All over the World: The Very Best of Electric Light Orchestra

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I'd forgotten that the only album on which I have versions of "All over the World," "Xanadu," and "Alright" is All over the World: The Very Best of Electric Light Orchestra (incidentally, it was also the first ELO album I owned), so I listened to that to-day in order to start transcriptions of those three and work on my transcriptions of the other songs.  Also, I noticed some things:

"Don't Bring Me Down"

There's alliteration in the line "You wanna stay out with your fancy friends," which I think is there as an almost pretentious use of a poetic effect.  Like, the effect is there just to look fancy, just like the friends it describes.

An-other verse begins with

You're always talkin' 'bout your crazy nights
One of these days you're gonna get it right

Because one line has "nights" and the other has "days," I think the sentiment here is a bit sarcastic.

"The Diary of Horace Wimp"

The line break between

And if he was late once more
He'd be out

seems rather important.  There's almost a whole measure of rest in the vocal part, which, in a way, emphasizes the delay that's mentioned in the line itself.

"Confusion"

The "lean" in each stand-alone "To lean on" after "You feel there's no one there for you to lean on" has a melisma; it's more than the usual one syllable it would be were it just spoken, so there's an unstable feeling, like leaning itself.

"Alright"

At the end of the lines "And as you speak, everything that you say / Goes out on the big transmitter," some effect is applied to the vocal.  It's something like an echo.  In any case, it provides a sense of the projection from the "transmitter."

"Strange Magic"

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This is the last of the four parts that I learned a few days ago.  It's the opening guitar part for "Strange Magic."

"Little Town Flirt"

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A few days ago, I learned the chords for the verses of "Little Town Flirt" (a Del Shannon cover included as a bonus track on Discovery).  Before I recorded it this afternoon, I discovered that I'd been missing a chord, and then I figured out the bridge, so I have the whole thing now.  It's probably not that interesting to listen to, but I'm pretty sure it's accurate.

The chords in this are really interesting.  They start out as the normal 1950s chords, but then there are some weird modulations.  I thought a particular one was interesting:  The song is in C major, but halfway through the verses, there's an E major (with a G# accidental).  The lyric for that part is "Yeah, I know she's gonna treat you wrong," which that accidental note seems to help convey.

"Secret Lives"

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I learned the chords for (I think) all of "Secret Lives," but they're not played like this in the final version on Balance of Power.  During the verses, it's more like they're just implied.  So what I've recorded is actually closer to the alternate take that's included as a bonus track.

I don't think I know enough of the song to be sure, but it seems like the verses are in A major but the choruses are in D major.

"Destination Unknown"

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I'd been waiting to start really learning parts until after I'd gone through and written notes about all of the albums, and after doing that for Balance of Power last night, I learned parts of four different songs.

Just by listening to "Destination Unknown" (it was a B-side of a single [although the liner notes don't say what the A-side was] and is included as a bonus track on the Balance of Power re-issue), I could tell that - in the verses at least - it's a three-chord song that uses major 6ths.  In that regard, it actually resembles 1950s rock and roll.  I think a few Buddy Holly and Chuck Berry songs are like that ("Johnny B. Goode" certainly is).

Because it's in C major, the chords are pretty high up the neck, and I'm not that good at playing that sort of major/major 6th thing up there.  Even excepting that, it's not the most interesting thing to listen to.  It's just the chords for the verses.  It's a start though.

Balance of Power

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Initial notes on Balance of Power:

"Getting to the Point"

I'm not sure if this is intentional or not, but the line "Spinnin' softly through the blue now" bears some resemblance to "You're sailing softly through the sun" in "Strange Magic."  Also, there's a "blue" again.

The "long" in "Forever / Is a long way" is sung as a whole note.  There are four beats of "long," so the length of time in the music emphasizes the length of time in the lyric.

"Is It Alright"

I'm not sure if it's the Beatles' influence specifically, but like "P.S. I Love You" and part of "When I'm Sixty-Four," "Is It Alright" is an epistolary song.  "Dear Joe / Just thought I'd write and let you know" clearly indicates that this is a letter.  There are other epistolary songs, but I think the Beatles' "P.S. I Love You" is one of the most famous, and considering the Beatles' influence on other ELO songs, it's likely that - were this inspired by an-other epistolary song - it was that one.

"Sorrow about to Fall"

The second syllable of "ground" in "Moved to higher ground" is a higher pitch than the first (I think there's actually a glissando there), so the musical change in pitch reflects the moving itself.

The "fall" in the last "Yeah, there's a sorrow about to fall" (and possibly some others) has two syllables instead of the usual one, and - like the "ground" in "Moved to higher ground" but in reverse - the second syllable is a lower pitch than the first, so the word is falling, pitch-wise.

