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Post by joeyjoejoejr on Jul 22, 2015 1:14:39 GMT
Why did Jeff release this as a solo effort? Was it too disco for ELO to be associated with?
How many of you tried the dance moves that are on the cover?
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Post by janne on Oct 17, 2015 15:32:08 GMT
I haven't the faintest idea. Would be interesting if someone knew the back story.
Likewise, what about the solo song Video, from the movie Electric Dreams? Why was that a solo thing and not an ELO thing?
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Post by ShardEnder on Oct 17, 2015 22:42:09 GMT
Jeff didn't realise that his contract included an option for him to release solo material until he was approached to contribute to the soundtrack of All This And World War II, but at the same time he didn't want to hold over more quality material because Jet had just requested that the next ELO album be a double set. Disco was something that had interested him for quite some time (I've read that Evil Woman almost became a crossover hit), so he quickly knocked off two lightweight tracks in this genre. Supposedly, he didn't think too highly of these songs and had quite the laugh when the resulting single predictably flopped!
As for why Video! and Let It Run were issued under Lynne's own name, I suspect this was similarly a contractual agreement because ELO had just recently signed with CBS. Even though ELO was now tied to a new distributor, Jeff fought so that he only had to deliver the one album after Secret Messages that remained under his deal with Jet, while Electric Dreams was released through Virgin. My guess is that Jeff could do outside work for other labels as a solo artist, but was prevented from describing his work as ELO, despite Richard Tandy featuring on his three compositions - let's not forget the single exclusive b-side, Sooner Or Later.
Then again, maybe Jeff didn't want ELO associating with another film in a hurry after the damage its reputation took on following the Xanadu project? For a while, he was very careful about who got to use his music, though now he's loosened up on licensing quite a bit, leading to increased exposure with many potential new audiences that I'm sure has been great for his bank balance over the years. I wouldn't be surprised if he was under some degree of pressure from Craig Fruin to reconsider this stance, and if that was the case then it's surely one of the better moves Jeff's manager could have made when you consider how much more popular his client's work has become, leading to wider mainstream recognition.
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Post by janne on Oct 18, 2015 5:33:11 GMT
Jeff didn't realise that his contract included an option for him to release solo material until he was approached to contribute to the soundtrack of All This And World War II, but at the same time he didn't want to hold over more quality material because Jet had just requested that the next ELO album be a double set. Disco was something that had interested him for quite some time (I've read that Evil Woman almost became a crossover hit), so he quickly knocked off two lightweight tracks in this genre. Supposedly, he didn't think too highly of these songs and had quite the laugh when the resulting single predictably flopped! As for why Video! and Let It Run were issued under Lynne's own name, I suspect this was similarly a contractual agreement because ELO had just recently signed with CBS. Even though ELO was now tied to a new distributor, Jeff fought so that he only had to deliver the one album after Secret Messages that remained under his deal with Jet, while Electric Dreams was released through Virgin. My guess is that Jeff could do outside work for other labels as a solo artist, but was prevented from describing his work as ELO, despite Richard Tandy featuring on his three compositions - let's not forget the single exclusive b-side, Sooner Or Later. Then again, maybe Jeff didn't want ELO associating with another film in a hurry after the damage its reputation took on following the Xanadu project? For a while, he was very careful about who got to use his music, though now he's loosened up on licensing quite a bit, leading to increased exposure with many potential new audiences that I'm sure has been great for his bank balance over the years. I wouldn't be surprised if he was under some degree of pressure from Craig Fruin to reconsider this stance, and if that was the case then it's surely one of the better moves Jeff's manager could have made when you consider how much more popular his client's work has become, leading to wider mainstream recognition. Very interesting, thanks! |
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, but we're OK. 
Apparently it's quite hard to see them with the naked eye, you need to be looking through a camera or other type of lens?