The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Mr. Blue Sky
"Mr. Blue Sky" is a song by British rock group Electric Light Orchestra, featured on the band's seventh studio album Out of the Blue. Written and produced by frontman Jeff Lynne, the song forms the fourth and final track of the "Concerto for a Rainy Day" suite, on side three of the original double album. "Mr. Blue Sky" was the second single to be taken from Out of the Blue, peaking at number 6 in the UK Singles Chart and number 35 in the United States. In a BBC Radio interview, Lynne talked about writing "Mr. Blue Sky" after locking himself away in a Swiss chalet and attempting to write ELO's follow-up to A New World Record: It was dark and misty for 2 weeks, I didn't come up with a thing; the sun shone and it was,'Wow, look at those beautiful Alps.' I wrote 13 other songs in the next 2 weeks. The song's arrangement has been called "Beatlesque", bearing similarities to Beatles songs "Martha My Dear" and "A Day in the Life" while harmonically it shares its unusual first four chords and harmonic rhythm with "Yesterday".
The arrangement makes prominent use of a cowbell-like sound, credited on the album, to percussionist Bev Bevan, as that of a "fire extinguisher." When the song is performed live, a drumstick is used to strike the side of a fire extinguisher, which produces the now iconic sound. Describing the song for the BBC, Dominic King said: Lots of Gibb Brothers’ vocal inflexions and Beatles’ arrangement quotes, but this fabulous madness creates its own wonder – the bendy guitar solo, funky cello stop-chorus, the most freakatastic vocoder since Sparky's Magic Piano. Plus the musical ambush on "way" at 2.51 still thrills. And that's. Kitsch, yet exhilarating; the song features a vocoded voice singing the phrase "Mr. Blue Sky". A second vocoded segment at the end of the song was interpreted as "Mister Blue Sky"; this was confirmed by Jeff Lynne on 3 October 2012 on The One Show. The song has been used in the films Megamind, Role Models, The Magic Roundabout, Wild Mussels, Eternal Sunshine of the Spotless Mind, Paul Blart: Mall Cop, The Magic Roundabout, The Game Plan, Martian Child, The Invention of Lying, Guardians of the Galaxy Vol. 2.
The song was used in the television show Doctor. It was featured during the opening and closing ceremonies of the 2012 Summer Olympics and the Closing Ceremony of the 2018 Gold Coast Commonwealth Games in a promotion for the 2022 Games to be held in Birmingham. Jeff Lynne re-recorded the song and other ELO tracks in his own home studio in 2012; the resulting album, Mr. Blue Sky: The Very Best of Electric Light Orchestra, was released under the ELO name. A music video has been released in late 2012 via the official ELO website and YouTube, a colourful animation directed by Michael Patterson and Candace Reckinger with animation sequences designed and animated by University of Southern California students. In-depth Song Analysis at the Jeff Lynne Song Database "Electric Light Orchestra: Mr. Blue Sky" at Discogs "Mr. Blue Sky" song review at Allmusic Lyrics of this song at MetroLyrics
Out of the Blue (Electric Light Orchestra album)
Out of the Blue is the seventh studio album by the British rock group Electric Light Orchestra, released in October 1977. Written and produced by ELO frontman Jeff Lynne, the double album is among the most commercially successful records in the group's history, selling about 10 million copies worldwide. Jeff Lynne wrote the entire album in three and a half weeks after a sudden burst of creativity while hidden away in his rented chalet in the Swiss Alps, it took a further two months to record in Munich. Side three of the original double LP consisted of the symphonic Concerto for a Rainy Day, composed of four separate tracks which together made up a cohesive suite, instead of one continuous track; the inclement weather effects heard on "Concerto" were real and recorded by Lynne during a rainy summer in Munich 1977. The Concerto suite would be Lynne's last dabbling in symphonic rock, it was one of the first pop albums to have an extensive use of the vocoder, helped to popularize it. Side three of the release is subtitled Concerto for a Rainy Day, a four track musical suite based on the weather and how it affects mood change, ending with the eventual sunshine and happiness of "Mr. Blue Sky".
