# xmcd
#
# Track frame offsets: 
#        150
#        17332
#        35997
#        53237
#        70772
#        89067
#        109452
#        126949
#        133044
#        154079
#        172069
#        196985
#        216107
#        238860
#        254456
#        277507
#        297281
#        318707
#        320671
#        328917
#
# Disc length: 4589 seconds
#
# Revision: 1
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=3d11eb14
DTITLE=Electric Light Orchestra / Out Of The Blue (Remastered + Expand
DTITLE=ed)
DYEAR=1977
DGENRE=Rock
TTITLE0=Turn To Stone
TTITLE1=It's Over
TTITLE2=Sweet Talkin' Woman
TTITLE3=Across The Border
TTITLE4=Night In The City
TTITLE5=Starlight
TTITLE6=Jungle
TTITLE7=Believe Me Now
TTITLE8=Steppin' Out
TTITLE9=Standin' In The Rain
TTITLE10=Big Wheels
TTITLE11=Summer And Lightning
TTITLE12=Mr. Blue Sky
TTITLE13=Sweet Is The Night
TTITLE14=The Whale
TTITLE15=Birmingham Blues
TTITLE16=Wild West Hero
TTITLE17=Wild West Hero (Alternate Bridge - Home Demo)
TTITLE18=The Quick And The Daft (Previously Unissued Bonus Track)
TTITLE19=Latitude 88 North (Previously Unissued Bonus Track)
EXTD=Out Of The Blue (Remastered + Expanded)\n\nOriginally Released No
EXTD=vember 1977\nUSA CD Edition Released June 1987\nRemastered + Expa
EXTD=nded CD Edition Released February 20, 2007 \n\nAMG EXPERT REVIEW:
EXTD= The last ELO album to make a major impact on popular music, Out 
EXTD=of the Blue was of a piece with its lavishly produced predecessor
EXTD=, A New World Record, but it's a much more mixed bag as an album.
EXTD= For starters, it was a double LP, a format that has proved daunt
EXTD=ing to all but a handful of rock artists, and was no less so here
EXTD=. The songs were flowing fast and freely from Jeff Lynne at the t
EXTD=ime, however, and well more than half of what is here is very sol
EXTD=id, at least as songs if not necessarily as recordings. "Sweet Ta
EXTD=lkin' Woman" and "Turn to Stone" are among the best songs in the 
EXTD=group's output, and much of the rest is very entertaining. The he
EXTD=avy sound of the orchestra, however, as well as the layer upon la
EXTD=yer of vocal overdubs, often seem out of place. All in all, the g
EXTD=roup was trying too hard to generate a substantial sounding doubl
EXTD=e LP, complete with a suite, "Concerto for a Rainy Day." The latt
EXTD=er is the nadir of the album, an effort at conceptual rock that s
EXTD=eemed archaic even in 1977. Another chunk is filled up with what 
EXTD=might best be called art-rock mood music ("The Whale"), before yo
EXTD=u finally get to the relief of a basic rocker like "Birmingham Bl
EXTD=ues." Even here, the group couldn't leave well enough alone -- ra
EXTD=ther than ending it on that note, they had to finish the album wi
EXTD=th "Wild West Hero," a piece of ersatz movie music that adds noth
EXTD=ing to what you've heard over the previous 65 minutes. In its def
EXTD=ense, Out of the Blue was massively popular and did become the ce
EXTD=nterpiece of a huge worldwide tour that earned the group status a
EXTD=s a major live attraction for a time. [Out of the Blue was reissu
EXTD=ed in 2007 as a 30th Anniversary Edition with new photos, liner n
EXTD=otes and three bonus tracks, including "Quick and the Daft," "Lat
EXTD=itude 88 North" and a home demo of "Wild West Hero".] -- Bruce Ed
EXTD=er\n\nHalf.com Details \nProducer: Jeff Lynne \n\nAlbum Notes\nEl
EXTD=ectric Light Orchestra: Jeff Lynne (vocals, guitar, keyboards); M
EXTD=ik Kaminski (violin); Hugh McDowell, Melvyn Gale (cello); Richard
EXTD= Tandy (keyboards); Kelly Groucett (bass); Bev Bevan (drums, perc
EXTD=ussion).\n\n1977 is remembered as both the year of punk and the y
EXTD=ear of disco. At the time, though, it was the year of Fleetwood M
EXTD=ac's RUMOURS and Electric Light Orchestra's OUT OF THE BLUE, two 
