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DISCID=e10d3111
DTITLE=Electric Light Orchestra / Balance Of Power (Remastered + Expan
DTITLE=ded)
DYEAR=1986
DGENRE=Synthpop
TTITLE0=Heaven Only Knows
TTITLE1=So Serious
TTITLE2=Getting To The Point
TTITLE3=Secret Lives
TTITLE4=Is It Alright
TTITLE5=Sorrow About To Fall
TTITLE6=Without Someone
TTITLE7=Calling America
TTITLE8=Endless Lies
TTITLE9=Send It
TTITLE10=Opening
TTITLE11=Heaven Only Knows (Alternate Version)
TTITLE12=In For The Kill (Bonus Track)
TTITLE13=Secret Lives (Alternate Take)
TTITLE14=Sorrow About To Fall (Alternate Mix)
TTITLE15=Caught In A Trap (UK B-Side)
TTITLE16=Destination Unknown (UK B-Side)
EXTD=Balance Of Power (Remastered + Expanded)\n\nOriginally Released M
EXTD=arch 1986\nCD Edition Released 1986\nRemastered + Expanded CD Edi
EXTD=tion Released March 20, 2007 \n\nAMG EXPERT REVIEW: After mining 
EXTD=the Beatles gold mine for all those catchy hooks, by the time tha
EXTD=t Balance of Power was released, Jeff Lynne and company had prett
EXTD=y much found that once-rich vein going dry. This album did contai
EXTD=n yet another Top 40 hit with "Calling America," but by the mid-'
EXTD=80s, ELO were finding their audience and their inspiration on the
EXTD= wane. Not truly memorable, but passable. [In 2007 Epic/Legacy re
EXTD=issued Balance of Power with seven bonus cuts, including alternat
EXTD=e takes of "Heaven Only Knows," "Secret Lives" and "Sorrow About 
EXTD=to Fall," U.K. b-sides "Caught in a Trap" and "Destination Unknow
EXTD=n" and the previously unreleased "In for the Kill" and "Opening."
EXTD=] -- James Chrispell\n\nAmazon.com Product Description\nThis was 
EXTD=the Last Studio Album from Elo (Before the Comeback Zoom), Issued
EXTD= in 1986. The Original 10 Track Album Includes Three Tracks that 
EXTD=were Originally Issued as Singles, and of the Seven Bonus Tracks 
EXTD=Five Are Previously Unreleased and the Other Two were Issued as U
EXTD=K Only B-sides. \n\nAMAZON.COM CUSTOMER REVIEW\nFinal ELO album b
EXTD=efore "Zoom" , March 21, 2007\nReviewer: My Science Fiction Twin 
EXTD=(My Little Blue Window, USA)\nJeff Lynne had wanted to quit recor
EXTD=ding albums under the ELO name for some time. He felt that the fo
EXTD=rmula for ELO was limiting his abilities as a songwriter/producer
EXTD=. He stepped forward with a fine final album. "Balance of Power" 
EXTD=has a handful of terrific songs including the great "Calling Amer
EXTD=ica". This exapnded edition features alternate mixes of "Heaven O
EXTD=nly Knows" with a introduction (put on as a separate track)that w
EXTD=as missing from the final album and "Secret Lives"(an alternate t
EXTD=ake) that are better than the final released versions in my opini
EXTD=on. "Sorrow About to Fall" is an alternate mix of the album track
EXTD=. \n\nWe also get two sublime b-sides "Destination Unknown" and "
EXTD=Caught in a Trap". The songs were previous released on the first 
EXTD=ELO boxed set but rightfully regain their place next to the stron
EXTD=ger tracks on this next-to-last ELO album. When Lynne would retur
EXTD=n as ELO only Richard Tandy would play on "Zoom". Here the band i
EXTD=s a trio of Lynne, long time drummer Bev Bevan (who also was a me
EXTD=mber of the Move with Lynne and the only member on every album by
EXTD= ELO except "Zoom")and long-time collaborator Richard Tandy playi
EXTD=ng keyboards and sythesizer strings. Lynne plays both guitar and 
EXTD=bass. \n\nAlthough the production and use of electronic drums dat
EXTD=e the album, they add a charm to the album. While this is far fro
EXTD=m my favorite ELO album, Lynne's best qualities as a songwriter--
EXTD=a strong sense of melody, creative arrangements and production to
EXTD=uches dominate the album. \n\nYou can also hear the influence of 
EXTD=Steve Windwood's "Arc of A Diver" and "Back in the High Life Agai