"Calling America"

There's some resemblance between this and "Telephone Line" from A New World Record.  Both are about a telephone call and a specifically American one at that.  "Calling America" has "America" in the title and lyrics, and the ringing telephone at the beginning of "Telephone Line" is American rather than British.  In the liner notes for the re-issue of A New World Record, Jeff Lynne explains how they called a number in the United States so that Richard Tandy could copy the ringing on the Moog.

There's also some similarity between this and Chuck Berry's "Memphis."  Like "Calling America" ("Information, I'm still here"), "Memphis" is directed to the information service ("Help me, information…").  There's also a similarity of opposites in a way.  In "Memphis," the number isn't known ("She could not leave her number"), but in "Calling America," it is ("She left a number for me").  Berry's an acknowledged influence on ELO (they covered his "Roll over Beethoven" and named him in "Rockaria!"), so I don't think it's too far-fetched to think that "Memphis" might have had some influence on "Calling America."

Also, there's an-other "blue" in "Pretty soon she really got the notion / Of flying out across the big, blue ocean."

"Endless Lies"

I mentioned this when I wrote my initial notes on Secret Messages (since the re-issue includes an earlier version of "Endless Lies" as a bonus track), but the "Bye bye, pretty woman" at the beginning is almost certainly a reference to Roy Orbison's "Oh, Pretty Woman."

"Send It"

The "everyday" in the line "I'm waitin' for it everyday" has a Buddy Holly-esque hiccuping.  The same sort of thing is on "On the Run" on Discovery, but I'm slightly more convinced on Holly's influence here because "Everyday" is also the title of one of his songs.

Both "Send It" and "Sorrow about to Fall" mention wires as a method of communication.  "Send It" has "Send it on the wires," and "Sorrow about to Fall" has "There's a new sound in the wires."

-Bonus Tracks-
"Caught in a Trap"

One of the lines is "Sometimes you gotta know when to run for cover," which I think might be a reference to ELO's version of "Roll over Beethoven."  Lynne got the words wrong (as he mentions himself in the liner notes for the ELO II re-issue) and sang "go for cover" instead of "try for further."

Secret Messages

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Secret Messages came up in my cycle of albums to listen to, so I finally got around to starting my transcriptions and putting together some initial notes on the album.  Mostly, they're just possible Beatle references.

"Secret Messages"

Jeff Lynne uses "blue" again in the line "And now they call, they sing, they play, they dance for you from out of the blue."  There's even an additional reference here because the phrase "out of the blue" is also the title of an earlier ELO album.

I'm not sure if it's really a reference, but some of the lines are reminiscent of those in the Beatles' "Across the Universe."  They're long and flowing, like "Where words cascade like rainbows tumbling from the sky."  (Compare "Words are flowing out like endless rain into a paper cup" from "Across the Universe.")

"Letter from Spain"

The first verse has some similarities to the Beatles' "A Day in the Life."  The first two lines are "I read the papers this morning / I saw your photograph."  "A Day in the Life" starts with "I read the news today, oh boy," and later there's the line "I saw the photograph."  The situations are different, but there's a lyrical similarity.

"Train of Gold"

This one also starts with what seem to be Beatles references: "I saw her there from across the street / She was dressed in black."  Specifically, there's "I Saw Her Standing There" (with the distance mentioned in "When I crossed that room" in the bridge) and "Baby's in Black."

"Looked through her window, saw a velvet sky" is actually the second "velvet sky" on the album.  "Time after Time" has the lines "The beauty of the earth from way up high / Shines like a jewel upon the velvet sky."

"Rock 'n' Roll Is King"

It's pretty obvious, but the line "She rolled over Beethoven, and she gave Tchaikovsky back" is a nod to "Roll over Beethoven, tell Tchaikovsky the news" from Chuck Berry's "Roll over Beethoven," which ELO covered on ELO II.

-Bonus Tracks-
"No Way Out"

In the lyrics, there's the phrase "Run, don't walk," which is an inversion of the title "Walk, Don't Run," a fairly well-known song by the Ventures.  I'm not sure if it's intended to reference it, but it seems too coincidental otherwise.

"Endless Lies"

It's in the version on Balance of Power too, but the "Bye bye, pretty woman" that starts the song is almost certainly a reference to Roy Orbison's "Oh, Pretty Woman."  In the re-issue liner notes, Lynne says he was "having a go at a Roy Orbison type tune."  Musically, that's pretty clear, but that lyrical reference figures into the pastiche too.

—

I also noticed the phrase "standin' there" in two different songs.  Initially, I was sort of skeptical of this, but it does seem to make an appearance in quite a few ELO songs.  On Secret Messages, it's in "Stranger" ("And I saw you standin' there / Standin' there") and "Danger Ahead" ("Look through a window, and you'll see her standin' there").

—

I also have a non-musical note about this album.  One of the figures on the front cover is Titian's Venus of Urbino:

On the album cover, she's been flipped horizontally.

