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DISCID=bb0d7e0e
DTITLE=Electric Light Orchestra / On The Third Day (Remastered + Expan
DTITLE=ded)
DYEAR=1973
DGENRE=Rock
TTITLE0=Ocean Breakup/King Of The Universe
TTITLE1=Bluebird Is Dead
TTITLE2=Oh No Not Susan
TTITLE3=New World Rising/Ocean Breakup Reprise
TTITLE4=Showdown
TTITLE5=Daybreaker
TTITLE6=Ma-Ma-Ma Belle
TTITLE7=Dreaming Of 4000
TTITLE8=In The Hall Of The Mountain King
TTITLE9=Auntie (Ma-Ma-Ma- Belle Take 1)
TTITLE10=Auntie (Ma-Ma-Ma- Belle Take 2)
TTITLE11=Mambo (Dreaming Of 4000 Alt. Mix)
TTITLE12=Everyone's Born To Die (Bonus Track)
TTITLE13=Interludes (Previously Unissued)
EXTD=On The Third Day (Remastered + Expanded)\n\nOriginally Released D
EXTD=ecember 1973\nCD Edition Released January 1987 and June 1989.\nRe
EXTD=mastered + Expanded CD Edition Released September 12, 2006\n\nAMG
EXTD= EXPERT REVIEW: (Expanded) Electric Light Orchestra's third album
EXTD= showed a marked advancement, with a fuller, more cohesive sound 
EXTD=from the band as a whole and major improvements in Jeff Lynne's s
EXTD=inging and songwriting. This is where the band took on its famili
EXTD=ar sound, Lynne's voice suddenly showing an attractive expressive
EXTD=ness reminiscent of John Lennon in his early solo years, and also
EXTD= sporting a convincing white British soulful quality that was utt
EXTD=erly lacking earlier. The group also plugged the holes that made 
EXTD=its work seem so close to being ragged on those earlier records. 
EXTD="Showdown" and "Ma-Ma-Ma Belle" (the latter featuring Marc Bolan 
EXTD=on double lead guitar with Lynne) became AM radio fixtures while 
EXTD="Daybreaker" became a concert opener for the group and, along wit
EXTD=h "In the Hall of the Mountain King," kept the group's FM/art roc
EXTD=k credentials in order. \n\n[ELO's third album -- now sporting it
EXTD=s original U.K. cover image -- arrived in its remastered, audioph
EXTD=ile version with a rich, subtle sound that captures not only the 
EXTD=depth of the original master but also its finest nuances, so that
EXTD= you can practically hear the bowing on the strings for "Bluebird
EXTD= Is Dead," and the opening "Ocean Breakup" is loud enough to anno
EXTD=y your neighbors without much trouble or a big volume boost. And 
EXTD=even the familiar AM radio material such as "Showdown," "Daybreak
EXTD=er," and "Ma-Ma-Ma Belle" get new life pumped into them with the 
EXTD=presentation here -- what one really appreciates on this new edit
EXTD=ion is finally hearing the master presented full out, the way it 
EXTD=was done in the studio originally. Lynne was immensely proud of w
EXTD=hat he and the band -- which went through some important personne
EXTD=l changes in the midst of recording this album -- accomplished, a
EXTD=nd one can now fully understand his reaction. This was progressiv
EXTD=e rock, but with a distinctly rock & roll edge and also elements 
EXTD=of pop-soul that wasn't quite like anything else coming out of ei
EXTD=ther the prog rock or soul fields as they existed then; indeed, i
EXTD=t's easy to hear now in these tapes something of a spirit close t
EXTD=o Lynne's Birmingham roots, coupled with the experimentation he p
EXTD=icked up under the influence of the Beatles' records. He didn't h
EXTD=ave a Paul McCartney or a George Harrison, or even a George Marti
EXTD=n to play off of and augment what he was doing, but as a one-man 
EXTD=creative operation, the results are still impressive, and the out
EXTD=takes only enhance the listening. The early versions of "Ma-Ma-Ma
EXTD= Belle" (titled "Auntie"), the alternate mix of "Dreaming of 4000
EXTD=" (designated "Mambo"), plus the previously unissued "Evereyone's
EXTD= Born to Die" -- which somehow makes this reviewer think of mid-'
EXTD=60s Bob Dylan amid its over-produced prog rock attributes -- and 
EXTD="Interludes" all let you in on different aspects of the creative 
EXTD=process at work behind this album. The extensive annotation fills
EXTD= in the holes between it all in a very satisfying fashion.] -- Br
EXTD=uce Eder \n\nAMG EXPERT REVIEW: ELO's sound came together here, h
EXTD=ooked around rocked-up classics and Jeff Lynne's guitar. -- Bruce
EXTD= Eder\n\nCD Connection Review:\nIn some ways, 1973's ON THE THIRD
EXTD= DAY is the first "true" ELO album. Though co-founder Roy Wood ha
EXTD=d left the band to form the more experimental Wizzard after the f
EXTD=irst album, his influence was still all over 1972's ELO II, espec
EXTD=ially on the orchestrated cover of Chuck Berry's "Roll Over Beeth
EXTD=oven." ON THE THIRD DAY, however, is pure Jeff Lynne, the first a
EXTD=lbum completely devoted to his soon-to-be enormously successful b
EXTD=lend of psychedelic-era Beatles and 19th-century classical music.