EXTD=n" with Richard Tandy playing a sythesizer with a similar sound t
EXTD=o Winwood's on the popular singles from those albums. \n\nI'd giv
EXTD=e "Balance of Power" 3 1/2 stars with the addition of the alterna
EXTD=te mixes/versions and the inclusion of the two fine B-sides. \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nswansong....til 2001, September 18,
EXTD= 2006\nReviewer: Daniel Silverman "Seedy Road" (brooklyn)\nCritic
EXTD=s and fans alike seem to regard Balance of Power, ELO's final stu
EXTD=dio LP from 1986, as little more than a footnote to the band's il
EXTD=lustrious hit-making career. Yet the album is a superbly crafted 
EXTD=and consistently appealing pop record (there's not a single clink
EXTD=er in this ten-track bunch, a rare accomplishment indeed for a si
EXTD=ngles-oriented band) and is of historic importance when viewed as
EXTD= Jeff Lynne's opening bid for artistic credibility in a post-Xana
EXTD=du age, which ultimately proved so successful that he realized hi
EXTD=s life's dream, that is, to work with the, um, Beatles. \n\nLynne
EXTD= abandons the excesses of his previous few outings here, strippin
EXTD=g the short, simply structured songs to their melodic and harmoni
EXTD=c core, with synths playing a far more subtle role than previousl
EXTD=y. Even the cover graphic indicates a retreat of sorts, replacing
EXTD= ornate adolescent silliness with a simple visual pun. \n\n"Getti
EXTD=ng to the Point," the first and finest of the record's three ball
EXTD=ads, explores with a new-found maturity the dying embers of a rel
EXTD=ationship, with the first-ever appearance of solo sax on an ELO r
EXTD=ecord. "Without Someone" is similarly restrained in tone, also ca
EXTD=lmly reflecting on a lost love. Finally, the initially off-puttin
EXTD=g "Endless Lies," with its operatic chorus, finally clicks when o
EXTD=ne realizes the song is a tribute to future-Lynne collaborator Ro
EXTD=y Orbison. \n\nThe remaining seven brief pop-rockers are uniforml
EXTD=y excellent. "Sorrow About to Fall" makes an inspired swipe of FO
EXTD=REIGNER's "Urgent," with sax again stepping into the spotlight, w
EXTD=hile "Is it Alright" (sic), a simple letter checking up on a frie
EXTD=nd who felt the need to move on, deftly weaves together several j
EXTD=oyously Beatle-esque, octave-leaping melodies with a latter-day S
EXTD=teve Winwood synth pattern and a mildly sinister bass chug. "Call
EXTD=ing America," a minor stateside hit, is a similar exploration of 
EXTD=a friend who has left town, which bemoans high technology's inabi
EXTD=lity to connect the two across the Atlantic; a far cry from the e
EXTD=xcessive technofascism of 1981's Time LP. \n\nThe final track, "S
EXTD=end It," inclusively ends the string of album-closing "rock and r
EXTD=oll" numbers begun with Discovery's "Don't Bring Me Down," and co
EXTD=ntinuing through Time's "Hold on Tight" and Secret Messages' "Roc
EXTD=k 'N' Roll is King." The song succeeds especially when set in low
EXTD= relief to the previous album-closers' synth-based clutter, which
EXTD= betrayed their hollow insincerity. Here, the melody and the stea
EXTD=dy beat carry the song along handsomely, and the album arrives at
EXTD= the terminal in tip-top condition. \n\nWithin the year Lynne was
EXTD= already collaborating with George Harrison on a number of projec
EXTD=ts, and his production career began in earnest, offering his now-
EXTD=stripped-and-clean sound to the likes of Del Shannon, and fellow 
EXTD=Traveling Wilburys Roy Orbison and Tom Petty (Bob Dylan approache
EXTD=d Daniel Lanois for his first post-Wilburys project, to the likel
EXTD=y disappointment of Lynne). \n\nAfter his work with Ringo Starr o
EXTD=n the excellent Time Takes Time record, the pieces were in place 
EXTD=for Lynne to make his final move. Since his teen days with the Id
EXTD=le Race, singing of John and Paul and Ringo and George's "lovely 
