Favorite Bands: Electric Light Orchestra (Part I)

I’ve spoken about this band many times before and I’m sure I’ll do it again, but ELO remains one of my favorite bands from my childhood that Wasn’t The Beatles (well, almost not the Beatles, anyway…heh). And while its singer Jeff Lynne celebrates the band’s 50th anniversary with multiple Apple and Spotify playlists, it’s interesting to see how this band evolved over its long career. And since it is a long career, it’s gonna take a few posts to check it all out!

The idea of ELO was actually not Lynne’s but of singer Roy Wood, who at the time was the leader of The Move. He’d been the one to come up with the idea of mixing strings and classical elements with the rock format, and Lynne was more than delighted to join in on this project. As it happened, Wood only remained for the band’s self-titled 1971 debut (renamed ‘No Answer’ in the US due to a communication misunderstanding) and the mood seems very proggy here, but you can already hear the seeds of Lynne’s ‘Beatlesque’ pop style of songwriting.

Their second album, simply entitled Electric Light Orchestra II and released in 1973 after a significant lineup change, suffered from similar prog meanderings, though it did score a surprise hit with a rocking cover of “Roll Over Beethoven”, featuring a clever insertion of the opening to Beethoven’s Fifth Symphony.

Album three, On the Third Day (also from 1973), showed they were almost there. The extended prog ideas were slowly phased out to focus more on tighter and shorter melodies (but not without a few fun forays into classical, including an interesting take on Grieg’s “In the Hall of the Mountain King”). The single “Showdown”, added to the US editions of the album, ended up breaking them towards a wider mainstream audience.

Now album four, 1974’s Eldorado, was where they really hit their stride. An odd yet extremely entertaining concept album about a daydreamer with an eye-catching cover still from The Wizard of Oz, it features their next big single, “Can’t Get It Out of My Head” which became a rock and pop radio staple. I distinctly remember hearing this on the local AM pop station as a kid. [Also worth checking out is one of my favorite ELO deep cuts, “Mister Kingdom”, which ended up being the song I used as Krozarr’s theme in In My Blue World.]

They followed it up one year later with Face the Music in 1975, and by this time Lynne and the band had perfected their odd hybrid and started having numerous hit singles and radio hits through the rest of the decade.

In 1976 they dropped A New World Record, which sounded even more Beatlesque than anything else they’d done previously. Gorgeous ballads like “Telephone Line” hinted at McCartney’s best on Abbey Road, “Livin’ Thing” hinted at the complex experimentation of Sgt Pepper, and the silly yet fun “Rockaria!” harkened back to the hard-rocking covers of Beatles for Sale.

And then, in 1977, they dropped their double album opus, Out of the Blue, which many still consider to be their crowning achievement. It featured several hit singles, it was a multi-platinum seller, and it even features a weather-themed four-song concerto! There are so many famous and well-loved songs on this one that if you had to buy only one ELO record, this would definitely be the one. [This was one of two of their albums that influenced and inspired my novel In My Blue World. The title of the novel itself comes from the single and opening track “Turn to Stone”.]

And of course, the massive hit single and fan favorite “Mr. Blue Sky” was used to absolutely hilarious effect as the opening credits for 2017’s Guardians of the Galaxy Vol 2.

They’d bring the seventies to a close with a bright and shimmery album called Discovery in 1979. It was by far their most commercial sounding record, with the strings mostly sliding into the background and the danceable rock melodies coming to the fore, including radio favorites “Don’t Bring Me Down” and “Shine a Little Love”. Interestingly, the band created promotional videos for every single track on the album, which are available on YouTube.

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So what would the 80s bring this band…? More hits, a killer half-soundtrack to a lemon of a movie, a cult-classic concept album about time travel, and eventually dissolution. But Lynne didn’t necessarily stop there, nor did he drop off the face of the earth! Stay tuned!

Favorite Albums: Nation of Language, ‘A Way Forward’

Yeah, I know…it’s not often I label a brand spankin’ new album a favorite, but I’m willing to make exceptions. Interpol’s Turn On the Bright Lights, Failure’s Fantastic Planet, Beck’s Morning Phase, and so on…they’re the records where every single song captures my attention in that whoa what am I hearing?? sort of way.

Nation of Language is a Brooklyn trio that has been getting some serious airplay on KEXP and I’m sure is capturing the attention of Spotify listeners as well. Their influence is obvious: early Orchestral Manoeuvres in the Dark (we’re talking way before “If You Leave” here). They capture OMD’s fragile synth melodies and moods perfectly while bring their own spirit into the mix. Their debut album Introduction, Presence came out in May of last year, and they’ve just dropped their new one, A Way Forward, earlier this month.