EXTD=albums that were simply inescapable. But where overexposure made 
EXTD=RUMOURS feel somewhat stale and dated, OUT OF THE BLUE sounds as 
EXTD=fresh now as it did at the time. This is due in large part to the
EXTD= obsessive insularity of Jeff Lynne's aesthetic. He seems not to 
EXTD=be ignoring musical trends, but to be simply unaware of them. Lyn
EXTD=ne's mid-period Beatles fixation combines with his love of lush o
EXTD=rchestrations and pristine production to create some of his stron
EXTD=gest music, including the enormous hits "Turn to Stone," "Sweet T
EXTD=alkin' Woman" and "Mr. Blue Sky." However, the autobiographical "
EXTD=Birmingham Blues" suggests that Lynne was tiring of the rock-star
EXTD= grind, which might explain ELO's lowered profile after this rele
EXTD=ase.\n\nAmazon.com Editorial Review\nELO's fusion of Beatles-esqu
EXTD=e harmonies and melodic structure, coupled with their symphonic a
EXTD=rrangements was just on the verge of wearing thin at the time the
EXTD=y released Out of the Blue. To argue that the double album went p
EXTD=latinum because of the band's live extravaganza to support it--th
EXTD=e band performed inside a flying saucer--is a premise worthy of c
EXTD=onsideration. Song for song, Out of the Blue is not as strong as 
EXTD=Face the Music, but it still has some of Jeff Lynne's finest comp
EXTD=ositions ever recorded. "Turn to Stone" and "Sweet Talkin' Woman"
EXTD= are almost downright giddy in their deliveries; the former openi
EXTD=ng with a string riff, the latter with a minor key violin line, b
EXTD=efore boasting a choral background accompaniment. "Mr. Blue Sky" 
EXTD=and "The Whale" are almost too hokey, yet still managed to work. 
EXTD="Standin' in the Rain," "Big Wheels," and "Summer and Lightening"
EXTD= are more memorable. But in the end, power cello riffs can only t
EXTD=ake you so far. Stick with a "greatest hits" or "best of" collect
EXTD=ion in this case. --Steve Gdula \n\nAMAZON.COM CUSTOMER REVIEW\nP
EXTD=ossibly Jeff Lynne's materpiece, May 30, 2006\nReviewer: Jon Jasp
EXTD=er "CustomCadillac" (Kennebunk, ME USA)\nThis album is quite poss
EXTD=ibly Jeff Lynne's masterwork - a blending of rock and real (not s
EXTD=ynthesized) strings into a series of amazing songs. Sure, here an
EXTD=d there, the lyrics are fluffy confections but in them I see wher
EXTD=e he was experimenting with "voices-as-instruments" ala Esquivel'
EXTD=s work (in which the syllablic singing subbing for instruments go
EXTD=t distracting, hearing four-part harmony "zoo-zoo-zoo-zooie, zooi
EXTD=e!" or "boink! boink!" got too cutsie, distracting and tiresome q
EXTD=uickly - Jeff Lynne pulls that idea off more cleanly and with les
EXTD=s distraction) Lynne got to Esquivel's level of silliness with th
EXTD=e idiotic, meaningless repetition of "Brruce!" in the hit "Don't 
EXTD=Bring me Down" from a later album. That juvenile "I'm-a-genius-an
EXTD=d-you'll-take-what-I-give you" attitude is happily missing from t
EXTD=his album - a genius at work who doesn't yet fatuously consider h
EXTD=imself to be a genius. \n\nI bought a used copy of this album, th
EXTD=us assume it was one of the earlier releases of the CD version. I
EXTD=f the order of songs given here is correct, CBS has corrected an 
EXTD=error on older copies. The original double album had 17 tracks ac
EXTD=ross four sides on two LP's. The older CD combined "Steppin' Out"
EXTD= and "Standin' in the Rain" into a single track, destroying album
EXTD= continuity and removing one of the album's best features - the "
EXTD=Concerto for a Rainy Day" The "Concerto" was comprised of four tr
EXTD=acks from side three of the album: \n\n"Standin' in the Rain" \n"
EXTD=Big Wheels" \n"Summer and Lightning" \n"Mr. Blue Sky" \n\nIn the 
EXTD=manner of the "concept album" of the 70's, the idea worked - four
EXTD= interconnected songs acting as the expression of a single idea. 