"The Way Life's Meant to Be"

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When I listened to Time on Wednesday, I thought the bass part from "The Way Life's Meant to Be" sounded like it would be pretty easy to figure out, so I spent some time yester-day doing that.  And then I figured out the guitar chords too.  It's actually pretty easy to play; it's almost a three-chord song, and the bass part is usually just the root note of whatever chord is on top of it.  Some phrases in the vocals are basically just descending diatonic phrases too.

I think the original is with twelve-string acoustic guitars, but I don't have a twelve-string acoustic guitar, so I just used my six-string.  It's not the best recording because I'm still not very good at equalization.  Also, I'm a bit unsure of the chords at the end of the first and third lines in the bridge.  This isn't the whole song because - since I know so little of it - that would be boring (although it's not very interesting as it is).

In learning how to play this I discovered that there's a slight difference between the chords for the verses and the chords for the solo.  During the verses, there are two bars of Eb major, but during the solo, there's only one.

Time

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I started working on this post at the end of August, but I was having trouble with transcribing the lyrics (typing so fast made my hands hurt), and then I started a listening schedule of the albums in my cover projects in which get around to ELO only every six weeks.  I am going to try to write initial posts on Secret Messages and Balance of Power before the year is over though.

Anyway, things about Time.

"Twilight"

There's some really great parallelism combined with alliteration in the first line of the second verse: "Am I awake or do I dream."

"Yours Truly, 2095"

There's some more parallelism here, in the first verse:

I sent a message to another time
But as the days unwind
This I just can't believe
I sent a note across another plane
Maybe it's all a game
But this I just can't conceive

Later, there's the line "But she has a heart of stone."  There are earlier hearts of stone in "Showdown" and "Turn to Stone."

"Ticket to the Moon"

I've noted this before, but it seems like there are a lot of characters in ELO songs who just stand there.  "Ticket to the Moon" has an-other one.  I don't have all of the words (I think I'm missing "would," but I'm not sure), but it's:

Wondering sadly if the ways that led me here
[Would?] turn around and I would see you there
Standing there

"The Way Life's Meant to Be"

I might be making too much of this, but there's more standing:  "And here I stand in the strangest land' and "Although it's only a day since I was taken away / And left standing here looking in wonder."

"Rain Is Falling"

Jeff Lynne uses blue again in the first line: "the sky was very blue."

Also, more standing: "Standing on an island."

I'm not sure what to call it exactly, but there's an interesting poetic feature in the line "But with all their great inventions, and all their good intentions, here I stay."  There's a close resemblance between "all their great inventions" and "all their good intentions."

Sort of hidden in the background, there's the line "The old man is snoring" (and possibly others) from "It's Raining, It's Pouring."

"Here Is the News"

In the last verse, the news is that "Somebody has broken out of Satellite Two."  Satellite Two is also mentioned in "Ticket to the Moon" - "Flight leaves here today from Satellite Two."  I'm not sure if the songs are meant to be connected though - that the singer/speaker of "Ticket to the Moon" is the one whose break out is mentioned in "Here Is the News."

"21st Century Man"

All but one of the verses here start with parallel lines.  There's "A penny in your pocket / Suitcase in your hand," "Fly across the city / Rise above the land," "One day you're a hero / Next day you're a clown," and "You should be so happy / You should be so glad."  But then it changes for the last verse: "Things ain't how you thought they were / Nothing have you planned."  The beginnings of the verses all have a clear structure until it gets to that last one, which explains how things didn't work out.

Also, there's a great rhyme ("wheels of tomorrow" / "fields of sorrow") in "Though you ride on the wheels of tomorrow / You still wander the fields of your sorrow."

—Bonus Tracks—
"When Time Stood Still"

At the end of one of the verses, there's the line "Such a lonely world," which is almost identical to the line "It's such a lonely world" from the end of each verse in "Latitude 88 North" - a bonus track on Out of the Blue.  However, in the liner notes to Out of the Blue, Lynne says that he added the "It's like" to "Latitude 88 North" "20 years later," which would make it about 1997, so the "such a lonely world" in "When Time Stood Still" might actually be older.  I'm not sure if he changed the other "Latitude 88 North" lyrics when he added the "It's like."

Near the end, there's the line "No submarines, no plastic flowers," which I think is a reference to the Beatles, specifically "Yellow Submarine" and the line "Cellophane flowers of yellow and green" from "Lucy in the Sky with Diamonds."

There seems to be a connection between this and "The Way Life's Meant to Be," since both mention "plastic flowers" and either "ivory halls" (in "When Time Stood Still") or "ivory towers" (in "The Way Life's Meant To Be").

"Julie Don't Live Here"

The first two verses start very similarly: "I wandered through the town" and "I walked along the street."  If the lines were any closer, I'd say it's parallel structure.