EXTD= The pristinely recorded results are ultra-melodic and incredibly
EXTD= lush, with ballads like "Bluebird Is Dead" and rockers like the 
EXTD=hits "Showdown" and "Ma-Ma-Ma Belle." The recurrent "Ocean Breaku
EXTD=p" theme foreshadows the concerto-like elements of ELO's next rec
EXTD=ord, ELDORADO, while the group's rockish rearrangement of "In the
EXTD= Hall of the Mountain King" is the group's final attempt at Emers
EXTD=on, Lake & Palmer-like classical-rock fusion. \n\nAMAZON.COM CUST
EXTD=OMER REVIEW\nUS re-release finally appears, September 26, 2006\nR
EXTD=eviewer: Wayne Klein "wtdk" (Fairfield, CA United States)\nAlthou
EXTD=gh not quite up to the level of ELO's next album "El Dorado" "On 
EXTD=the Third Day" proved to a huge jump forward for the band. When R
EXTD=oy Wood jumped ship from the band during the recording of the sec
EXTD=ond album "ELO II" Jeff Lynne suddenly found himself the sole wri
EXTD=ting member of the band. The second album while quite good (and f
EXTD=eaturing their hit "Roll Over Beethoveen")featured long elaborate
EXTD= songs but it's clear that Lynne hadn't found his voice as a song
EXTD=writer for the band quite yet. "On The Third Day" manages to inte
EXTD=grate the long tracks with shorter rockers in a nice balance. \n\n
EXTD=With "On the Third Day" he came back with his strongest batch of 
EXTD=songs yet. There's still strong elements of prog here with songs 
EXTD=such as "Ocean Break Up/King of the Universe" but there's also el
EXTD=ements of Lynne's prowess as a pop songwriter on the R&B influenc
EXTD=ed "Showdown", the hard rocking "Ma-Ma-Ma-Belle" and a couple of 
EXTD=solid ballads as well. The true find here though is the second so
EXTD=ng Lynne recorded with glitter rock star Marc Bolan on guitar (Bo
EXTD=lan also appears on guitar for "Ma-Ma-Ma Belle" and "Dreaming of 
EXTD=4000" with Bolan playing in unison with Lynne on lead for "Belle"
EXTD=). "Everyone's Born To Die" would have fit perfectly on the origi
EXTD=nal album and is a terrific song. I'm surprised it took so long f
EXTD=or it to finally appear on CD. We also get early versions of "Ma-
EXTD=Ma'Ma Belle" (two of them)the previously unreleased atmospheric "
EXTD=Interludes" and "Mambo" an alternate mix of "Dreaming of 4000" pu
EXTD=t together for this set. \n\nAs with the previous releases we get
EXTD= both brief contemporary humorous comments from Lynne ("for some 
EXTD=people this album is a little obscure...for others more obscure")
EXTD=and comments from the time the album was released. There's also t
EXTD=he usual photos and we get the original UK album cover finally re
EXTD=stored to its rightful place (replacing Richard Avedon's bellybut
EXTD=ton photo which is included on the inside cover), memorabilia pho
EXTD=tos and complete credits for the CD. A top notch remaster/re-rele
EXTD=ase "On the Third Day" was worth the wait. \n\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\n"Do You Have John Lennon in a Can?", September 18, 20
EXTD=06\nReviewer: Thomas D. Ryan "American Hit Network" (New York)\nA
EXTD=merican fans of Electric Light Orchestra might not even recognize
EXTD= this re-released album by its cover (I didn't), which now featur
EXTD=es the original English cover art instead of the black and white 
EXTD=photograph that adorned the original American release. Those same
EXTD= fans ought to recognize the album's content, though. As the titl
EXTD=e implies, "On the Third Day" is E.L.O.'s third album, and the fi
EXTD=rst to break the band open in America. It also begs the question,
EXTD= "Did Jeff Lynne have some type of megalomaniacal God complex?" T
EXTD=he title speaks for itself, while the cover shows Lynne's head ho
EXTD=vering above the earth like some type of omnipotent being, Add a 
EXTD=song called "(I am) King of the Universe" into the mix and you ha
EXTD=ve the makings for a few years of good therapy. \nThe real questi