EXTD=tunes," Jeff Lynne, a good-natured working-class lad from a north
EXTD=ern industrial city, imagined a better life. In 1995, reality cau
EXTD=ght up with imagination, and "Free as a Bird" and "Real Love" are
EXTD= the glorious if sadly incomplete results. \n\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\nOut of the Box, September 10, 2006\nReviewer: J. B. C
EXTD=hristian "Sans l'dulconants Artificiels" (Orlando, FL)\nThis is 
EXTD=the last ELO album, for all intents and purposes. And it's missin
EXTD=g several things: \n\nIt's missing, most notably, the strings. Ev
EXTD=ery reviewer can and will comment on the lack of even a Time-styl
EXTD=e synthesized orchestra. \n\nAlso missing is Kelly Groucutt, whic
EXTD=h people will tell you because they want to feel intelligent. \n\n
EXTD=But the major draw for me, and others, i imagine, is the pervasiv
EXTD=e sadness that is felt, from one song to the next. Not the tired 
EXTD=feeling of someone who doesn't care anymore, but the depressing e
EXTD=nd to a fifteen-year career with largely the same group of people
EXTD=. Jeff sounds completely down throughout the album, trying to put
EXTD= his best face forward. It's sad, it's beautiful, and, with the a
EXTD=mbiently blue songs throughout, it's nice to have a bit of the pe
EXTD=rky, pseudo-campy ELO back at the end with 'Send It' -- a fitting
EXTD= way to say goodbye.\n\n\nAMAZON.COM CUSTOMER REVIEW\neh...an int
EXTD=eresting eh., September 7, 2005\nReviewer: Justin Hoenke (Meadvil
EXTD=le, PA)\nELO's final studio album (not counting the 2001 "comebac
EXTD=k" Zoom) "Balance of Power" finds the bands ditching the orchestr
EXTD=a and adding a VERY HEAVY use of synths. \n\nThe first thing we'l
EXTD=l discuss in my critique of this album is the songwriting. Every 
EXTD=ELO/Jeff Lynne project up to this point had stunning songs that n
EXTD=ever got tiring. However, about half of this album finds Lynne ju
EXTD=st sounding more tired and bored than ever. It seems as if half t
EXTD=he songs on this album were just put out as filler, and that's no
EXTD=t something I'm used to with ELO. "Secret Lives" starts out dull,
EXTD= and once we get to the chorus you just dread it more. We've hear
EXTD=d it all before, there's nothing new here. "Is It Alright" treads
EXTD= a fine line, having a remarkably boring verse section but a quit
EXTD=e energetic and uplifting chorus. "Sorrow About To Fall" sounds a
EXTD= little too much like a Sade outtake, and "Without Someone" sound
EXTD=s like it should've been in Karate Kid (part one or two only). \n
EXTD=\nNow we get to the worst of them all: the "Secret Messages" outt
EXTD=ake "Endless Lies". I've given this song so many listens in an at
EXTD=tempt to find SOMETHING good about it, however I just can't do it
EXTD=. The chorus is just too much for Lynne's voice to handle. He sou
EXTD=nds crappier than ever. I don't feel what he's saying. There's th
EXTD=is bland attempt at emotion that just makes me want to turn aroun
EXTD=d and walk away. \n\nOK, that's enough negativity. I've got it al
EXTD=l out of my system. There's a fair share of brilliance on this al
EXTD=bum. The only thing that saved this album from a dreadful one or 
EXTD=two star rating were four songs that really raise the bar. "Heave
EXTD=n Only Knows" is an amazing start off track, featuring a remarkab
EXTD=le rhythm section at work, all backed up by some great backing vo
EXTD=cals. It's an uplifting track that starts off the album on a grea
EXTD=t foot. Next up is "So Serious", which Lynne has named as his fav
EXTD=orite song on the album. It is the quintessential 80's pop song: 
EXTD=great simple lyrics, a catchy hook, and neato synths galore. You 
EXTD=just can't say no to the urge to sing along to the infectious cho
EXTD=rus. Lynne sounds rejuvinated. \n\n"Getting To The Point" is a st