Every track on this album is well worth checking out, as are their low-budget yet enjoyable videos!

On the Shopping List: The Clockworks

I’ve been hearing songs from this band on KEXP for a while now and I know almost nothing about them other than they’re originally from Galway, Ireland but relocated to London, and that they were signed to Alan McGee’s Creation23 Records a short while back. And hot damn if I REALLY want them to come out with an album soon!!

They definitely check a hell of a lot of my favorite alt-rock tick-boxes when it comes to their style: bright and jangly sound, intelligent yet often witty lyrics, catchy-as-hell melodies, and a consistently driving energy behind the songs that makes you believe they’d kick all kinds of ass live.

As far as I know, they’ve dropped a handful of singles — they only have one listed in Discogs, but Amazon does carry some their tracks — but yeah, I need an album from this band as soon as possible.

Go check them out!

Spare Oom Playlist, October 2021 Edition, Part II

Here’s the second half of October’s playlist as promised! Only two all-caps names this time, heh. Have fun and enjoy!

FINNEAS, Optimist, released 15 October. Billie Eilish’s brother comes out from behind the instruments and laptops and releases his own solo album. Like Billie, he’s a super-soft singer, but it works with the ballads and ponderings he’s featured here. As I’d hoped, his songwriting is just like on his sister’s album: the closer you listen to it, the more creative it is.

Deerhoof, Actually, You Can, released 22 October. They’re definitely your classic weirdo alt-rock band on par with Liars and Animal Collective that aren’t always easy on the ears, yet somehow you can’t stop listening to them. You never quite know where the songs are going to go next.

Clinic, Fantasy Island, released 22 October. This is another odd band, this time with one foot firmly entrenched in a Silver Apples-like motorik synthesizer sound. They’re definitely a ‘critic fave’ sort of band that never gets airplay, but they’re worth checking out.

Black Marble, Fast Idol, released 22 October. They’re part of the current wave of synth bands recapturing that UK synthpop sound (think super early OMD, well before their hit song), and they’re so much fun to listen to, especially for a GenXer like me. It’s like listening to college radio again!

Duran Duran, Future Past, released 22 October. This album is definitely a change from their previous record, 2015’s Paper Gods, in that they’ve moved slightly away from the dance grooves and headed towards inventive rock territory — sort of like 1988’s Big Thing in a way, come to think of it. It’s got some truly odd moments but it’s a a super fascinating listen.

La Luz, La Luz, released 22 October. Quirky lofi-ish indie pop that hints at garagey surf rock with maybe even a pinch of Stereolab. Bouncy, light fun.

RUFUS DU SOL, Surrender, released 22 October. I do loves me some epic-sounding moody electronica, especially for writing sessions! This is a relatively new band find for me, and I’m quite digging this record.

Parquet Courts, Sympathy for Life, released 22 October. This is another one of those weirdo bands I didn’t think I’d get into, but they keep coming out with great alt-rock gems that get stuck in my brain for hours at a time. They never really take themselves all that seriously, which makes their songs even more fun!

The The, The Comeback Special, released 29 October. Matt Johnson surprised everyone a while back by staging a comeback tour (including a stop in San Francisco, which I was able to catch!) in addition to releasing several of his Radio Cineola projects and soundtracks for his brother’s films. This record is pretty much a single entire show from start to finish, and it just shows how many amazing songs he’s written over the last several decades.

Billy Bragg, The Million Things That Never Happened, released 29 October. Still going strong since the 80s, he still writes the great troubador folk songs (now in the form of catchy alternapop these days) that are intelligent, catchy, and quite often amusing. And it sounds like he’s not going to quit any time soon.

Tori Amos, Ocean to Ocean, released 29 October. Another great songwriter releases a quiet and moody lockdown album inspired in part by her Cornwall surroundings and also the US Capitol riots.

Geese, Projector, released 29 October. This NYC band sounds like they dug deep in their local inspirations, as they definitely have that arch No-Wave sound similar to Television. There’s a hint of grooviness, a hint of jam-band meandering, and college radio moodiness on this record that really makes this band fascinating.

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Whew! That was a lot for the last half of October, and it looks like November’s going to have an overflow of great records as well! Not going to complain, of course…

Spare Oom Playlist, October 2021 Edition, Part I

It’s been one hell of a busy October musicwise here in Spare Oom. Not only did we have the long-awaited return of Outside Lands, but there was all sorts of great music that dropped, and this is only the first half of it!

POND, 9, released 1 October. I jumped in on this one unheard essentially due to having heard about them and reading rave reviews, and I wasn’t let down. It’s got that early 00s alt-dance-rock thing going with a bit of post-punk skitteriness to it as well. A really fun listen!