EXTD=on, though, is where Lynne gets his chutzpah. In my opinion, "On 
EXTD=the Third Day" sounds like canned John Lennon, both literally and
EXTD= figuratively. In the figurative sense, Jeff Lynne writes as thou
EXTD=gh he's picking up the ball that Lennon allegedly dropped. Litera
EXTD=lly speaking, the production values suggest Lennon's "Mind Games,
EXTD=" with too much compression. Lennon himself liked E.L.O., though,
EXTD= and I can understand why. He recognizes the gimmickry (backwards
EXTD= guitar, orchestration and synthesizer blends, not to mention the
EXTD= Beatle-esque chord changes on virtually everything) as something
EXTD= he originated, so it probably comforted him at a time when his o
EXTD=wn creativity was scattershot. In 1974, Lennon appeared on WNEW-F
EXTD=M to play a few songs and to promote his album "Walls and Bridges
EXTD=." Spinning songs with DJ Dennis Elsis, Lennon played "Showdown" 
EXTD=from "On the Third Day," calling it a combination of Lou Christie
EXTD='s "Lightning Strikes" and Marvin Gaye's "Heard It through the Gr
EXTD=apevine". He was being honest, and kind. Today, it sounds like a 
EXTD=Danger Mouse mash-up of Gaye, Christie, and the Beatles - sort of
EXTD= a "Motown Mystery Tour." \nThere are plenty of other borrowed th
EXTD=emes as well, but it works both ways. The full title for "Bluebir
EXTD=d Is Dead" should have been "McCartney's 'Bluebird' Is Dead but L
EXTD=ennon's 'Strawberry Fields' Is Still Alive and Well." Elsewhere, 
EXTD=Leonard Cohen's "Suzanne" sounds like it provided aural inspirati
EXTD=on for "Dreaming of 4000," while in reverse, the miserably insipi
EXTD=d disco tune "Everlasting Love" (remember Carl Carlton?) seems li
EXTD=fted wholesale from "Daybreaker." Rod Stewart might also have som
EXTD=e explaining to do. "Hot Legs" borrows generously from "Ma-Ma-Ma 
EXTD=Belle," or maybe it's fodder for Foreigner's "Hot Blooded"? Damn,
EXTD= this is confusing... \nRegardless of who's zoomin' who, the albu
EXTD=m itself has an internal logic that helps it survive thirty some-
EXTD=odd years after its creation. The song structures and production 
EXTD=techniques provide plenty of evidence that Jeff Lynne had a visio
EXTD=n. Is he "King of the Universe"? I think not, but for a while, he
EXTD= was king of the turf that he leased from John Lennon. B+ Tom Rya
EXTD=n\n\n\nAMAZON.COM CUSTOMER REVIEW\nOrchestral grandeur, pure pop,
EXTD= and gritty "rawk" collide, September 14, 2006\nReviewer: Dr. Emi
EXTD=l Shuffhausen (Central Gulf Coast)\nHERE IS THE NEWS \n\nEpic/Leg
EXTD=acy continues its superb re-mastering/re-release program with the
EXTD= brilliant catalog of The Electric Light Orchestra by releasing 1
EXTD=973's ON THE THIRD DAY. The sonics here are spectacular; the grap
EXTD=hics are much-improved; the liner notes by Jeff Lynne and ELO arc
EXTD=hivist extraordinnaire, Rob Caiger, are interesting; the bonus mu
EXTD=sic is revelatory. \n\nON THE THIRD DAY is a thrill ride, a gutsy
EXTD= swing for the fences that connects on many levels. On this, ELO'
EXTD=s third album, the vision that founders Roy Wood and Jeff Lynne o
EXTD=riginally had for the fusion of classical strings/arrangements wi
EXTD=th rock and roll begans to really take shape (though Wood had alr
EXTD=eady departed midway through ELO's second album). The groundwork 
EXTD=for the band's masterpiece follow-up album, ELDORADO, is well-lai
EXTD=d here, as strings and electronics blend smoothly, rather than be
EXTD=ing in conflict. \n\nRichard Tandy, ELO's outstanding keyboardist
EXTD=, really comes into his own here. Mik Kaminski's violin work is a
EXTD=lso stellar. Jeff Lynne's vocals are in fine form, and Bev Bevan'
EXTD=s drumming is primal and sublime--all at once. Michael de Albeque
EXTD=rque, who was ELO's bassist/backing vocalist from ELO II through 
EXTD=ELDORADO, also features prominently, contributing a robust sound.