EXTD=If the table of contents I see on the current page is correct, CB
EXTD=S appears to have inserted "Standin' in the Rain" as its own trac
EXTD=k (track 10) which, while repeating the song (it's still included
EXTD= in the "Steppin' Out" compilation [track 9]) it restores the exi
EXTD=stence and correct order of the "Concerto." I'm glad to see that 
EXTD=gross error has been addressed as the "Concerto" was my favorite 
EXTD=part of the entire album. I may buy again just to get a corrected
EXTD= copy.\n\nAMAZON.COM CUSTOMER REVIEW\nThe Bomb, May 14, 2006\nRev
EXTD=iewer: Chris Cormier "Wonderbar" (canada)\nAfter hitting stride w
EXTD=ith New World Record, ELO presented their masterpiece on this alb
EXTD=um. Not a bad song on this DOUBLE album - probably 4 or 5 weaker 
EXTD=songs but still immaculately produced and performed. Don't bother
EXTD= looking for lyrical depth - the focus is on catchy, beautiful mu
EXTD=sic, instead of dabbling in politics, philosophy, heartache, etc.
EXTD= And ultimately, I listen to music because I like the songs. Ther
EXTD=e really is no face to this music - it's not about personal exper
EXTD=iences or grief or enlightenment, it's just singing because it fe
EXTD=els good to sing. Sometimes that all gets forgotten when the arti
EXTD=st starts thinking about his image, video, target audience, etc. 
EXTD=\n\nAnd what a broad set of styles! Firmly rooted in Lennon/McCar
EXTD=tney songwriting style, *modern* musical influences from around t
EXTD=he world are all included here. No medieval flute-music or easter
EXTD=n scales, or caveman grunting or dry baroque frilliness, this is 
EXTD=influenced by composers like Wagner, Mozart, Beethoven, mixed wit
EXTD=h glee club spirit and 50s music styles (Roy Orbison, Del Shannon
EXTD=, Buddy Holly, Beach Boys), like the Beatles themselves. It's ver
EXTD=y busy music, some people would say too cluttered. But I happen t
EXTD=o LIKE all the over the top vocal silliness that is in every song
EXTD= on this album, and the massive instrumental tapestry that is wov
EXTD=en into every track. 40 piece strings chugging along with a rock 
EXTD=beat, huge backing choirs singing nonsense syllables, George Harr
EXTD=ison-ish guitar solos, echoing vocals and harmonies - they're all
EXTD= here. After this album, they scaled back - they kind of had to, 
EXTD=they pulled out all the stops for this album. Mr Blue Sky is abou
EXTD=t as good a song as has been written since the Beatles broke up. 
EXTD=The astounding, unexpected, metallic synth note in 'Night in the 
EXTD=City', the serenity of 'The Whale' (if you don't like classical m
EXTD=usic you'll probably label this as pretentious), the exuberance o
EXTD=f 'Summer and Lightening', pretty well every song has such a stro
EXTD=ng original melody you'll be humming them long after the record s
EXTD=tops. \n\nAMAZON.COM CUSTOMER REVIEW\nSimply grandiose..., April 
EXTD=14, 2006\nReviewer: Torquemada "dunlopilo" (Atlanta, Georgia USA 
EXTD=/ Madrid, Spain.)\nMusic is like fashion. It goes by cycles. Howe
EXTD=ver, unlike fashion, when it's over, it doesn't really come back.
EXTD= \n\nELO is probably one of those super bands of the 70s-80s that
EXTD= will however be remembered forever because of their concept, sou
EXTD=nd and quality. And Out of the blue is to me the album one must h
EXTD=ave in a collection ! This album is diverse, rich,tonic and so po
EXTD=lished by fine studio musicians that I could talk about it on no 
EXTD=less than three pages. My favourite track is "Standing in the rai
EXTD=n". It has everything. Depth, power, lyricism, changes of rythm, 
EXTD=multiple sequences, but you do have tons of different sounds from
EXTD= beginning to end of this collection of songs : \n\n-Latin tango 
EXTD=like/classic piano sound on the lyrical "It's over", \n-Classic V
EXTD=iolin with guitars a la Roy Orbison on "Sweet talkin woman" \n-Me
EXTD=xican trumpets on "across the border" \n-The drive in "night in t
EXTD=he city", total madness... \n-The oriental flavour mixed with roc
EXTD=ky guitars in "Jungle" (with the Tarzan cry as a bonus!) \n-Beeth
EXTD=oven on "Leaving me now" \n-Australian bands (not AC/Dc though !)