One of the verses seems particularly indebted to the Beatles:

I walked up to your door
Last night I saw your face in the window
But it was different now
The lonely light where we used to meet was gone

Walking up to the door, seeing someone through the window, and a light are all elements in the first verse of the Beatles' "No Reply" from Beatles for Sale:

This happened once before
When I came to your door
No reply
They said it wasn't you
But I saw you peep through
Your window
I saw the light
I saw the light
I know that you saw me
'Cause I looked up to see
Your face

There's quite a bit of time between these songs and the Beatles' songs, but - like I've mentioned before - because of the "pick up where 'I Am the Walrus' left off" quote, I'm more disposed to consider those connections.

Discovery

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I listened to Discovery twice before writing this post, but I still don't have much to say about it.

"The Diary of Horace Wimp"

Like I've mentioned before, I'm more likely to see Beatles references in ELO songs because of the "pick up where 'I Am the Walrus' left off" quote, even if those references are actually just coincidences.  The list of days in "The Diary of Horace Wimp" might take something from the Beatles' "Lady Madonna" and possibly even Fats Domino's "Blue Monday," which seems to have inspired "Lady Madonna" (and has blue in the title!).

All three songs have a list of days.  "Blue Monday" has the weekdays and Sunday in the verses, and Saturday is in the bridge.  "Lady Madonna" has all of the days in the verses, although it omits Saturday.

"The Diary of Horace Wimp" goes a bit further and has a verse for each day (preceded by the name of the day through a vocoder).  Like "Lady Madonna," Saturday is omitted, probably because it's a syllable longer than the other days of the week, so it would present complications for the choral part at the end ("Monday, Tuesday, Wednesday…").

"Midnight Blue"

An-other (very obvious) instance of Jeff Lynne's use of blue.  Also, the line "But what's the difference 'cause they say, 'What's in a name?'" seems to be a reference to Shakespeare's Romeo and Juliet.  In any case, it's a quote of Juliet's lines: "What's in a name?  That which we call a rose / By any other word would smell as sweet" (II.ii.43-44).

"On the Run"

At the very end, there are Buddy Holly-like hiccups on the words "around" and "away" ("Woman, I gotta move around / Woman, I gotta get away…").  I'm not certain if Holly was the inspiration here, but that is characteristic of his music.

"Don't Bring Me Down"

During the sections where the only line is "Don't bring me down" (I guess they're choruses?), each of the "down"s is broken into syllables via melismas, and the syllables have a downward trend as far as pitch goes.  So the "down"s are literally going down.

—

I also noticed a few things that appear in multiple songs.

I might be making too much of this, but the "standin' (in/at)" that I noted in the Out of the Blue songs makes an appearance here too.  "Last Train to London" has "You were standin' there," and "Midnight Blue" has "I see you standin' there."

"Under(neath) the starry sky" is present in both "Confusion" and "Last Train to London."

"Darling" is a word that seems to be used a lot on the album too.  It's in "Shine a Little Love" and "Confusion" once each, and it starts each of the verses in "Wishing."

Out of the Blue

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Initial notes on Out of the Blue:

"Turn to Stone"

I've mentioned this before, but the phrase "turn to stone" is also present in "Showdown" - "Now my heart has turned to stone again."

There's also an instance of blue:  "In my blue world."

"Night in the City"

The guitar part that begins this song is nearly identical to the one that begins "Poker" from Face the Music.  The one in "Night in the City" is just raised by a fourth.

Two of the verses start with "Standin' at...," which reappears in "Jungle" ("I was standin' in the jungle…") and "Standin' in the Rain."  There’s also "I see you standin' there" in "Big Wheels," but that seems different.

"Jungle"

Near the beginning, there's a Tarzan-like call to help in establishing the scene.

Toward the end, there's an alarm clock, which might have something to do with the Beatles' "A Day in the Life," which also features the sound of an alarm clock.

"Mr. Blue Sky"

After the line "Runnin' down the avenue," there's some panting, which also seems to be in debt to "A Day in the Life," in which there's panting after the line "I noticed I was late."  There are four pants in each.

In that same verse in "Mr. Blue Sky," there are the lines "See how the sun shines brightly / In the city / On the streets where once was pity," which is a reference to some similar lines in "Night in the City" earlier on the album: "Night in the city / Madness and pity."

And, of course, there's the obvious mention of blue.

"Birmingham Blues"

Years ago, I noticed that some of the violin parts quote a phrase from George Gershwin's Rhapsody in Blue (which - along with the "blues" in the title and lyrics - is an-other inclusion of the color).  However, I don't think they're in the same key here.  I listened to a recording I have of the Royal Philharmonic Orchestra performing Rhapsody in Blue, and while the phrases in "Birmingham Blues" start on B notes, those that I found in the Rhapsody (which aren't even on violin) start on D#s.