EXTD= \n\nTHE SONGS \n\nOverall, the themes of Creation, life, and dea
EXTD=th are played out, particularly during the first half of the albu
EXTD=m. This is ELO's most "spiritually seeking" work, and appropriate
EXTD=ly, one of it's most experimental and progressive musical venture
EXTD=s as well. Here is a look at the songs: \n\nThe album opens with 
EXTD=the intense drama of the instrumental "Ocean Breakup," which beco
EXTD=mes a recurring theme...with skittering strings and droning synth
EXTD=s, it is heavy and portentious, heralding the coming of "King of 
EXTD=the Universe," a solemn-yet-hopeful hymn that starts as a ballad 
EXTD=and builds into a crescendo of crashing drums and blaring symphon
EXTD=ic blasts. \n\n"Bluebird Is Dead" is a ringer for a REVOLVER-era 
EXTD=Beatles tune; Lynne's voice sometimes bears an uncanny resemblanc
EXTD=e to John Lennon's. Though it's a ballad, it packs a wallop with 
EXTD=it's emotionally intense lyrics, vocals, and violin heroics...not
EXTD= to mention a backward guitar solo that pleasingly blows the mind
EXTD=. \n\nThe next track is a commentary on the pointlessness of ennu
EXTD=i--a cynical look at jadedness, if you will: "Oh No Not Susan" is
EXTD= performed almost haphazardly as Jeff weezes his way through the 
EXTD=sad lyrics. He mocks the song's title character and her attitude,
EXTD= casually spitting out a spontaneous f-bomb (the only recorded in
EXTD=stance in the ELO catalog)--meant, presumably, not to be vulgar, 
EXTD=but to display "Susan's" apathy and arrogance. \n\nThings pick up
EXTD= dramatically with the poppy, optimistic "New World Rising" which
EXTD= has some very stellar interplay between Tandy's keyboards and th
EXTD=e string section. Lyrically, the song is a strong forerunner to E
EXTD=LO's later smash hit, "Mr. Blue Sky," and the arrangement here fo
EXTD=recasts that as well. It's much more "proggy" though, with some p
EXTD=retty daring, spectacular playing, which then segues into the ins
EXTD=trumental "Ocean Breakup (Reprise)," which brings the opening son
EXTD=g cycle to a close. \n\nSo far, things are holding together stron
EXTD=gly thematically--but, hold the phones, here comes...ELO doing Mo
EXTD=town! With "Showdown," ELO steps right into Marvin Gaye territory
EXTD= with a funky, soulful original tune that invaded the pop charts 
EXTD=and proved that when Jeff Lynne said "boogie," he wasn't just bei
EXTD=ng facetious. It's a brilliant tune--one of the best ones the ban
EXTD=d has ever done, with Lynne's vocals strongly recalling "I Heard 
EXTD=It Through the Grapevine," while de Albequerque's snaky bass line
EXTD=s, Bevan's rhythmic percussive artistry, and those smoldering str
EXTD=ings laying down a hot foundation for a tale of love gone wrong. 
EXTD=In the midst of it all, Jeff Lynne plucks an amazing guitar solo 
EXTD=that stings and bites and leaves a mark...it's as bluesy and soul
EXTD=ful as anything Stevie Ray Vaughn or Eric Clapton or BB King ever
EXTD= played. After hearing this track, John Lennon pronounced ELO the
EXTD= "son of the Beatles." \n\nAs great as "Showdown" is, it is somew
EXTD=hat of an anomaly among the rest of the tracks. With "Daybreaker,
EXTD=" ELO moves back into the prog-pop arena with one of it's signatu
EXTD=re instrumental workouts--a thrilling synth/strings duel that is 
EXTD=underlaid with some hot guitar and a propulsive chugging rhythm. 