EXTD= guitar sound on "Summer and lightning" \n-Techno on the "Whale" 
EXTD=\nI'll let you find out more for yourself. \n\nAll this plus the 
EXTD=cover sleeve design and witty, unpretentious lyrics make it the h
EXTD=ighest moment in their discography. And whoever says this is disc
EXTD=o music is wrong. True that ELO sounded in every disco at the tim
EXTD=e, but almost everything did and everybody danced to it (even Dir
EXTD=e Straits, not really a disco band...). The dancy tracks are far 
EXTD=from being the greasy cheap songs from that era, which makes them
EXTD= very listenable tracks today, almost thrity years later. Talkin'
EXTD= about the Spice Girls or the Take That (who still remembers) ? \n
EXTD=\nA pity the big bands concept is out of fashion, but if you like
EXTD= this cd, get the Barclay James Harvest and The Alan Parsons Proj
EXTD=ect (I Robot and Pyramid are probably good choices) or Supertramp
EXTD= (Crisis What crisis, and Crime of the Century are my best bets),
EXTD= or even Yes. If you really want to label ELO, I would go for a "
EXTD=Symphonic rock" one. But please, this is not DISCO ! \n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nElectric Light Orchestra's classic 1977 doubl
EXTD=e album, October 24, 2005\nReviewer: Darth Kommissar (Las Vegas, 
EXTD=NV (USA))\nINTRODUCTION: \nThe mid-late seventies is when Electri
EXTD=c Light Orchestra entered their golden age. While Jeff Lynne's ba
EXTD=nd produced plenty of excellent music earlier in the decade and s
EXTD=cored a hit every now and again, no area would have the same kind
EXTD= of success for the group as the latter half of the seventies. Wh
EXTD=en 1977 rolled around, the band had already released six albums, 
EXTD=each one of which being excellent in its own way. The most recent
EXTD= ones of which had scored the group several hits, as well. 1977 w
EXTD=as the year saw the release of the band's seventh album, Out Of T
EXTD=he Blue. The album was the band's lengthiest studio effort, occup
EXTD=ying two entire records! Many fans feel that of the band's sevent
EXTD=ies material, this is their magnum opus. Are those fans right? To
EXTD= see how it measures up overall, keep on reading! \n\nOVERVIEW: \n
EXTD=Electric Light Orchestra released Out Of The Blue in November of 
EXTD=1977. Jeff Lynne produced the album. This was Electric Light Orch
EXTD=estra's only studio effort that was a double LP, although the com
EXTD=pact disc version puts all of the material together on a single d
EXTD=isc. Tracklist for the album consists of Turn To Stone, It's Over
EXTD=, Sweet Talkin' Woman, Across The Border, Night In The City, Star
EXTD=light, Jungle, Believe Me Now, Steppin' Out, Standin' In The Rain
EXTD=, Big Wheels, Summer And Lightning, Mr. Blue Sky, Sweet Is The Ni
EXTD=ght, The Whale, Birmingham Blues, and Wild West Hero. \n\nREVIEW:
EXTD= \nOut Of The Blue is an Electric Light Orchestra masterpiece. De
EXTD=spite its length, which is nearly twice as long as any other one 
EXTD=of the band's studio albums (due to the fact that it was original
EXTD=ly a double LP), most of the songs are excellent. Some portions o
EXTD=f the album do suffer from The Beatles White Album syndrome, wher
EXTD=e some of the songs seem like fillers in comparison to the others
EXTD=, but on this album, even the so-called fillers are good tracks! 