Brandi Carlile, In These Silent Days, released 1 October. I’ve been meaning to listen to more of Brandi’s stuff because she’s a musician that all the critics love but nobody (apart from KEXP) ever seems to play her stuff. And this is an absolutely lovely album worth checking out.

JOHN, Nocturnal Manoeuvres, released 8 October. Also known as JOHN (TIMESTWO), this is yet another band I found thanks to KEXP during one of their music festival broadcasts a few years back. Loud and growly (and indeed played by two guys named John), they’re up there with Idles as a band that’s really fun to listen to loud.

BADBADNOTGOOD, Talk Memory, released 8 October. Yet another capitalized band name! You may know them as the band behind the super-groovy remix of Future Islands’ “Seasons” a few years back, their new record is a fun album of funky and poppy jazz.

Johnny Marr, Fever Dreams Pt 1 EP, released 15 October. Marr drops the first of multiple EPs that will create a full album that’ll be released later in 2022. This particular EP sounds a lot like his work with Bernard Sumner in Electronic.

Jason Isbell and the 400 Unit, Georgia Blue, released 15 October. During the November Presidential election last year, Isbell tweeted that if Biden won the state of Georgia, he’d record a full album of songs from bands from that state. Biden won, and Isbell made good on it, releasing an absolutely amazing record of songs from REM, Cat Power, Gladys Knight & the Pips, Indigo Girls, The Black Crowes, and more. Highly recommended!

The Beatles, Let It Be Super Deluxe, released 15 October. This had to have been the toughest Beatles album for Giles Martin to work on, considering its source material and its history as a solid but admittedly spotty-sounding record. Still, he manages to improve on the Spectorized flourishes (dialing back the schmaltz a bit and making it less muddy) and even include the original Glyn Johns attempt when it was still known as Get Back. He did a fine job and of course we’re going to get Disney+ just so I can watch the Peter Jackson documentary!

Coldplay, Music of the Spheres, released 15 October. Their 2019 album Everyday Life was a huge favorite of mine and a very dark and inventive record for them, so I was expecting they’d follow their usual pattern of following it up with a radio-friendly poppy album. I didn’t quite expect…a space-themed concept album? It’s definitely a bit odd and weird in places, but it actually expands on the experimentation of Everyday Life, and that’s definitely a plus in my book.

ONETWOTHREE, ONETWOTHREE, released 15 October. This was one of those records I checked out purely because of the AllMusic review. It’s a fascinating record featuring three female bassists from three separate Swiss post-punk bands (Klaudia Schifferle from Kleenex/LiLiPUT, Madlaina Peer from Noknows and Sara Schaer from TNT/Souldawn) and it certainly sounds like a record that came out in 1981 and loved by college radio deejays. It’s a really fun listen.

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More to come!

No Longer Riding On the Merry-Go-Round

This past weekend was the twice-postponed Outside Lands festival in Golden Gate Park, and we managed to get through all three days with somewhat reasonable weather enjoyed, lots of local food eaten and around a dozen bands seen. We walked around thirteen miles over those days total (we live less than a mile away so we walked home at the end of the day), so it was probably for the best that we took Monday off to rest.

And, we seem to have both come to the conclusion that that was probably our last music festival.

Why, you say? Well, a few reasons. We admit we’re getting on in years (I am the ripe old age of 50, after all) and it’s just getting too exhausting. Then there are the crowds. We’ll also admit that though most of the festival goers are chill and fine and don’t bother us in the least, there are those who are just the most irritating people imaginable. These are usually the college/post-college kids who stand/sit either behind us or in front of us and proceed to entirely ignore the band we’d been wanting to see, talking super loud about getting wasted in the SOMA Tent before leaving three songs later. Or the vapers and the pot smokers that decide that smoking right beside and upwind of us is totes fine. Or the frat bros. Or the “I have no concept of walking around others” people, which I swear is a California thing. [And then there was the woman behind me at The HU show that, I kid you not, said “I would enjoy them better if they sang in English.” This is a band that sings in Mongolian, mind you.] [I could go on, but I’m veering very close to Get Off My Lawn territory here, so I’ll stop.]

Anyhoo — we’re calling it, at least for now. We’ve finally accepted that both of us can only people for so long before it gets irritating and exhausting and we need to back away. And getting from one stage to another while trying to navigate shifting crowds is starting to wear on us.

Am I bummed out about this? Maybe, but not really all that much. Before we went to our first Outside Lands in 2012, the last festival I’d gone to was Curiosa in 2004. And even then I’d bailed near the end of The Cure because I had a long-ass drive home. Anyway, I’ve made my peace with it. We find we prefer streaming the festivals these days. It’s a lot more fun and so much cheaper.