EXTD=\n\nNothing in ELO's earlier catalog would prepare you for the he
EXTD=avy riffage of the next song, "Ma-Ma-Ma Belle," which rattles the
EXTD= jaw and is liable to produce tappage in your toes or stompage in
EXTD= your feet. Lynne's close friend, Marc Bolan (of T Rex), plays un
EXTD=credited guitar here, as he and Lynne tear through the notes like
EXTD= twin chainsaws--and the ELO string section matches the heaviness
EXTD= with some heavy sawing of it's own. You'd have to go back in Lyn
EXTD=ne's career to The Move with "Brontosaurus" to find anything quit
EXTD=e so raucous, but even that classic tune doesn't swing with the p
EXTD=izazz of this one. \n\n"Dreaming of 4000" is solidly related to t
EXTD=he earlier tunes from ON THE THIRD DAY, with it's spiritual theme
EXTD=, visionary lyrics, experimental prog arrangement, and daring, de
EXTD=xterous playing by all parties involved. Violinist Kaminski prove
EXTD=s himself a worthy successor to maestro Wilf Gibson with his brea
EXTD=thtaking bow work near the end of the song. \n\nAnd then there wa
EXTD=s "In the Hall of the Mountain King," a faithful-yet-fresh rework
EXTD=ing of Grieg's classical masterpiece. The first time I heard ELO'
EXTD=s "In the Hall of the Mountain King," I flipped. I had never hear
EXTD=d anything like it before...I don't know that I've ever heard any
EXTD=thing like it since. This instrumental epic lumbers like a locomo
EXTD=tive, slowly picking up steam before it becomes a frenzy of orche
EXTD=stral fury, highlighted by Kaminski's almost gypsy-like violin th
EXTD=eatrics which strongly recall The Who's "Baba O'Reilly" at points
EXTD=. Sonically and in mood, this ranks somewhere between "Roll Over 
EXTD=Beethoven" and "Fire On High" in the ELO canon. In short, it neve
EXTD=r ceases to thrill and amaze. \n\nBONUS SONGS \n\nThe early versi
EXTD=ons of "Ma-Ma-Ma Belle" and "Dreaming of 4000" are interesting to
EXTD= hear, but the main draw is the Lynne/Bolan piece, "Everyone's Bo
EXTD=rn to Die" which combines the soulfulness of "Showdown" with the 
EXTD=spirituality of "Dreaming of 4000" in a buzzing, Beatlesque balla
EXTD=d. It's an amazingly gripping song, which would have fit perfectl
EXTD=y on the album in its original release, but makes a very, very we
EXTD=lcome bonus here. The "Interludes" are a collection of the little
EXTD= bits of musical whimsy that connect many of the songs throughout
EXTD=, giving the album at least a loose thematic cohesion. \n\nAs men
EXTD=tioned before, the album graphics are restored to their original 
EXTD=vision (goodbye to the Richard Avedon "bellybutton" cover) and th
EXTD=e liner notes are highly enjoyable and informative. Special thank
EXTD=s to archivist Rob Caiger, Face the Music webmaster Ken Greenwell
EXTD=, and ELO Communications Queen/super fan Lynn Hoskins for all the
EXTD=y did to make this historic and vital project possible. \n\nRECOM
EXTD=MENDATION \n\nFor sheer drama, ON THE THIRD DAY tops virtually an
EXTD=ything ELO has ever produced. It's still a little uneven compared
EXTD= with some of their later work, but ELO was never more spirited t
EXTD=han this daring album. Intense, brooding, longing, explosive, and
EXTD= visionary, it holds up extremely well today, more than 30 years 
EXTD=later. \n\nIf all you know of ELO are the band's radio pop hits, 
EXTD=you really need to check out ON THE THIRD DAY to see the soul, th
EXTD=e seeking, the groundbreaking artistry and the courage that under
EXTD=lies all that the band has ever done. \n\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe third try is a charm f
EXTD=or E.L.O., September 29, 2005\nReviewer: Darth Kommissar (Las Veg
EXTD=as, NV (USA))\nINTRODUCTION: \nThe Electric Light Orchestra was o
EXTD=ne of the finest classic rock bands in all the land. Jeff Lynne's
EXTD= ability to combine pop rock and classical music stylings were no
EXTD=thing short of excellent, as his band demonstrated many a time. H
EXTD=owever, the beginning of the career for Lynne's band was a bit tu
EXTD=rbulent. Following the departure of co-frontman Roy Wood, Lynne w
EXTD=as left on his own as the only frontman. He now had to find his o
EXTD=wn musical voice. His first album without Wood, while an excellen
EXTD=t album, showed that Lynne still had a ways to go before finding 
EXTD=a sound all his own. In 1973, E.L.O. released their third album, 
EXTD=the appropriately-titled On The Third Day. Does Lynne find the gr
EXTD=oup's voice here, or does the identity crisis continue? Keep read
EXTD=ing, and find out! \n\nOVERVIEW: \nElectric Light Orchestra relea
EXTD=sed On The Third Day in 1973. The album was produced by Jeff Lynn
EXTD=e, and features the tracks Ocean Breakup, King Of The Universe, B
EXTD=luebird Is Dead, Oh No Not Susan, New World Rising, Ocean Breakup
EXTD= Reprise, Showdown, Daybreaker, Ma-Ma-Ma Belle, Dreaming Of Four 
EXTD=Thousand, and In The Hall Of The Mountain King. \n\nREVIEW: \nThe
EXTD=y say the third time around is the charm. For Jeff Lynne's Electr
EXTD=ic Light Orchestra, that age-old saying is certainly true. It's o
EXTD=n this album that Jeff Lynne really began to create a musical sou
EXTD=nd all his own for E.L.O. Similar to the Lynne/Wood sound of the 
EXTD=old days, but at the same time totally and uniquely Lynne. Nine t
EXTD=racks grace the group's third effort, and not surprisingly, they 
EXTD=are all excellent. Let's take a look at each of them. \n\n-SIDE A
EXTD=- \n\n-Ocean Breakup/King Of The Universe: This two-piece medley 
EXTD=starts off the album, and rather excellently as usual. The Ocean 
EXTD=Breakup piece which starts the album as a whole has that Baroque-
EXTD=flavored sound the Roy Wood incarnation of E.L.O. was known for. 