EXTD=Seventeen tracks comprise the album (and because there are so man
EXTD=y, this review is gonna be LONG. Consider yourself warned!) Let's
EXTD= take a look at the tracks! \n\n-SIDE A- \n\n-Turn To Stone: The 
EXTD=band kicks off the album with Turn To Stone, which is one of the 
EXTD=biggest hits they ever had. The symphonic pop-rock styling people
EXTD= know and love the band for is in its prime here. Jeff Lynne's vo
EXTD=cals are great, and the backing instrumentation and orchestration
EXTD= are also great. What a way to start the album! \n\n-It's Over: H
EXTD=ere the band does takes that classic symphonic pop-rock sound of 
EXTD=theirs, and pairs it up with heavily melodic elements, making a h
EXTD=alf-ballad of sorts. Many portions of this song reminded me of Li
EXTD=vin' Thing, a big hit from A New World Record, the band's LP that
EXTD= came before this one. All in all, another excellent cut. \n\n-Sw
EXTD=eet Talkin' Woman: This was a moderately popular song for the gro
EXTD=up, and appropriately so - it's definitely one of their finest cu
EXTD=ts. That light, optimistic pop-rock sound combined with orchestra
EXTD=tion works for the band once again. Definitely an essential track
EXTD=. \n\n-Across The Border: One of the things that impresses me abo
EXTD=ut Electric Light Orchestra is their ability to fuse a variety of
EXTD= genres at once, and have the end result come out very good. This
EXTD= is a shining example of that phenomenon. It sounds like a cross 
EXTD=between classical, pop, rock, and at times, even rockabilly and a
EXTD= traditional Mexican sound! Sound weird? It is, but that doesn't 
EXTD=mean this song doesn't rule. \n\nSIDE B: \n\n-Night In The City: 
EXTD=Here the band takes the straight-up rock approach, lacing it with
EXTD= the catchy hooks that makes Electric Light Orchestra songs great
EXTD=. Once again, the band's instrumentation really shines. Another s
EXTD=olid addition to the group's musical catalogue. \n\n-Starlight: E
EXTD=lectric Light Orchestra is one of those bands that can do no wron
EXTD=g. And sure enough, we have another excellent tune. Slow and melo
EXTD=dic but still poppy in its sound, Starlight makes for another fin
EXTD=e addition to the album. Underrated stuff. \n\n-Jungle: This here
EXTD= is one of my personal favorite cuts on the album, because the ba
EXTD=nd beautifully shows off their musical diversity. With various an
EXTD=imal sounds in the background, along with tribal yelling drumming
EXTD=, it definitely captures the feel that the title would imply the 
EXTD=song would have. This one goes pretty light on the standard band 
EXTD=instrumentation, but the song does not suffer as a result. Good s
EXTD=ong, and definitely underrated. \n\n-Believe Me Now: This is, ess
EXTD=entially, a short piece of orchestral instrumentation. The melodi
EXTD=es explored in this piece are nothing short of excellent, it's ju
EXTD=st a shame the piece as a whole is so short. Had the band taken t
EXTD=he time to develop it, it could have been so much more. It comes 
EXTD=off seeming like one of the so-called filler tracks, but it's sti
EXTD=ll very good. \n\n-Steppin' Out: Jeff Lynne serves up his own bre
EXTD=ed of ballad. With a slow, melodic sound, and the classic instrum
EXTD=entation you know and love the band for, it's one of the many und
EXTD=errated but excellent songs this album serves up. Don't make the 
EXTD=mistake of overlooking this little gem. \n\n-SIDE C- \n\n-Standin
EXTD=' In The Rain: Although there are vocals in this piece of music, 
EXTD=it is obviously a chance for the band to show off its orchestral 
EXTD=skills. And show them off, they do. The melodies in this piece ar
EXTD=e nothing short of excellent, and they will keep your attention f
EXTD=rom start to finish. Good stuff. \n\n-Big Wheels: Here we have an
EXTD=other slow-paced and melodic ballad, with orchestral elements thr
EXTD=own in to keep things interesting. Many portions of this song rem
EXTD=inded me of the stuff the Beatles recorded in their final days to
EXTD=gether, and that's a good thing (they WERE one of Lynne's biggest
EXTD= musical influences, after all!) I shouldn't have to tell you tha
EXTD=t this is an excellent song. \n\n-Summer And Lightning: Here's an
EXTD=other piece that's nice and diverse. From start to finish, Lynne 
EXTD=and company join forces and create another piece that is the perf
EXTD=ect fusion of classical music and classic pop-rock stylings. The 
EXTD=whole band shines here. \n\n-Mr. Blue Sky: And here we have one o