This was inspired by Lynne's experience while trying to write songs for the album against a torrential downpour of rain outside his Swiss Chalet. "Standin' in the Rain" opens the suite with a haunting keyboard over a recording of real rain, recorded by Jeff Lynne just outside his rented studio. Heard at the 0:33 mark of the song, which marks the beginning of The Concerto, is thunder crackling in an unusual manner voicing the words "Concerto for a Rainy Day" by the band's keyboardist, Richard Tandy. At around the 1:07 mark, the staccato strings play a morse code spelling out "ELO"; the band used the song to open their 1978 World Tour Out of the Blue concerts. "Big Wheels" forms the second part of the suite and continues with the theme of the weather and reflection. Apart from its inclusion on the Out of the Blue album, the song has never appeared on any of the band's compilations or as a B-side until 2000, when Lynne included it on the group's retrospective Flashback album. "Summer and Lightning" is the third song in the suite.
The raining weather theme is continued throughout the track though the mood and lyrics are more optimistic. "Mr. Blue Sky", an uplifting, lively song celebrating sunshine, is the finale of "Concerto for a Rainy Day" suite. Again, the Vocoder is used at the end of the track where, at the 4:54 mark, one can hear "Please turn me over" as it fades out, it is the only piece from the Concerto to be excerpted as a single. The large spaceship on the album's cover was designed by Kosh with art by Shusei Nagaoka, it was based on the logo Kosh designed for ELO's previous album, A New World Record,and looks like the space station with a docking shuttle from 2001: A Space Odyssey. The number JTLA 823 L2, featured on the shuttle arriving at the space station is the original catalogue number for the album; the album included an insert of a cardboard cutout of the space station as well as a fold-out poster of the band members. The space theme was carried onto the live stage in the form of a huge glowing flying saucer stage set, inside which the band performed.
The album had 4 million pre-ordered copies and went multi-Platinum upon release. Out of the Blue spawned five hit singles in different countries, was ELO's most commercially successful studio album, it was the first double album in the history of the UK music charts to generate four top twenty hit singles. Lynne considers A New World Record and Out of the Blue to be the group's crowning achievements, both sold well, reaching multi-platinum according to RIAA Certification. Capital Radio and The Daily Mirror Rock and Pop Awards named it "Album of the Year" in 1978. Lynne received his first Ivor Novello award for Outstanding Contributions to British Music the same year, it was one of the landmark albums of the year, the decade as well, remaining in the UK charts for about 108 weeks. The US release of Out of the Blue was distributed by United Artists; this changed after American copies of Out of the Blue that were deemed defective began appearing at discounted prices in record shops in the US and Canada shortly after the album's release, affecting the album's sales.
Jet sued United Artists and abruptly switched their distribution of the ELO catalogue to CBS Records worldwide early in 1978. The 30th Anniversary Edition was released in February 2007 with three bonus tracks, as part of the Sony/BMG Music Epic/Legacy series; the 30th anniversary issue was a limited pressing in hardback book with expanded 24-page full colour booklet. It includes full-length sleeve notes by Lynne and ELO archivist Rob Caiger, as well as rare photos and memorabilia. A push-out replica ELO Space Station is included as well as the standard jewel case edition with a full colour 12-page edited booklet; the album once again reached the top twenty album charts in the UK peaking at number 18. A sixth single "Latitude 88 North" was released as as a promo 7" single. In 2012, Music on Vinyl re-released Out of the Blue on vinyl on Epic. In a contemporary review for Rolling Stone, Billy Altman said that the album was "meticulously produced and performed" and showed the influence of the Beatles, the Beach Boys and the Bee Gees.
