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Electric Light Orchestra: On the Third Day

 A l b u m   D e t a i l s


Label: Jet Records
Released: 1973
Time:
 57:34
Category: Pop/Rock
Producer(s): Jeff Lynne
Rating: ******.... (6/10)
Media type: CD
Web address: www.elo.biz
Appears with: Traveling Wilburys, Jeff Lynne
Purchase date: 2010.01.14
Price in €: 2,00





 S o n g s ,   T r a c k s


[1] Ocean Breakup/King of the Universe (J.Lynne) - 4:06
[2] Bluebird Is Dead (J.Lynne) - 4:22
[3] Oh No Not Susan (J.Lynne) - 3:28
[4] New World Rising/Ocean Breakup (Reprise) (J.Lynne) - 4:04
[5] Showdown (J.Lynne) - 4:09
[6] Daybreaker (J.Lynne) - 3:50
[7] Ma-Ma-Ma Belle (J.Lynne) - 3:52
[8] Dreaming of 4000 (J.Lynne) - 5:02
[9] In the Hall of the Mountain King (J.Grieg) - 6:33

Bonus Track's:
[10] Auntie (Ma-Ma-Ma Belle) Take 1 - 1:19
[11] Auntie (Ma-Ma-Ma Belle) Take 2 - 4:05
[12] Mambo (Dreaming of 4000) Alternate Mix - 5:05
[13] Everyone's Born to Die Bonus Track - 3:43
[14] Interludes previously unreleased  - 3:40

 A r t i s t s ,   P e r s o n n e l


Jeff Lynne - Guitar, Vocals, Producer, Liner Notes, Reissue Producer
Michael d'Albuquerque - Bass
Bev Bevan - Drums
Wilfred Gibson - Violin
Mik Kaminski - Violin
Richard Tandy - Piano, Moog Synthesizer
Colin Walker - Cello
Mike "Blue" Edwards - Cello

Marc Bolan - Guitar

Denny Bridges - Engineer
John Middleton - Engineer
Joseph M. Palmaccio - Mastering
Dick Plant - Engineer
John Kehe - Original Sleeve Design
Bob Cato - Art Direction
Douglas Bogey - Engineer
Jeff Magid - Reissue Producer
Derek Aslett - Original Sleeve Design
Rob Caiger - Liner Notes

 C o m m e n t s ,   N o t e s


1990 CD Jet Records ZK-35525
1999 CD NICE 5032842

In some ways, 1973's ON THE THIRD DAY is the first "true" ELO album. Though co-founder Roy Wood had left the band to form the more experimental Wizzard after the first album, his influence was still all over 1972's ELO II, especially on the orchestrated cover of Chuck Berry's "Roll Over Beethoven".ON THE THIRD DAY, however, is pure Jeff Lynne, the first album completely devoted to his soon-to-be enormously successful blend of psychedelic-era Beatles and 19th-century classical music. The pristinely recorded results are ultra-melodic and incredibly lush, with ballads like "Bluebird Is Dead" and rockers like the hits "Showdown" and "Ma-Ma-Ma Belle". Therecurrent "Ocean Breakup" theme foreshadows the concerto-like elements of ELO's next record, ELDORADO, while the group's rockish rearrangement of "In the Hall of the Mountain King" is the group's final attempt at Emerson, Lake & Palmer-like classical-rock fusion.



Electric Light Orchestra's third album showed a marked advancement, with a fuller, more cohesive sound from the band as a whole and major improvements in Jeff Lynne's singing and songwriting. This is where the band took on its familiar sound, Lynne's voice suddenly showing an attractive expressiveness reminiscent of John Lennon in his early solo years, and also sporting a convincing white British soulful quality that was utterly lacking earlier. The group also plugged the holes that made its work seem so close to being ragged on those earlier records. "Showdown" and "Ma-Ma-Ma Belle" (the latter featuring Marc Bolan on double lead guitar with Lynne) became AM radio fixtures while "Daybreaker" became a concert opener for the group and, along with "In the Hall of the Mountain King," kept the group's FM/art rock credentials in order.

ELO's third album - now sporting its original U.K. cover image - arrived in its remastered, audiophile version with a rich, subtle sound that captures not only the depth of the original master but also its finest nuances, so that you can practically hear the bowing on the strings for "Bluebird Is Dead," and the opening "Ocean Breakup" is loud enough to annoy your neighbors without much trouble or a big volume boost. And even the familiar AM radio material such as "Showdown," "Daybreaker," and "Ma-Ma-Ma Belle" get new life pumped into them with the presentation here - what one really appreciates on this new edition is finally hearing the master presented full out, the way it was done in the studio originally. Lynne was immensely proud of what he and the band - which went through some important personnel changes in the midst of recording this album - accomplished, and one can now fully understand his reaction. This was progressive rock, but with a distinctly rock & roll edge and also elements of pop-soul that wasn't quite like anything else coming out of either the prog rock or soul fields as they existed then; indeed, it's easy to hear now in these tapes something of a spirit close to Lynne's Birmingham roots, coupled with the experimentation he picked up under the influence of the Beatles' records. He didn't have a Paul McCartney or a George Harrison, or even a George Martin to play off of and augment what he was doing, but as a one-man creative operation, the results are still impressive, and the outtakes only enhance the listening. The early versions of "Ma-Ma-Ma Belle" (titled "Auntie"), the alternate mix of "Dreaming of 4000" (designated "Mambo"), plus the previously unissued "Evereyone's Born to Die" --which somehow makes this reviewer think of mid-'60s Bob Dylan amid its over-produced prog rock attributes - and "Interludes" all let you in on different aspects of the creative process at work behind this album. The extensive annotation fills in the holes between it all in a very satisfying fashion.

Bruce Eder - All Music Guide


Uncut (p.104) - 4 stars out of 5 -- "[With] symphonic pop, string-driven things and post-glam..."
 

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