EXTD=f the pieces on the album that likely requires no introduction or
EXTD= comments from me at all. Bright, optimistic pop-flavored rock is
EXTD= what the band gives its listeners here. This was a huge hit for 
EXTD=the group, and being such an excellent and catchy song, it isn't 
EXTD=hard to see why. \n\n-SIDE D- \n\n-Sweet Is The Night: The song t
EXTD=hat starts off the final of the four record sides that comprises 
EXTD=this album is one of those songs that is the perfect cross of som
EXTD=ething poppy and something melodic. The song is very similar to t
EXTD=he group's hit of the previous year, Telephone Line. However, the
EXTD= song is unique enough to hold its own. A damn good and severely 
EXTD=underrated tune. \n\n-The Whale: Here's another instrumental. But
EXTD=, this one's different. It might just be the greatest Electric Li
EXTD=ght Orchestra instrumental of all! The band creates an electronic
EXTD=, symphonic art rock sound unlike anything they had ever created 
EXTD=before, or would ever create again. And it sounds so different fr
EXTD=om any other popular band of the day. There are a lot of excellen
EXTD=t tracks on this lengthy album, but this one definitely scores pr
EXTD=etty close to the top. \n\n-Birmingham Blues: Straight-up pop-roc
EXTD=k with the backing orchestral touch is what you get in this piece
EXTD=. Many portions of this song are reminiscent of other popular mus
EXTD=ic acts of the day, but with Lynne's vocals and the backing music
EXTD=al arrangement, this is distinctly Electric Light Orchestra. You'
EXTD=re probably getting tired of me saying "underrated track" so many
EXTD= times, but this is another one of them! \n\n-Wild West Hero: Ele
EXTD=ctric Light Orchestra closes out this double-length album with a 
EXTD=piece that would become one of their biggest hits. Pretty much ev
EXTD=erything the band does well, they do it in this song. There are m
EXTD=any excellent songs by the group that must be heard in order to b
EXTD=e appreciated, and this is one of them. It's worthy of its lofty 
EXTD=status in the eyes of the band's fans. \n\nOverall, this is one o
EXTD=f Electric Light Orchestra's many great albums. Although this is 
EXTD=not my personal favorite by any means, there is no shortage of ex
EXTD=cellent music to be had here. Admittingly, some of the songs here
EXTD= seem like fillers in comparison to some of the more refined work
EXTD= here (one of the problems with doing a double LP), but when this
EXTD= album rocks, it rocks with the best of them. Pretty much every E
EXTD=lectric Light Orchestra album is an excellent one, and it isn't h
EXTD=ard to see why many a fan of the group has called this the band's
EXTD= magnum opus. Final verdict? This album more than does Jeff Lynne
EXTD='s legacy justice. HIGHLY RECOMMENDED! \n\nEDITION NOTES: \nThis 
EXTD=album was only released once on CD in America, and sadly, it's a 
EXTD=bare bones issue of the album - no bonus tracks, expanded liner n
EXTD=otes, remastered sound, or anything of that sort. It did please m
EXTD=e to see the double LP set condensed onto a single compact disc, 
EXTD=though. I hope the record company reissues it, though, as a delux
EXTD=e edition. Until then, you'll have to settle for this issue of th
EXTD=e album. \n\nAMAZON.COM CUSTOMER REVIEW\nThe Mothership ELO, Febr
EXTD=uary 27, 2005\nReviewer: Alan Caylow (USA)\nThe Electric Light Or
EXTD=chestra were totally in their element when they released their cl
EXTD=assic 1977 double album, "Out Of The Blue." This is a super album
EXTD= with many great ELO tunes, and it successfully sustains itself f
EXTD=or over 70 minutes without once ever lagging. Frontman Jeff Lynne
EXTD= came up with a great wealth of material for this one, including 
EXTD=such classics as "Turn To Stone," "Sweet Talkin' Woman" and "Mr. 
EXTD=Blue Sky," but also such gems as "It's Over," "Night In The City,
EXTD=" the light piano funk of "Starlight," the rhythmic "Jungle," "St
EXTD=andin' In The Rain," the beautiful "Big Wheels," the dreamy instr
EXTD=umental "The Whale," and the rockin' "Burmingham Blues." The song
EXTD=s are all very catchy, the orchestral flourishes throughout are s
EXTD=uitably lush, and the album's production is sparkly (and dig that
EXTD= album cover artwork, especially on the inside). There are those 
EXTD=who say that "Out Of The Blue" is too over-the-top, i.e. that a d
EXTD=ouble dose of ELO's symphonic pop-rock is a little too much to ta
EXTD=ke. All I can say is this: either you like ELO or you don't. If y