However, he detected a lack of passion in the work, which he dismissed as a "totally uninteresting and horrifyingly sterile package" and "All method and no madness: hollow and bland rock Muzak."Over the years a more favourable view has developed. Rob Mitchum of P
Discovery (Electric Light Orchestra album)
Discovery is the eighth studio album by English rock band Electric Light Orchestra. It was released on 31 May 1979 in the United Kingdom by Jet Records, where it topped record charts, on 8 June in the United States on Jet through Columbia Records distribution. Discovery was the band's first number 1 album in the UK, entering the chart at that position and staying there for five weeks; the album contained five hit songs in "Shine a Little Love", "Don't Bring Me Down", "Last Train to London", "Confusion" and "The Diary of Horace Wimp", many of which were influenced by disco. "Don't Bring Me Down" would become one of their only two top three hits in the UK throughout their career, their highest-charting US single at number 4. "The Diary of Horace Wimp" was a hit single in the UK, not patterned after the disco sound. The album itself was the first to generate four top-ten singles from a single LP in the UK and was certified 2x platinum by the RIAA in 1997. Discovery is notable in that it was the first ELO album not to feature their resident string trio of Mik Kaminski, Hugh McDowell and Melvyn Gale, although they did make an appearance on the Discovery music videos.
In one of his earliest jobs, comedian/actor Brad Garrett, dressed in Middle Eastern clothes and turban, appears on the back cover as the menacing palace guard, drawing his scimitar. Discovery was remastered as part of the Epic/Legacy remaster series in 2001. All tracks composed by Jeff Lynne, except "Little Town Flirt" written by Maron McKenzie and Del Shannon. Notes Bonus tracks were unreleased. Track 12 was started 1979, finished 2001. Engineered by Mack and Ryan Ulyate. Orchestra and choral arrangements – Jeff Lynne, Richard Tandy, Louis Clark. Orchestra conducted by Louis Clark. Jeff Lynne – Lead vocals, vocoder, backing vocals Bev Bevan – Drums, backing vocals Richard Tandy – Piano, Wurlitzer electric piano, lead guitar, backing vocals Kelly Groucutt – Bass guitar, backing vocals, lead vocalsAdditional personnel on the Discovery music videoMik Kaminski – Violin Hugh McDowell – Cello Melvyn Gale – Cello The Electric Light Orchestra Story ISBN 0-907394-00-0 Jeff Lynne Song Database
Glastonbury Festival is a five-day festival of contemporary performing arts that takes place near Pilton, England. In addition to contemporary music, the festival hosts dance, theatre, circus and other arts. Leading pop and rock artists have headlined, alongside thousands of others appearing on smaller stages and performance areas. Films and albums recorded at Glastonbury have been released, the festival receives extensive television and newspaper coverage. Glastonbury is the largest greenfield festival in the world, is now attended by around 175,000 people, requiring extensive infrastructure in terms of security, transport and electricity supply; the majority of staff are volunteers, helping the festival to raise millions of pounds for charity organisations. Regarded as a major event in British culture, the festival is inspired by the ethos of the hippie and free festival movements, it retains vestiges of these traditions, such as the Green Fields area, which includes sections known as the Green Futures and Healing Fields.
After the 1970s, the festival took place every year and grew in size, with the number of attendees sometimes being swollen by gatecrashers. Michael Eavis hosted the first festival called Pilton Festival, after seeing an open-air Led Zeppelin concert at the 1970 Bath Festival of Blues and Progressive Music. Glastonbury Festival was held intermittently from 1970 until 1981. 2018 was a "fallow year" and the next festival is scheduled for 26 – 30 June 2019. A series of concerts and recitals called the Glastonbury Festivals was established with a summer school in the town of Glastonbury between 1914 and 1926 by classical composer Rutland Boughton, with their location attracted a bohemian audience by the standards of the time, they featured works by then-contemporary composers, sponsored by the Clark family, a wide range of traditional works, from Everyman to James Shirley's Cupid and Death. Glastonbury was influenced by hippie ethics and the free festival movement in the early 1970s, beginning with the Isle of Wight Festival, which featured performances by The Who, amongst many other artists.