EXTD=riking, bombastic ballad that suffers a bit from sterile 80's pro
EXTD=duction (saxophone? BAGH!) but it remains a good ol' tune at hear
EXTD=t. We end our journey with the amazing Top 20 single "Calling Ame
EXTD=rica", which picks up with Lynne's telephone obsession right wher
EXTD=e "Telephone Line" left off. Once again, you just want to sing al
EXTD=ong. The chorus is infectious beyond belief. And Lynne's use of v
EXTD=ocoder in the line "talk is cheap on satellite but all I get is s
EXTD=tatic" on the specific word "static" is just brilliant. \n\nThe o
EXTD=verall production of the album is a bit out of date this day in a
EXTD=ge. The synths and crisp electronic drum sounds remind me of bein
EXTD=g 7-8 years old thinking just how futuristic all this music sound
EXTD=ed and how by 2005 we'd all have robots and drive around in Mille
EXTD=nium Falcons of our own. But even though it's out of date, it sti
EXTD=ll sounds refreshing, as this day in age many albums that go for 
EXTD=this digital/high tech sound just fail. This sounds like the real
EXTD= thing. \n\nThe oddest choice for the album is the dreadful saxop
EXTD=hone that is used in a few tunes. WHY JEFF, WHY? Kenny G on an EL
EXTD=O song is not welcome. You should've put the orchestra back in wh
EXTD=ere the sax is...that or some kick ass synths. \n\nI don't hate t
EXTD=his album, I just don't like it as much as I would like to. I jus
EXTD=t feel as if Lynne was really bored with ELO at this point and wo
EXTD=uld've just rather called it quits. I'll play this album from tim
EXTD=e to time, but you may catch me skipping a track or two. I recomm
EXTD=end this album to those who are \nJeff Lynne/ELO nuts and that's 
EXTD=about it. Any casual listener will just think it's total crap and
EXTD= trade it away. Enjoy it for what it is, and avoid some of it lik
EXTD=e the plague.\n\n\nAMAZON.COM CUSTOMER REVIEW\nLiving in the mode
EXTD=rn world, November 19, 2004\nReviewer: Dr. Emil Shuffhausen (Cent
EXTD=ral Gulf Coast)\nIt has been noted repeatedly here that BALANCE O
EXTD=F POWER is ELO sans the orchestra. As such, it is both a document
EXTD= of its times (the mid-80s) and somewhat weaker for it. "There's 
EXTD=a sorrow about to fall," Jeff Lynne ominously intones on this 198
EXTD=6 album. And he was correct...this was the last Electric Light Or
EXTD=chestra album on which Lynne has appeared until 2001's superb ZOO
EXTD=M. Lyrically, BALANCE OF POWER anticipates the break-up, and refl
EXTD=ects ELO's declining commercial fortunes: "Can it really be so se
EXTD=rious/To be all broken up and delirious/I guess we've really been
EXTD= out of touch/But can it really be so serious?" Lynne asks on the
EXTD= sharp, new-wavey "So Serious" (a classic, must hear track). In E
EXTD=LO's best 80s ballad, "Getting to the Point," Jeff seems sadly re
EXTD=signed: "All I can do is watch it burn, burn, burn." The saxophon
EXTD=e may be startling to some ELO purists, but it's a fantastic piec
EXTD=e of work all the same and suits the track perfectly. "Without So
EXTD=meone" is another lonely, lovely ballad about loss. "Heaven Only 
EXTD=Knows" and "Secret Lives" are upbeat pop numbers, and "Endless Li
EXTD=es" is fairly adventurous musically. "Send It" is a great fast-pa
EXTD=ced country song with some vintage Jeff Lynne production touches.
EXTD= The biggest hit here, and definitely a classic pop standard, is 
EXTD="Calling America," which is essentially keyboard based with a nic
EXTD=e guitar solo. The harmonies are very sweet indeed on this cut, a
EXTD=nd if it is destined to be ELO's "TOP 40" swansong, then it's a n
EXTD=ice one to go out on. The album itself inexplicably stalled at #4
EXTD=9 on BILLBOARD's album charts. Perhaps it was "out of touch" with
EXTD= the prevailing "hair band" ethic of the day (remember Bon Jovi, 
EXTD=Warrant, Cinderella, Poison, et al?). Forget the chart numbers...