EXTD=ou DO like ELO, than "Out Of The Blue" will fit the bill in your 
EXTD=CD collection just fine. It's one of the band's greatest works, a
EXTD=nd I guarantee you'll love it. (NOTE: there's a tracking error on
EXTD= the "Out Of The Blue" CD, as the song "Standin' In The Rain," wh
EXTD=ich should be track 10, has been mistakenly tacked on to the end 
EXTD=of track 9, which is "Steppin' Out," so you'll have to cue up "St
EXTD=eppin' Out" and fast forward to the 4:39 mark if you want to imme
EXTD=diately get to "Standin' In The Rain." Just thought you should kn
EXTD=ow!) \n\nAMAZON.COM CUSTOMER REVIEW\nTripping on the slippery slo
EXTD=pe, October 13, 2004\nReviewer: William J. Eichelberger "I will n
EXTD=ot go quietly" (Ft. Thomas, KY)\nComing on the heels of two kille
EXTD=r albums in Face The Music and A New World Record, Out Of The Blu
EXTD=e was the album that formally introduced the masses to ELO, while
EXTD= making longtime fans ask just where it all was headed. Don't get
EXTD= me wrong, this is a great album, but in all of it's slick studio
EXTD= polish it the band loses some of it's charm. While not as disco 
EXTD=influenced as the next album, Discovery, it shows an alarming and
EXTD= unfortunate tendency to sacrifice the band's "electric classical
EXTD=" approach for a more commercially slick sound loaded with synths
EXTD=. A pretty good album on it's own merits, but the old guard had a
EXTD= feeling something ill was being borne on the wind.\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nPure AOR bliss..., September 19, 2004\nReviewer
EXTD=: Alan (Minnesota)\nRemember the double LP? If not chances are yo
EXTD=u are below 30. This album was released at a time when popular mu
EXTD=sic was changing guard between disco and pop/punk, arguably in pr
EXTD=eparation for what would eventually become 80s new wave. Througho
EXTD=ut it all album-oriented rock, the format that "built" FM radio, 
EXTD=delivered a constant stream of anti-hits. ELO fired off this hail
EXTD=-Mary in tandem with an over-the-top concert tour (actual stage p
EXTD=resence notwithstanding). \n\nUnfolding the oversized LP jacket t
EXTD=o "Out of the Blue" and beholding the airbrushed album art while 
EXTD=listening is something that will be lost to current listeners. Ho
EXTD=wever the music holds up well over time, especially to those who 
EXTD=have, over the years, distanced themselves from listening to the 
EXTD=gloomy mechanized banality of modern radio which has since lost i
EXTD=ts soul. \n\nAlso a plus for the CD: It is good to be able to lis
EXTD=ten to this album in the car without some of the songs fading out
EXTD= and back in while the 8-track switches. Don't get me started on 
EXTD=the "reprise" (presumably done as filler for the 8-track format) 
EXTD=of Shine a Little Love." \n\nAMAZON.COM CUSTOMER REVIEW\n"Definit
EXTD=ive E.L.O.", March 28, 2004\nReviewer: "scratcher_tbp" (Mercervil
EXTD=le, NJ USA)\nI would definately call this album the definitive E.
EXTD=L.O. Probably contains the most ever popular and/or charting sing
EXTD=les released from the band. Had the 8Track cartridge, STILL have 
EXTD=the double UA/Jet LPs! And since it wasn't so very long running t
EXTD=ime on the two LPs, nice that it's able to fit on a single CD. I 
EXTD=kept wanting to start playing from "Concerto for a rainy day" (al
EXTD=ways played that vinyl side most actually..) but couldn't find it
EXTD= on cd, because eventually noticing there's a track/index marker 
EXTD=missing here, that should be at end of "stepping out", so instead
EXTD= you get "stepping out" with a silence pause, and into "standing 
EXTD=in the rain", making one long time total for stepping out, and th
EXTD=rowing the number sequence off, the most obvious. I thought somet
EXTD=hing was up when I advanced to get to "standing in the rain" but 
EXTD=got "big wheels" instead. Was able to fix this and make my own ne
EXTD=w corrected disc. Has anyone else noticed this, or was it limited
EXTD= to certain pressing batches?\nThis CD is THE sound of E.L.O., al
EXTD=so love the Time disc.. and of course you have to have "Greatest 
EXTD=Hits"!\n\nAMAZON.COM CUSTOMER REVIEW\nJeff Lynne's masterpiece, M
EXTD=arch 19, 2004\nReviewer: native main-ah "steven_g" (Sedgwick, ME 
EXTD=United States)\nYou know those desert island discs people talk ab
EXTD=out? Those top 10 lists? This CD is one of those for me.\nIn 1977
EXTD=, I was a teenager, just graduated from high school, working the 
