Out of the Blue is often thought to be the band's high water mark because, in many ways, it was the culmination of Lynne's ambitious original mission to blend rock'n'roll with orchestral flourishes, his presumptuous effort to "pick up where the Beatles left off." By this, his seventh album, Lynne had developed the idea far beyond the cheesy primordial mashups like his "Roll Over Beethoven" cover (excepting the silly throwback "Birmingham Blues"), and had even reached past the increasingly restrictive borders of 70s rock to embrace treble-heavy elements of the rising disco sound like liberal uses of falsetto, arcade synths, and melodramatic strings. More importantly, ELO records respond well to remastered sound, due to the band's entire aesthetic being based upon Jeff Lynne using approximately 250 tracks of instruments and vocals in every song. ![]() It's a disservice to shrink such a cover down to CD-size packaging, but the reissue compensates by including a build-it-yourself punch-out space needle thingy and pictures of the band's ridiculous spaceship stage-set. For starters, ELO records hearken back to an era where album art meant Awesome Fucking Spaceships, and Out of the Blue has an especially fine one that resembles a cross between a jukebox and the old Simon games. ![]() ELO may not immediately seem like an essential part of music history, but there's no denying they're a band well served by the fancy frills that accompany a reissue. That's not the case with Electric Light Orchestra, subjects of a lengthy restoration project that has reached Out of the Blue in time for its 30th anniversary.
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