That’s not to say we’ll never go to rock shows again. We’ll be seeing Motion City Soundtrack in Berkeley in February — interestingly, the very same band we saw live just a few months before the pandemic kicked in — and one of these days I’d like to see a band at the Fillmore or the Independent, both places I can easily get to via public transportation. (And of course we’ll still be going to see the symphony and the opera.)

I just don’t think I can handle another year of super large crowds and losing energy before the sun goes down.

Outside Lands This Weekend

This year’s Outside Lands looks to be a bit more of a sedate affair this time out, mainly due to the changes in schedule and availability of bands, and after this weekend’s weather we’re hoping it doesn’t turn into a Glastonbury/Bonnaroo washout. On the other hand, the choice of bands is quite eclectic and inclusive this time out! Here’s a few bands we’re looking forward to seeing!

Rain

The Bay Area is finally getting some precipitation! It’s kind of making me nervous about some of our plans over the next couple of weeks, but I can’t really complain all that much considering that it’s been very DRY these last few years. I remember when we first moved out here the winter months were always wet — when we moved out of our old place in October of 2009 the ground floor had suffered a bit of flooding from bad drainage — but after a few years it lessened. Here’s to hoping that we can turn that around in the future, yeah?

Spare Oom Playlist, September 2021 Edition

After all that fun with 1991, it’s time to return back to the present! Here’s some tunage that’s been on my radar since last month.

Radiohead, “If You Say the Word” single, released 3 September. One of the unreleased tracks for the upcoming KID A MNESIAC set due in November. To be honest I kind of like this one better than some of the tracks that made it to the two releases, but I’m not complaining.

Motorists, Surrounded, released 3 September. Kind of nerdy and goofy in that mid-90s slacker sort of way, but super enjoyable! They remind me a bit of Parquet Courts with their wonky-clunky melodies and Television-like vocal delivery.

Amyl & the Sniffers, Comfort to Me, released 10 September. Definitely in that Courtney Barnett pothead-punk type of sound but I love that they completely embrace that style and run with it. Props for having a great name that would make the 70s punk scene proud.

Andrew WK, God Is Partying, released 10 September. Andrew fully embraces…death metal? Didn’t see that coming at all, but hey, I rarely expect anything less than something bizarre and possibly somewhat destructive whenever he’s involved. It’s definitely a weird album even by his standards, but he pulls it off!

Low, HEY WHAT, released 10 September. Following up from their previous record, they once again add overmodulated distortion to their classic slowcore sound. It does take some getting used to, but it does work well with their style.

Saint Etienne, I’ve Been Trying to Tell You, released 10 September. It’s wild that I’ve been a fan since 1992’s Foxbase Alpha, and they’ve gone through so many different song styles between then and now, and yet they still come up with something new. This particular record leans heavily on meandering mostly-instrumental electronica that’s both relaxing and intriguing.

Sneaker Pimps, Squaring the Circle, released 10 September. This was definitely a “wait–when did they release this???” album that very nearly escaped my notice until I happened to hear KEXP playing one of its tracks one morning. This one may not have the 90’s triphop or the 00’s twitchiness of previous albums, but it’s just as dark and unsettling.

Sleigh Bells, Texis, released 10 September. I do loves me some Sleigh Bells, because they’re such a fun band to listen to with the volume pumped up! Guitar crunch so processed it’s crackling, perky vocals hiding darker images, and super catchy melodies.

José González, Local Valley, released 17 September. “El Invento” is such a lovely acoustic track that it completely sold me on checking out the rest of José’s album, and it most definitely delivers. He’s an amazing guitarist and a wonderful songwriter. Highly recommended!!

Public Service Broadcasting, Bright Magic, released 24 September. This time out PSB turns towards retro-disco and classical, and the end result is surprisingly entertaining and fascinating. It almost sounds like they’ve channeled Air on this album, and that’s certainly not a bad thing.

Film School, We Weren’t Here, released 24 September. This is a band I never quite get around to collecting and I’m not sure why. They’re a California shoegaze band heavily leaning towards early Ride; sometimes dreamy and light and other times loud and powerful, but always interesting.

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This was definitely a laid-back start to a fourth quarter, but then again, a lot of music this past year and a half has definitely been recorded piecemeal at separate home studios, incomplete due to temporary studio closures, and any other Covid-related reason. But I’m also starting to see a lot of releases — many singles and EPs at that — where things are slowly but surely returning to normal for musicians. Either way, glad to hear it all!