EXTD=lightweight job. ELO's previous album "A New World Record" was in
EXTD= the 8-track deck in the Pinto a lot. I adored everything about t
EXTD=hat project and like a lot of ELO fans anxiously awaited the next
EXTD= release. When I heard it was going to be a double album I was pr
EXTD=epared for the worst. After all, how many double album packages w
EXTD=ere great? OK, the Beatles white album was pretty good but I was 
EXTD=afraid Jeff Lynne would produce a mess like the John Lennon "Numb
EXTD=er 9" thing at the end of the white album. (OK, you can direct th
EXTD=e hate mail to me.)\n\nBut I was not prepared when I went to the 
EXTD=record store in 1977 and plopped down almost four hours wages at 
EXTD=the time to buy the 8 track on the day of release. I didn't open 
EXTD=it up then, I went immediately home and relaxed a bit, put on the
EXTD= headphones and listened. Holy moley! I listened again. And again
EXTD=. I remember I listened to it 6 times that night. I couldn't get 
EXTD=over the fact that there was nothing wrong with this album. Start
EXTD=ing off with the single "Turn To Stone" and ending with the fanta
EXTD=sy "Wild West Hero" I couldn't find fault. I instantly thought "S
EXTD=weet Talkin' Woman" was one of the finest singles ever. "Jungle" 
EXTD=a song about ALL the world and its inhabitants having one big par
EXTD=ty, the four song "concerto", "The Whale" one of the finest songs
EXTD= with whales singing the lead. \n\nEach song evokes a different e
EXTD=motion and strong memories for me. This IS Jeff Lynne's masterpie
EXTD=ce. I'd recommend buying a greatest hits package if you want ELO'
EXTD=s biggies, but if you want to dig a bit deeper and get a sense of
EXTD= what a great composer and producer Jeff Lynne is (hey, he wasn't
EXTD= a "Traveling Wilbury" for nothing), then this 4 sided record on 
EXTD=1 CD is the to buy. Since that initial 8 track, I bought it on LP
EXTD= and now on CD, where it sounds as bright and crisp as the LP and
EXTD= of course 100 times better than the ol' 8 track. Where is that t
EXTD=hing anyway?\n\nROLLING STONE REVIEW\nHere are just a few of the 
EXTD=fun facts to be picked up from the innersleeve credits on Out of 
EXTD=the Blue, ELO's double-LP set: Jeff Lynne's Marshall amps are cus
EXTD=tom-made by Tony Frank; all ELO road cases are made by Anvil; no 
EXTD=less than fourteen special-effects mechanisms were utilized in th
EXTD=e creation of this work; engineer Mack "slaved over a hot mixer f
EXTD=or 1127 hours." Here's my favorite, though: Bev Bevan uses Slinge
EXTD=rland "Bev Bevan" drumsticks. One could say that ELO is more than
EXTD= a bit smitten with itself.\n\nOne could say it, and one would be
EXTD= right, though self-absorption is not any grounds for attacking a
EXTD= rock band; it's almost impossible to think of a band or an artis
EXTD=t that isn't mainly ego. When one crosses over into self-indulgen
EXTD=ce, however, it's a different story completely. I didn't read the
EXTD= credits until after I had waded through the four sides of this t
EXTD=otally uninteresting and horrifyingly sterile package. What I hea
EXTD=rd was a meticulously produced and performed set of songs, with s
EXTD=ubtle nods to the Beach Boys ("Across the Border" has a melodic p
EXTD=assage identical to "Heroes & Villains"), the Bee Gees ("Starligh
EXTD=t" and "Steppin' Out" both feature Jeff Lynne as Robin Gibb) and,
EXTD= of course, the Beatles (clearly Lynne's biggest influence). And 
EXTD=without any noticeable passion or emotion. All method and no madn
EXTD=ess: perfectly hollow and bland rock Muzak. Solos are virtually n
EXTD=onexistent, which makes perfect sense because an individual state
EXTD=ment by any one instrument would set the ELO ship jaggedly off co
EXTD=urse by injecting some heart into the proceedings. Group commande
EXTD=r Lynne obviously is consumed by his vision of the totality of th
EXTD=e ELO sound, floating slowly through the void.\n\nMost ELO fans, 
EXTD=I think, will read the credits before they listen to the records,
EXTD= and to them all I can say is, forewarned if forearmed. Entertain
EXTD=ment without pretense is fine, but if you're going to imply that 
EXTD=what you're giving us is something special, Captain Lynne, you ha
EXTD=d better make sure that we're reserving seats for an adventure, a
EXTD=nd not just a walking tour of the industrial works. (RS 256 - Jan
EXTD= 12, 1978)  -- BILLY ALTMAN
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
EXTT11=
EXTT12=
EXTT13=
EXTT14=
EXTT15=
EXTT16=
EXTT17=
EXTT18=
EXTT19=
PLAYORDER=