EXTD=this is a very well done pop album that's still "music to my ears
EXTD=." Take it for what it is; if you are looking for the big orchest
EXTD=ral sound, it's not here. But if you want smart, concise, well-cr
EXTD=afted pop gems, this CD has what you are looking for. \n\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nVery much under-rated, January 8, 2001\nRe
EXTD=viewer: A music fan\nThis album to me is a personal little gem. I
EXTD=t's a great album that no one has ever heard of, and it makes it 
EXTD=that much more special and enjoyable for me. The only flaws with 
EXTD=this album are due to the fact that it was done in 1986. Seems li
EXTD=ke in that year, everyone was trading in their drum kits and orch
EXTD=estras for synthesizers. For the people who slam this album for i
EXTD=t's use of synthesizers, it wasnt just ELO doing this. The Moody 
EXTD=Blues "The Other Side of Life" and Boston's "Third Stage", both e
EXTD=xcellent albums in '86, suffer from "1986-itis". If you can get p
EXTD=ast the synthesizer sound of that era, and listen to the melodies
EXTD=, you can still hear that classic ELO sound lying beneath. You wi
EXTD=ll also find that those melodies are some of the finest that Jeff
EXTD= Lynne has ever done. The harmonies on "Getting to the Point" and
EXTD= "Without Someone" (Lynne's best unnoticed song) rival the qualit
EXTD=y of Brian Wilson's. I have to deduct a star because of the admit
EXTD=tedly bad songs Secret Lives, Endless Lies, and Send It. If you t
EXTD=ry to put your mind in a time warp and pretend its 1986 again, yo
EXTD=u'll enjoy this album very much.\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=Maybe No Orchestra, But Terrific Jeff Lynne, November 14, 2000\nR
EXTD=eviewer: A music fan\nGet over it, ELO traditionalists. Anyone wh
EXTD=o hasnt pre-determined what this cd should sound like: this is te
EXTD=rrific pop music, with catchy melodies and hooks, tight productio
EXTD=n and arrangement and some of Lynne's best vocals ever. Endless L
EXTD=ies, Getting to the Point, and Without Someone show Jeff's vocal 
EXTD=power on ballads, and Heaven Only Knows, Is It Alright and Send I
EXTD=t are terrificly catchy up-tempo pop. OK, the orchestral part of 
EXTD=ELO is no longer present, but there IS a very well orchestrated s
EXTD=ynth pop production value that, to someone who is open to the gro
EXTD=up not rehashing warmed over ELO, is very enjoyable. I enjoy earl
EXTD=y ELO as much or more than anyone, but unlike several other revie
EXTD=wers, I always realized that ELO's strength was ALWAYS Jeff Lynne
EXTD='s vocals and song-writing. The orchestral part of ELO was periph
EXTD=eral to, not the core, of what ELO was all about. I recommend thi
EXTD=s cd to anyone wanting high quality pop music.\n\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nELO lies in state in a "Miami Vice" suit. Pity., J
EXTD=uly 25, 2000\nReviewer: Paul Williams (NOTTING HILL, LONDON Unite
EXTD=d Kingdom)\nIt shouldn't have ended this way. Jeff Lynne always w
EXTD=as an unashamed Beatlemaniac, so why didn't he finish the ELO pro
EXTD=ject with an album people could look back on with warmth like "Ab
EXTD=bey Road" (Note to Beatle stalkers - I *know* "Let It Be" was rel
EXTD=eased *after* "Abbey Rd." but the latter was recorded last, ok?),
EXTD= instead of the frequently dismal "Balance Of Power" ? One look a
EXTD=t the tragically dated "80's-hip-graphics" sleeve reveals the alb
EXTD=um's contents without listening to a note : Jeff has done his old
EXTD= trick again, and followed fashion by mutating his sound into gha
EXTD=stly 80's synth-rock ... as a perceptive reviewer further down po
EXTD=ints out : er, where's the orchestra gone ? By 1986, the game was
EXTD= clearly up for the once mighty ELO and the balance of power (har
EXTD=dee-ha-ha) had shifted away from them. Reduced to a mere three me
EXTD=mbers (check out the hilarious sleeve photo of Jeff, Bev Bevan an
EXTD=d Richard Tandy in their "Crockett & Tubbs" suits !) the band sou
EXTD=nd like they are going through the motions for the vast majority 
EXTD=of this album. It is hard to believe that the producer, Mack, had
EXTD= worked on some of their more grandiose earlier efforts. The prod
EXTD=uction is so thin on some tracks that you could almost think you 