—

The last few times I've listened to this album, I always felt that some of the songs use similar musical phrases, chord progressions, or other elements that help tie the songs together, but until I start learning the parts, I can't point to anything specific.

A New World Record

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I've been neglecting this again, but here are my initial notes on A New World Record.

"Telephone Line"

There's the line "Blue days, black nights," which is the title of a Buddy Holly song (although not one that he wrote).  I don't think I've really seen anything where ELO mentions Buddy Holly, but Jeff Lynne contributed a cover of "Words of Love" to a Buddy Holly tribute album, so I think there's something to the "blue days, black nights."

Of course, that phrase is also an-other way that Lynne can include the color blue.

"Rockaria!"

I've already written about the Beethoven reference.  There are also a few more references to 1950s songs, if my conjecture is correct.  The "Knocked me right back in the alley" from the first verse isn't too dissimilar from Little Richard's "Well, I saw Uncle John with bald head Sally / He saw Aunt Mary comin', and he ducked back in the alley" from "Long Tall Sally."  Additionally, "Rockaria!" has sections where the vocal melody has only one note, which is an-other feature of "Long Tall Sally."

The various "ready" sections (like the first verse's "Yeah, yeah, yeah, I'm a-ready / Whoa, whoa, whoa, I'm ready") seem to have some connection to "Ready Teddy," which was recorded by both Little Richard (whose version was apparently first) and Buddy Holly.

"Mission (A World Record)"

It's a minor point, but this also includes blue: "The planet Earth from way up there / Is beautiful and blue."

"So Fine"

I've mentioned this before too, but both "So Fine" and "Do Ya" contain the phrase "midnight sun" (as does "Whisper in the Night" from No Answer).

"Livin' Thing"

Because the G isn't included in "Livin'," I'm not sure how to spell one other section of the lyrics.  If it follows what "Livin'" establishes and also drops the G, it's "It's a givin' thing," but it could also just be a different verb form: "It's a given thing."

The phrase "rolling and riding and slipping and sliding" in the first verse - while exhibiting some interesting parallel alliteration and internal rhyme - also seems to be a Little Richard reference, specifically to his "Slippin' and Slidin'."

"Shangri-La"

There's an-other use of blue in the lines "She seemed to drift out on the rain / That came in somewhere softly from the blue."

The more interesting thing about this is the very obvious Beatle reference:  "My Shangri-La has gone away / Faded like the Beatles on 'Hey Jude.'"  While I've noticed a lot of possible Beatle references, I've been cautious about asserting them.  There's no denying this one though.

Face the Music

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Initial notes on Face the Music:

"Fire on High"

It's pretty obvious, but I'll mention it anyway: the Hallelujah chorus from Handel's Messiah is one of the sounds mixed into the track.

"Evil Woman"

The second verse starts with "There's a hole in my head where the rain comes in," which seems to be a reference to the Beatles' "Fixing a Hole" from Sgt. Pepper, specifically the first verse:

I'm fixing a hole where the rain gets in
And stops my mind from wandering
Where it will go

"Fixing a Hole" doesn't specifically say that the hole is in the speaker/singer's head, but mentioning "my mind" seems to imply it.  I think the lines are too similar for this to be just a coincidence.  Both have "a hole" in the head "where the rain comes/gets in."

"Nightrider"

There’s a bit of parallelism between the first and second verses.  The first starts with "I remember…," and the second begins with "I recall…."  The full line is "I recall the situation clear," which exhibits a flat adverb ("clear" instead of "clearly").  I don't think this is for purposes of rhyme though, so maybe it's just because the full adverb would have been one syllable too many.

"Down Home Town"

The second verse starts with the line "The monkey business in this town," which might be a reference to Chuck Berry's "Too Much Monkey Business."  Even though that phrase is pretty common, ELO covered Berry's "Roll over Beethoven" and they mention him by name in "Rockaria!" so I have some confidence in that reference.

In the last "But it's no, no, no" section, the second "No, no, no" is preceded by "She loves you" in the backing vocals (which then also sing the "No, no, no" along with the lead vocals), so it's the opposite of the Beatles' "She loves you, yeah, yeah, yeah" from "She Loves You."  The lyrics and the musical phrases to which they're both set are so similar (even using the same notes that the Beatles did! - D, E, G, G, F#, E) that I don't think this is just a coincidence.  It's clearly an homage of sorts.

"One Summer Dream"

This contains one of Jeff Lynne's many uses of the word blue:  "Blue mountains high."

Before I transcribed the lyrics (although my transcription is still incomplete and probably inaccurate in places), I hadn't noticed that the first lines of the first and third verses later combine into a new free-standing couplet.  "Deep waters flow out to the sea" starts the first verse, and "Oh, summer breeze flows endlessly" starts the third.  Later, they re-form into: "Deep waters flow out to the sea / Warm summer breeze flows endlessly."