Organiser Michael Eavis decided to host the first festival called Pilton Festival, after seeing an open-air concert headlined by Led Zeppelin at the 1970 Bath Festival of Blues and Progressive Music at the nearby Bath and West Showground in 1970. The festival retains vestiges of this tradition such as the Green Fields area, encompassing the Green Futures and Healing Field; the first festival at Worthy Farm was the Pilton Pop, Blues & Folk Festival, mounted by Michael Eavis on Saturday 19 September 1970, attended by 1,500 people. The original headline acts were The Kinks and Wayne Fontana and the Mindbenders but these acts were replaced at short notice by Tyrannosaurus Rex known as T. Rex. Tickets were £1. Other billed acts of note were Quintessence, Al Stewart; the "Glastonbury Fair" of 1971 was instigated by Andrew Kerr after being found and introduced to Michael Eavis by David Trippas and organised with help from Jean Bradbery, Kikan Eriksdotter, John Massara, Jeff Dexter, Arabella Churchill, Thomas Crimble, Bill Harkin, Gilberto Gil, Mark Irons, John Coleman, Jytte Klamer.
The 1971 festival featured the first incarnation of the "Pyramid Stage". Conceived by Bill Harkin the stage was a one-tenth replica of the Great Pyramid of Giza built from scaffolding and metal sheeting and positioned over a blind spring, found by dowsing. Performers included David Bowie, Mighty Baby, Fairport Convention, Hawkwind, Skin Alley, The Worthy Farm Windfuckers and Melanie, it was paid for by its supporters and advocates of its ideal, embraced a mediaeval tradition of music, poetry, theatre and spontaneous entertainment. The 1971 festival was filmed by Nicolas Roeg and David Puttnam and was released as a film called Glastonbury Fayre. There was a small unplanned event in 1978, when the convoy of vehicles from the Stonehenge festival was directed by police to Worthy Farm; the 1980s saw. In 1981, Michael Eavis took control of the festival, it was organised in conjunction with the Campaign for Nuclear Disarmament; that year a new Pyramid Stage was constructed from telegraph poles and metal sheeting, a permanent structure which doubled as a hay-barn and cow-shed during the winter.
In the 1980s, the children's area of the festival became the starting point for a new children's charity called Children's World. 1981 was the first year that the festival made profits, Eavis donated £20,000 of them to CND. In the following years, donations were made to a number of organisations, since the end of the Cold War the main beneficiaries have been Oxfam and WaterAid, who all contribute towards the festival by providing features and volunteers, who work at the festival in exchange for free entry. Since 1983, large festivals have required licences from local authorities; this led to certain restrictions being placed on the festival, including a crowd limit and specified times during which the stages could operate. The crowd limit was set at 30,000 but has grown every year to over 100,000.1984 saw the stage invaded by children during The Smiths set. Weather Report played the main stage, and
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Jeffrey Lynne is an English songwriter, record producer, multi-instrumentalist from Birmingham who co-founded the rock band Electric Light Orchestra. The group formed in 1970 as an offshoot of the Move, of which Lynne was a member. Following the departure of Roy Wood in 1972, Lynne took over ELO's leadership and wrote and produced all of the band's subsequent records. Before, Lynne was involved with the Idle Race as a founding member and principal songwriter. After ELO's original disbandment in 1986, Lynne released two solo albums: Armchair Theatre and Long Wave. Additionally, he began producing various artists. In 1988, under the pseudonyms Otis Wilbury and Clayton Wilbury, he co-founded the supergroup Traveling Wilburys with George Harrison, Bob Dylan, Roy Orbison, Tom Petty. Lynne's songwriting and production collaborations with former Beatles led him to co-produce their Anthology reunion singles "Free as a Bird" and "Real Love". In 2014, Lynne reformed ELO and resumed concert touring under the moniker "Jeff Lynne's ELO".