EXTD=were listening to a demo of an album, not a finished product. The
EXTD= whole CD sounds rushed and tired, as if they couldn't be really 
EXTD=bothered with the whole thing anymore ... perhaps it would have b
EXTD=een better if this album had never seen the light of day and ELO 
EXTD=had ended with the criminally underated, and almost forgotten "Se
EXTD=cret Messages" album three years previously. Instead, we get trea
EXTD=ted to ten tracks of sequencers and drum machines plodding out fa
EXTD=irly standard then-new Lynne compostions plus a leftover from the
EXTD= truncated "Secert Messages" (it was originally supposed to be a 
EXTD=double album) ... I have given this album two stars because some 
EXTD=of the songs *do* show promise, "Without Someone" for example, bu
EXTD=t have been let down so badly by poor production, that they fail 
EXTD=to shine. Only the very beginning of the minor hit "Calling Ameri
EXTD=ca" (complete with dumb, dumb lyrics) echos the glory days of ELO
EXTD= ... a real wasted opportunity. For sadists or completists only, 
EXTD=I'm afraid.\n\n\nAMAZON.COM CUSTOMER REVIEW\nThis is Electric Lig
EXTD=ht Orchestra without the orchestra., December 26, 1999\nReviewer:
EXTD= A music fan\nThis unhappy album probably could have been saved i
EXTD=f Jeff Lynne hadn't decided to follow 80s trends. Simply put, thi
EXTD=s is Electric Light Orchestra without the orchestra...a huge mist
EXTD=ake. It was the special orchestrated touches that made ELO so mem
EXTD=orable and beautiful, and without it ELO ceases here to be what J
EXTD=eff Lynne originally envisioned--that is, a band that would pick 
EXTD=up with the orchestrated electronic fusion that The Beatles aband
EXTD=oned after "I Am The Walrus" (Lynne's own spoken ambition)--and b
EXTD=ecomes just another mechanical sounding, synth-driven band that s
EXTD=ounds just like all the other klunky top ten synth-driven bands o
EXTD=f the 80s. An appalling travesty included here is "So Serious", a
EXTD= wanna-be-Cars tune! Instead of Beatle influences, we get 80s ton
EXTD= ten pop influences, and it's for this reason why the album faile
EXTD=d to sell. Jeff Lynne would never again be able to recapture with
EXTD= his own songwriting the kind of magic he was once able to pull, 
EXTD=not even on his own solo album, I don't know, maybe he was just e
EXTD=xhausted from being such a sought-after producer. There is only o
EXTD=ne song here I bought the CD for at all--"Heaven Only Knows", whi
EXTD=le being fully synthesized, has a wonderful melody so special tha
EXTD=t it is actually possible to ignore the fact that it has no orche
EXTD=stra to spice it up, but even so it makes me sigh sadly from a fe
EXTD=eling of "if only", as I yearn to hear this tune with Lynne's lus
EXTD=h orchestra touches. For completists only. I just hope my comment
EXTD= here doesn't sound accidentally mean-spirited, I want to be kind
EXTD= here because it's hard to give a negative recommendation to a ba
EXTD=nd I've always loved so much.\n\n\nHalf.com Details \nProducer: J
EXTD=eff Lynne \n\nAlbum Notes\nElectric Light Orchestra: Jeff Lynne (
EXTD=vocals, guitar, piano, keyboards, bass); Richard Tandy (piano, ke
EXTD=yboards); Bev Bevan (drums, percussion).\n\nAdditional personnel:
EXTD= Christian Shnieder (saxophone).\n\nAll tracks have been digitall
EXTD=y remastered.\n\n1986's BALANCE OF POWER, the last ELO album to f
EXTD=eature Jeff Lynne--the rest of the group re-convened as ELO Part 
EXTD=II in the late '90s with cult-fave singer/guitarist Parthenon Hux
EXTD=ley replacing Lynne--looks at first like a dubious attempt at '80
EXTD=s-style modernization. The cliched, dated graphics--and keyboard 
EXTD=player Richard Tandy's red-flag credit for "programming"--notwith
EXTD=standing, this is a fine example of Lynne's '80s work. The openin
EXTD=g "Heaven Only Knows" is a catchy tune with Lynne's trademark ove
EXTD=rdubbed Beatlesque harmonies that would have fit in well on OUT O
EXTD=F THE BLUE or DISCOVERY. The rest of the album is less immediatel
EXTD=y enthralling, but that's due to the slightly antiseptic, MIDI-he
EXTD=avy production, not the caliber of the songs. Listening past the 
EXTD=surfaces reveals these songs to be a solid set of tunes well in L
EXTD=ynne's tradition of melodic pop.
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