The verses also contain the three states of matter (discounting plasma).  There's liquid in "Deep waters," solid (land) in "Blue mountains high," and air in "Warm summer breeze."

Eldorado

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I finally got around to listening to Eldorado and writing up more detailed versions of my past notes.  I also found some new things.

"Boy Blue"

I'm having a lot of trouble understanding the lyrics to the early ELO songs (so my transcriptions are all over the place in terms of accuracy and completeness), but I think one of the lines in "Boy Blue" is "I've seen bald nights," which is probably a reference to Mussorgsky's Night on Bald Mountain.  I listened to Night on Bald Mountain immediately after Eldorado, and while there do seem to be similarities in mood, I didn't find anything specific that links them.

"Poorboy (the Greenwood)"

This mentions "sweet Maid Marian" who comes from the Robin Hood stories, so there's a connection between this song and the earlier "Can't Get It out of My Head," specifically the line "Robin Hood and William Tell and Ivanhoe and Lancelot."  (Incidentally, Raleigh's Ivanhoe and Malory's Le Morte d'Arthur are both on my to-read list, so once I get around to those, maybe I'll understand those allusions better.  I read Howard Pyle's The Merry Adventures of Robin Hood last summer, so that could stand re-reading at some point too.)

"Mister Kingdom"

This contains the line "Go to sleep, perchance to dream," which is a reference to and quote of Shakespeare's Hamlet - "To sleep - perchance to dream: ay, there's the rub!" (III.i.73).

"Nobody's Child"

"Nobody's Child" exhibits anaphora:  every line in the verses starts with the vocative "Painted lady."  There's also some alliteration in the line "Painted lady, don't you do these dirty deeds."

"Eldorado"

There's a recurring section that goes something like:

And I will stay
I'll not be back
Eldorado
I will be free, yeah
Of the world
Eldorado

The last one of these, however, breaks off halfway through, so that it's just "And I will stay / I'll not be back / Eldorado."  That last section is left incomplete, as if the speaker/singer indeed hasn't come back.

"Eldorado Finale"

This is also present in "Eldorado Overture" but the lines aren't successive.  In both though, there are lines that mention "The unwoken fool" who is "High on a hill in Eldorado," which might be a reference to the Beatles' "The Fool on the Hill."

On the Third Day

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I'm going through the albums much more slowly than I'd anticipated, but anyway, On the Third Day (which, incidentally, I first heard a year ago to-day).

"New World Rising/Ocean Breakup Reprise"

Like I mentioned earlier, because of the "continue where 'I Am the Walrus' left off" quote, I'm more likely to see Beatle connections in things than otherwise.  In "New World Rising/Ocean Breakup Reprise" (I think during the "New World Rising" part), after "Hey good morning," there's a spoken "Morning!" sort of in the background.  It's the same type of thing that's present during the last verse of the Beatles' "Yellow Submarine."  The lines "Every one of us has all we need / Sky of blue and sea of green / In our yellow submarine" are interspersed with the same words but spoken instead of sung.

"Showdown"

Some of the lyrical phrases in this re-appear in other ELO songs.  The "all over the world" in "And it's a-rainin' all over the world" is the titular line of "All over the World."  And "Now my heart has turned to stone again" seems to have some connection with "Turn to Stone" from Out of the Blue.

During the second "Rainin' all over the world" section, there are pizzicati in the string parts to portray the rain musically.  It's a fairly common technique, but I actually didn't notice it until recently.

"Dreaming of 4000"

One of the verses starts with "Here, there, everywhere," and even though this is a common phrase, I can't help but think that there's some connection between this and the Beatles' "Here, There, and Everywhere" (incidentally both "Here, There, and Everywhere" and "Yellow Submarine" were on the Beatles' Revolver album).

"In the Hall of the Mountain King"

This is ELO's version of a piece by Edvard Grieg.  It's the fourth movement of his first Peer Gynt Suite, Op. 46.  Additionally, though, at the beginning ELO includes a bit of the first movement - "Morning Mood."

"From the Sun to the World"

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After writing about "From the Sun to the World," I figured I should post an audio example of what I know.  I figured out some more of the introductory piano part (so that I can play at least one whole part in it), but it doesn't bear any more resemblance to the Moonlight Sonata.

The tempo varies a bit because I use the original tracks as templates when I make my own recordings and I don't always match them that well.  Also because I'm not that good of a keyboard player.

"From the Sun to the World"

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I finally (FINALLY!) got around to looking into "From the Sun to the World" to look at the resemblance between it and Beethoven's Moonlight Sonata, which almost two months ago I said I was going to do.