Lynne produced all fifteen ELO singles that rose to the Top 10 record charts in the UK. His production credits include the UK or US Top 10 albums Cloud Nine, Mystery Girl, Full Moon Fever, Into the Great Wide Open, Flaming Pie and Get Up!. In 2014, Lynne received a star on the Birmingham Walk of Stars, in 2015, was awarded a star on the Hollywood Walk of Fame, he received three Ivor Novello Awards including the award for Outstanding Services to British Music. In 2017, Lynne was inducted into the Rock and Roll Hall of Fame as a member of ELO. Lynne grew up in Shard End, England where he attended Alderlea Boys' Secondary School; as a native of Birmingham he has a flat Brummie accent. His first guitar, an acoustic instrument, was bought for him by his father for £2, he was still playing it in 2012. In 1963 he formed a group with Robert Reader and David Walsh using little more than Spanish guitars and cheap electrical instruments, they were named the Rockin' Hellcats the Handicaps and the Andicaps. They performed weekly.
However, in 1964, Robert Reader and David Walsh left Lynne brought in replacements. At the end of 1964, Lynne decided to leave the band to replace Mick Adkins of the local band "the Chads"; some time in or after 1965, he acquired his first item of studio recording equipment, a Bang & Olufsen'Beocord 2000 De Luxe' stereo reel-to-reel tape recorder, which allowed multi-tracking between left and right channels. He says it "taught me how to be a producer". In 1966, Lynne joined the line-up of the Nightriders as guitarist, having responded to an advertisement in the Birmingham Evening Mail; the band would soon change their name to the Idle Race. Despite recording two critically acclaimed albums with the band and producing the second, success eluded him. In 1970, Lynne accepted an offer from friend Roy Wood to join the line-up of the more successful band the Move. Lynne contributed many songs to the Move's last two albums while formulating, with Roy Wood and Bev Bevan, a band built around a fusion of rock and classical music - a project which would become the successful Electric Light Orchestra.
The original idea was. Bevan has, since suggested that Lynne had little interest in the Move, stating: "The only reason Jeff Lynne joined the Move was to form a new band, he was never interested in being a part of the Move. It was a money-earning band, it subsidised the beginning of ELO for getting musicians in and recording and rehearsals and stuff. Jeff never wanted to be in the Move, he wanted to form a new band."Problems led to Wood's departure from ELO in 1972, after the band's eponymous first album, leaving Lynne as the band's dominant creative force. Thereafter followed a succession of band personnel changes and popular albums: 1973's ELO 2 and On the Third Day, 1974's Eldorado and 1975's Face the Music. By 1976's A New World Record, Lynne had developed the roots of the group into a more complex and unique pop-rock sound mixed with studio strings, layered vocals, tight, catchy pop singles. Lynne's now complete creative dominance as producer, arranger, lead singer and guitarist could make ELO appear to be an solo effort.
However, the ELO sound and the focus of Lynne's writing was shaped by Louis Clark's and Richard Tandy's co-arranging, under Lynne's direction, Bev Bevan's drumming, while Richard Tandy's integration of the Moog and Mellotron, with more novel keyboard technology, gave Lynne's songs a more symphonic sound. Kelly Groucutt's distinctive voice mixed with Lynne's to produce the classic ELO harmonic vocal sound; the pinnacle of ELO's chart success and worldwide popularity was the expansive 1977 double album Out of the Blue, conceived in a Swiss chalet during a two-week writing marathon. The band's 1978 world tour featured laser light show. In order to recreate the complex instrumental textures of their albums, the band used pre-recorded supplemental backing tracks in live performances. Although that practice has now become commonplace, it caused considerable derision in the press of the time. Lynne has stated that he prefers the creative environment of the studio to the rigours and tedium of touring.
In 1979, Lynne followed up the success of Out of the Blue with Discovery, which held No. 1 in the UK for 5 weeks. The album is associated with its two disco-flavoured singles ("Shine a Little