EXTD=It does a great job getting things started. The latter of the two
EXTD= pieces in this medley, King Of The Universe, is a melodic pop tu
EXTD=ne featuring orchestral arrangements and the occasional electroni
EXTD=c sound. It is very similar to 10358 Overture, the song that kick
EXTD=ed off the band's debut, and that's a GOOD thing. \n\n-Bluebird I
EXTD=s Dead: This tune is melodic, Beatles-esque pop, but with the ele
EXTD=ctronic touches thanks to keyboards and synthesizers, it's unique
EXTD=ly E.L.O. An entertaining number from start to finish. \n\n-Oh No
EXTD= Not Susan - Here we have a slow and melodic ballad of sorts. Wel
EXTD=l, as close as E.L.O. gets to doing what could be considered a ba
EXTD=llad. Not surprisingly, the song flat out rocks. Jeff Lynne's voi
EXTD=ce is very well catered to slower, softer songs, and it shows her
EXTD=e. An excellent tune that shows off the band's widely diverse sid
EXTD=e. \n\n-New World Rising/Ocean Breakup: As the title of the latte
EXTD=r piece may have implied, this seems like a retread of the album'
EXTD=s opening piece, but at the same time, it does manage to remain f
EXTD=resh all the way through. With new elements as well as all the be
EXTD=st from the piece being "reprised", this is another solid tune. \n
EXTD=\n-Showdown: This is one of the two big hits the album spawned. W
EXTD=ith some of the finest violin and bass the band ever used, this s
EXTD=ong takes on a soul-influenced sound, which is very distinctly se
EXTD=venties. You've gotta love E.L.O. for all their little experiment
EXTD=s, of which this is no exception. \n\n-SIDE B- \n\n-Daybreaker: T
EXTD=his tune is an instrumental, and what an instrumental it is! The 
EXTD=first twenty-five seconds make for a nice intro, and then the tun
EXTD=e combines classic E.L.O. orchestration with what might be the be
EXTD=st electronic-style sound arrangement they ever did. You've gotta
EXTD= hear this gem to appreciate it. Too bad it's so underrated. \n\n
EXTD=-Ma-Ma-Ma Belle: This is straight-up classic-style rock. Marc Bol
EXTD=an of T. Rex played guitar on this song (although he is uncredite
EXTD=d in the album's liner notes.) The song became one of the band's 
EXTD=most popular, and it's not hard to see why. \n\n-Dreaming Of Four
EXTD= Thousand: Essentially, this song brings together everything else
EXTD= the album does well - and brings it together in the finest ways 
EXTD=imaginable. Straight-up rock, orchestral arrangement, electronic 
EXTD=sounds from keyboards and synthesizers - this song has it all, an
EXTD=d tons of musical diversity, as well. Everything you could ever w
EXTD=ant from E.L.O., this song has it. \n\n-In The Hall Of The Mounta
EXTD=in King: Just when you thought E.L.O. couldn't do anything else o
EXTD=n this album, what do they do? They serve up the DEFINITIVE versi
EXTD=on of this classical Edward Grieg piece. Words can't do this one 
EXTD=justice. A better version of this tune never existed before this,
EXTD= hasn't existed since, and never will exist. The band did such a 
EXTD=good job on this piece, it's a shame they didn't cover more class
EXTD=ical music standards and work their magic on them. Oh, well. \n\n
EXTD=OVERALL: \nThis album RULES. Jeff Lynne is a musical mastermind, 
EXTD=and if you need solid proof of that claim, look no further than t
EXTD=his album. Though probably not the best place for newbies to the 
EXTD=group, tried and true fans WILL NOT be disappointed with this alb
EXTD=um. Final verdict? If you're at all a fan of the group, this one 
EXTD=is HIGHLY RECOMMENDED! \n\nEDITION NOTES: \nThis album was only r
EXTD=eleased on CD once in America. And personally, I think the album 
EXTD=could benefit from remastering and reissuing. The sound quality i
EXTD=sn't terrible, but it could use some boosting. Likewise, it seems
EXTD= to be fading off store shelves, so reissuing treatment is really
EXTD= needed. Too bad it isn't likely to happen soon...\n\n\nAMAZON.CO
EXTD=M CUSTOMER REVIEW\nI hate to drag down the average customer revie
EXTD=w, but...., July 18, 2002\nReviewer: A music fan\nLet's face it, 