I looked up the Moonlight Sonata on Wikipedia, and I learned how to play (rather poorly) the first three measures:

The beginning of "From the Sun to the World" resembles this only slightly.  As far as I've figured it out, it also has octaves in the left hand and arpeggiated chords in the right.  (Although there's also a second part, which was probably overdubbed, that has descending arpeggiations of the same chords, using different inversions after each group of three notes.)

The octaves in "Moonlight Sonata" descend diatonically (C#, B, A) before going to F# and then ascending to G#.  The octaves in "From the Sun to the World" are much simpler.  For the first two chords, it's A.  Then it drops to E before returning to A.

The first three measures of the Moonlight Sonata arpeggiate C# minor, A major, and D major, and the arpeggiated chords in "From the Sun to the World" don't really resemble these at all.  I'm fairly certain that it's A minor, D minor, E major, A minor.

So, as far as the parts, there's some resemblance, but there isn't much in common note-wise.

ELO II

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About a week ago, I listened to ELO II so I could finally write a post about it.

"In Old England Town"

A particular musical element of this caused the greatest delay in this post.  I'd thought that a section of the guitar part resembles that at the very end of the Beatles' "Carry That Weight" (which carries over into a bit of "The End"), but I didn't really want to say anything until I learned the parts.  I haven't learned all of the guitar phrase in "In Old England Town," but I did learn enough to compare it to that in "Carry That Weight" (a phrase which I did learn in its entirety), and I discovered that while the phrase in "In Old England Town" is much longer, it at least starts the same.  Both phrases are arpeggiated chords beginning with C majors and then going to C major 7ths.  "Carry That Weight" then goes to an A major, but "In Old England Town" continues various arpeggiations so that there's a chromatic phrase from that initial C all the way to (I think) D.

I'm not sure if that arpeggiated change from C major to C major 7th was directly inspired by "Carry That Weight," but considering that the Electric Light Orchestra was founded "to continue where 'I Am the Walrus' left off" or whatever it was, I'm more likely to think Beatle connections intentional than just coincidences.  (I've seen that "I Am the Walrus" statement quoted in a few different places, but I haven't been able to find an original source for it.)

Speaking of which, that guitar phrase isn't the only Beatle connection that "In Old England Town" has.  Along with that arpeggiated part, I learned a few other sections.  "In Old England Town" starts with alternating G#s and Gs before going down to repeated Es (something like G# G G# G G# G E E E E E), which bears some similarity to the beginning of the Beatles' "Day Tripper," albeit reversed.  The riff in "Day Tripper" starts with E G G#.  In any case, both are sort of in-between E major and E minor (at the beginning at least; I think "In Old England Town" changes keys later).  There's slightly more evidence for this connection than that with "Carry That Weight;" ELO covered "Day Tripper" on Rockpalast in the early 1970s (either '73 or '74, I think).  It's on the British edition of the Live: The Early Years DVD.

Later in "In Old England Town," there's the line "Ablution, evolution" (at least I think that's the line; I was having a lot of troubles transcribing the lyrics), which might have some connection to the Beatles' "Revolution."  "Revolution" doesn't contain the word ablution, but it does prominently use "evolution" and other "-tion" words in the rhyme scheme.

Also in the lyrics is policeman, abbreviated as "p'liceman," which is the same abbreviation as that in the Beatles' "I Am the Walrus."  There aren't many other ways to cut a syllable out of policeman, so that might just be coincidental, but - again - considering the whole "continue where 'I Am the Walrus' left off,"” there might be something to that.

I think one of the lines is "Ten thousand tons of waste dropped then ejected," which has a slight connection to some lines in "Kuiama" later on the album: "Now ten thousand miles / Is a long, long way."

"Roll over Beethoven"

I already mentioned this in a previous post, but ELO actually includes a quotation of the famous motif from Beethoven's Symphony No. 5 in C minor (although half a step higher than Beethoven) near the beginning of their version of Chuck Berry's "Roll over Beethoven."

"Kuiama"

While trying to transcribe "Kuiama," I noticed anaphora in the bridge - one of the few sections that I actually did complete a transcription of (although there's always the possibility that I misheard something).  Four lines begin with "no more," and a fifth has it very close to the beginning:

No more silver rain will hedge your ground
And no more guns will sound
No more life be drowned
No more trenches where the soldiers lie
No more people die
Beneath that big black sky

"From the Sun to the World"

The opening piano part in "From the Sun to the World" bears some resemblance to Beethoven's Moonlight Sonata.  At some point, I'm going to write a separate post about it because 1) I need to write about it more in depth than here and 2) I need more time to look into some things and this post has been held back long enough.

