the idea of a bit of classics and rock fusion. If you only discovered ELO through their more commercial later work when they became 'Top Of The Pops' regulars, this is a very good introduction to their earlier period.
 

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