EXTD=this is a nice little transitional record for ELO. It obviously h
EXTD=as some high points. For instance, "Showdown" is the first really
EXTD= good ELO single, and "Dreaming of 4000" is just great. Also, "Ma
EXTD=-Ma-Ma Belle" rocks and it is certainly a good song, even if it i
EXTD=s somewhat derivative (of a Mott the Hoople song, I can't remembe
EXTD=r the name of it, though). \nThe first side suite is solid, but i
EXTD=t pales when compared to what Lynne would accomplish on ELDORADO 
EXTD=or even on the "Concerto for a Rainy Day" from OUT OF THE BLUE. "
EXTD=Bluebird is Dead" probably the best song from the suite. \n\nSo, 
EXTD=over-all, this is a good, but not great record. But, hey, it was 
EXTD=released only about 10 months after ELO II. Jeff and the boys wou
EXTD=ld really hit their stride on the next album.\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\non the third day is a great album, April 3, 2000\nRev
EXTD=iewer: Stewart Stewson (denmark,ks.)\nThis is the 3rd release for
EXTD= E.L.O. . Jeff Lynne was just coming off ELO2 without friend Roy 
EXTD=Wood and with this release it showed that he was doing just fine.
EXTD= The disc starts out with a conceptual work of "Ocean Breakup"/"K
EXTD=ing of the Universe" to the lovely "Bluebird is Dead", "Oh No Not
EXTD= Susan" if you listen really close you can here Jeff Lynne drop t
EXTD=he F-bomb. The concept ends with "New World Rising"/"Ocean Breaku
EXTD=p Reprise", this song resembles The Beatles one of Jeff's biggest
EXTD= influences. The big hit off this disc was the r&b sounding "Show
EXTD=down" #53 in 1974. Side 2 begins with the minor hit #87 "Daybreak
EXTD=er" a great instrumental with some fine snyth playing from Richar
EXTD=d Tandy. "Ma-Ma-Ma Belle" should have been a top 10 hit but radio
EXTD= was'nt ready for this jarring rock song, great slide guitar by J
EXTD=eff and tremendous cello work by Hugh McDowell and Mike Edwards. 
EXTD="Dreaming of 4000" is a great song, I heard this song on many a r
EXTD=ock-religious radio shows in 1974. The cd finishes with ELO's own
EXTD= arrangment of "In The Hall Of The Mountain King" it starts out w
EXTD=ith spooky strings and great drumming by Bev Bevan, in the middle
EXTD= Mik Kaminski shines for about a 50 second violin solo. As a whol
EXTD=e this disc flows with excellence. P.S. If you love early ELO try
EXTD= and find "B.B.C. Live" a 2 cd set worth having it has a lot of g
EXTD=reat stuff on it!\n\nAMAZON.COM CUSTOMER REVIEW\nJeff Lynne bring
EXTD=s it all together!, February 8, 2000\nReviewer: Henry R. Kujawa (
EXTD="The Forbidden Zone" (Camden, NJ))\nIt would seem everything Jeff
EXTD= Lynne was trying to accomplish when he & Roy Wood concocted ELO 
EXTD=finally came together on this album. Rock & classical instruments
EXTD= blend seamlessly, and Lynne's song are an even mix of uplifting 
EXTD=and depressing. (Anyone ever notice how many sad songs Lynne has 
EXTD=done over the years?) The first 4 tracks meld together with instr
EXTD=umental bridges to form one extended piece, "Ocean Breakup" (not 
EXTD=unlike the later "Concerto For A Rainy Day") which describes 4 ph
EXTD=ases of a romantic break-up thru excitement, sadness & finally op
EXTD=timism. "Showdown" is sheer DRAMA, and one of most powerful mid-t
EXTD=empo songs ELO ever did. "Daybreaker" is a glorious instro, while
EXTD= "Ma-Ma-Ma Belle" is a ROCKER which proves loud guitars & a strin
EXTD=g section can work together better than almost anything they ever
EXTD= recorded. "Dreaming Of 4000" makes a perfect climax as it seems 
EXTD=to combine the styles of the rest of the album in one song! After
EXTD= covering Chuck Berry on ELO II, Lynne goes the other way and doe
EXTD=s a take on Grieg's "In The Hall Of The Mountain King". MAGNIFICE
EXTD=NT! This must be a popular piece, as I've also seen it done by su
EXTD=ch diverse bands as Lawrence Welk, Rick Wakeman and local surf ba
EXTD=nd The Mysterons! At this point, both Lynne & Wood were enjoying 
EXTD=separate successes; but ELO's was only warming up!\n\nAMAZON.COM 
EXTD=CUSTOMER REVIEW\nVision of rock/classic fusion comes to fruition.