"Mr. Radio"

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A thing I forgot to mention in my post about No Answer is that the famous motif from Beethoven's Symphony No. 5 seems to be hidden in "Mr. Radio."  At about 2:15, the cellos (and I think also the bass part of the piano) has a phrase that isn't too dissimilar.  While the intervals don't match Beethoven's ("Mr. Radio" has Ab to F and then F to D where Beethoven's motif is G to Eb and then F to D), the rhythm is roughly the same.  (I tried notating it, but I'm still not good at figuring out the rhythms for notation.)

Considering that ELO used that motif in other songs (near the beginning of "Roll over Beethoven" and after "I think she'd die for Beethoven" in "Rockaria!"), it wouldn't be too surprising if the similarity here were intentional.  And actually, in referencing "Roll over Beethoven" and "Rockaria!," I found that they didn't use the motif exactly as Beethoven wrote it anyway.  "Roll over Beethoven" has it half a step higher (G# E F# D#), and "Rockaria!," which has only two notes of the motif, has it as G and E, not G and Eb.  They all have roughly the same rhythm though.

"10538 Overture"

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I wasn't planning on figuring out any parts yet, but…

I was thinking about the arpeggios at the beginning of "10538 Overture," and I thought I'd figured them out in my head.  I hadn't, but I was close enough that it didn't take too long to get to this, which I'm fairly confident about.  Some of the notes sound a bit weird because I had to play the same note on different strings for different arpeggios.  Otherwise, my fingers would have to be four frets and five strings apart.

I also did the French horn part (the quotation from Also Sprach Zarathustra), but it's the fake French horn setting on my keyboard.  I know a few of the cello parts, but the fake cello doesn't sound convincing, so I didn't include them.  I don't have an actual cello (and don't know how to play one), which could become a pretty big concern.

No Answer

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I listened to No Answer yester-day to review some things before writing a post about it.  I have things to say about only three of the songs though.

"10538 Overture"

As far as I can tell, the French horn part in this (at least I think it's a French horn) has the same motif as that in Richard Strauss' Also Sprach Zarathustra - C, G, and then an-other C an octave higher than the first one.

It might just be a coincidence, but some of the cello parts near the end contain a phrase from "Frère Jacques" - the part that corresponds to "Frère Jacques" in the lyrics - C D E C.

Lyrically, there's some resemblance between "10538 Overture" and the Beatles' "A Day in the Life."  Roughly, both are about a man's death related through the news.  "A Day in the Life" starts out with "I read the news today, oh boy" where "10538 Overture" has "Did you hear the news that came across the air today?," and where "A Day in the Life" has "He blew his mind out in a car," "10538 Overture" mentions that "Someone has been found on the rocks down in the bay."

"Nellie Takes Her Bow"

In the middle section, there's a quotation and then variations on "God Rest Ye Merry, Gentlemen."

"Whisper in the Night"

This is the first of at least three ELO songs that contain the phrase "midnight sun."  Here, it's in the line "Face the midnight sun."  It's also in "So Fine" ("We'll find the land of the midnight sun") and "Do Ya" ("I've seen babies dancin' in the midnight sun") - both from A New World Record.

Introduction

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I try to listen to all of my music every other year (and so far I've been successful in doing so).  While doing this in 2014, I found a similarity between the Electric Light Orchestra's "All Over the World" and Chuck Berry's "Sweet Little Sixteen" - they both have a list of places.  Since ELO have a few other connections to Chuck Berry (they covered his "Roll over Beethoven" and mention him in "Rockaria!"), I thought this was an intentional similarity.

Finding that similarity reminded me that there were a lot of elements in ELO songs that I thought were references to other musicians or to other ELO works but that I'd never actually explored.  In June, I got the box set of all of their albums (I'd been missing four of them), and in listening through them all, I took notes.  I listened through them again in November and found more things.  Because I kept finding things, I didn't think there was much of a chance of writing an exhaustive post about all of the references in their music, so I decided to try something different.

Recently, I've become sort of obsessed with the notion of learning every part to every song by a particular band.  I've been doing this with the Zombies since 2012, and in doing so I've discovered a lot of fascinating things that I'd been completely oblivious to as just a listener.  At the beginning of this year, I started doing the same type of project with the Alan Parsons Project and a few Beach Boys albums.  I considered doing ELO then, but I didn't want to try doing too much at once.  Apparently I'm not good at setting limits for myself because now I am endeavouring to do that project.  I figured that if I've found so much just by listening, there must be a lot more to discover through learning the parts.

The notes I started taking at the beginning of last year now cover a whole page, and after recently listening to all of the albums again (just before starting this project) I added an-other hand-written half-page.  To start off this project, I'm going to go by album and write a more detailed account of what I've found so far, which - along with the references to other musicians - includes other interesting musical/lyrical things.  Then I'm going to start digging into the music (which will probably be slow going at first and which will be limited by my not owning some of the instruments).

There are some things in my notes that I'll have to verify, which might take awhile, but I felt I should get started with my ELO analysis.