EXTD=, March 27, 1999\nReviewer: A music fan\nOn this, ELO's third alb
EXTD=um, the vision that Roy Wood and Jeff Lynne originally had for th
EXTD=e fusion of classical strings/arrangements with rock and roll beg
EXTD=ans to really take shape. The groundwork for the band's masterpie
EXTD=ce follow-up album, ELDORADO, is well-laid here, as strings and e
EXTD=lectronics blend smoothly, rather than being in conflict. Richard
EXTD= Tandy, the band's outstanding keyboardist, really comes into his
EXTD= own here. Mik Kaminski's violin work is also stellar. Jeff Lynne
EXTD='s vocals are in fine form, particularly on the Marvin Gaye-influ
EXTD=enced hit song, "Showdown." And how about the incredible guitar s
EXTD=olo Jeff plays on that cut! Spiritual themes crop up throughout t
EXTD=he album, particularly on "King of the Universe," "New World Risi
EXTD=ng" (a forerunner of "Mr. Blue Sky"), and "Dreaming of 4000." A j
EXTD=aw-rattling rocker, "Ma-Ma-Ma Belle," has become an all-time ELO 
EXTD=concert favorite. If you ever wondered if strings could rock, che
EXTD=ck this one out. And, two of ELO's best instrumentals are also he
EXTD=re: "Daybreaker," a lively, superb synth-rock hit (#87 in BILLBOA
EXTD=RD), and the epic "In the Hall of the Mountain King." The first t
EXTD=ime I heard "In the Hall of the Mountain King," I flipped. I had 
EXTD=never heard anything like it before...I don't know that I've ever
EXTD= heard anything like it since. For sheer drama, ON THE THIRD DAY 
EXTD=ranks up there with anything ELO has ever produced. It's still a 
EXTD=little uneven compared with some of their later work, but ELO was
EXTD= never more spirited than ON THE THIRD DAY.\n\nHalf.com Album Not
EXTD=es\nElectric Light Orchestra: Jeff Lynne (vocals, guitar); Mik Ka
EXTD=minski (violin); Mike Edwards (cello); Richard Tandy (piano, Moog
EXTD= synthesizers); Michael De Albuquerque (bass); Bev Bevan (drums).
EXTD=\n\nIn some ways, 1973's ON THE THIRD DAY is the first "true" ELO
EXTD= album. Though co-founder Roy Wood had left the band to form the 
EXTD=more experimental Wizzard after the first album, his influence wa
EXTD=s still all over 1972's ELO II, especially on the orchestrated co
EXTD=ver of Chuck Berry's "Roll Over Beethoven." ON THE THIRD DAY, how
EXTD=ever, is pure Jeff Lynne, the first album completely devoted to h
EXTD=is soon-to-be enormously successful blend of psychedelic-era Beat
EXTD=les and 19th-century classical music. The pristinely recorded res
EXTD=ults are ultra-melodic and incredibly lush, with ballads like "Bl
EXTD=uebird Is Dead" and rockers like the hits "Showdown" and "Ma-Ma-M
EXTD=a Belle." The recurrent "Ocean Breakup" theme foreshadows the con
EXTD=certo-like elements of ELO's next record, ELDORADO, while the gro
EXTD=up's rockish rearrangement of "In the Hall of the Mountain King" 
EXTD=is the group's final attempt at Emerson, Lake & Palmer-like class
EXTD=ical-rock fusion.
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