Friday, 28 February 2020

Calling America: ELO's Unique US Singles

#1,525: A long time ago in a galaxy far, far away when what we now call the wold wide web was prophetic in science fiction circles, fans, followers and collectors of all things Electric Light Orchestra (ELO) found imports of their foreign releases all the more ... collectable! As a young fan and erstwhile record collector, Yours Truly KJS was always fascinated when I came across ELO's 7" American singles.

Whilst many were the same as their UK counterparts, some had alternate 'B' sides, some were coloured vinyl and the odd one was translucent. They were interesting (especially to completists) but the singles that a young KJS wanted were the singles that were unique to the States and not issued here in the UK. As far as this writer is concerned, there were half a dozen singles that I sought after and eventually held on tight to.

The first was "Daybreaker" b/w "Ma Ma Ma Belle" (United Artists #UA-XW405-W), essentially a double 'AA' side taken from "On The Third Day" which peaked at #87 in the US Billboard Top 100 thanx to ELO's seemingly endless "Do It With The Light On" tour dates. Note that "Daybreaker" wasn't included on the 1976 US hits compilation LP "Olé ELO" (UA-LA630-G) whereas "Ma Ma Ma Belle" was even though technically it did not chart.

Perhaps surprisingly, our second example is the much shortened edit of "Boy Blue" (United Artists #UA-XW634-X) which was issued as the follow-up single to "Can't Get It Out Of My Head" from the "Eldorado" album but, unfortunately, did not trouble the chart.

The third US only single was "Do Ya" (Jet/UA #UA-XW939-Y) in 1976 with ELO riding on the crest of a wave thanx to the success of "A New World Record". Peaking at a respectable #24, "Do Ya" was chosen in lieu of "Rockaria!" as a single for the American market whilst underlining the strong bonds between The Move and ELO.
Whereas "Wild West Hero" (Jet/CBS #SJET109) blazed a trail to #6 in the UK, "It's Over" (Jet/CBS #ZS8 5052) was the fourth unique US single put out across the proverbial pond this time taken, of course, from ELO's iconic best selling 2LP opus "Out Of The Blue". It made #75.

Note: Four singles were taken from "Discovery" both in the States and the UK because "Confusion" (Jet/CBS #ZS9 5064) and "Last Train To London" (Jet/CBS #ZS9 5067) were separate US releases whereas they were a double 'AA' side single (Jet/CBS #JET166) in the UK and "The Diary Of Horace Wimp" (Jet/CBS #JET150) did not see US release.

Fast forwarding to 1981 and our fifth US only single which is "Rain Is Falling" (Jet/CBS #ZS5 02693), taken from ELO's futuresque "Time" album. Whereas four singles were released in the UK from "Time" including another 'AA' side single, only "Hold On Tight", "Twilight" and "Rain Is Falling" (which did not breach the Top 100) were issued stateside in the 7" format.

Finally we come to "Secret Messages" and what many British fans thought would've been a good choice as a single in the UK. "Stranger" (Jet/CBS #ZS4 04208) is the sixth US only single released (as opposed to the title track elsewhere) which, sadly, also did not make the Billboard Top 100. It was however issued in Holland (Jet/CBS #A4070) as a rather attractive third* single from "Secret Messages".

*Note that "Stranger" was not the fourth Dutch single as originally stated in this article due to "Four Little Diamonds" (Jet/CBS #A3869) being pressed in Holland for release in Germany. Thanx to my good friend Patrik Guttenbacher of FTM Germany for the clarification!

Related KJS/ELOBF articles
*** Until next "Time" in the ELOBF Universe ... KJS ... 28-Feb-2020 ***

Wednesday, 26 February 2020

Interview: Dave Scott-Morgan (ELO/Morganisation)

#1,524: Former ELO member Dave Scott-Morgan will bring a streamlined Morganisation to the Kitchen Garden Cafe venue in King's Heath, Birmingham on Thursday 28th May for what promises to be a rather special gig with wife Mandy and guitarist Alex Lowe also sharing the stage. Yours Truly KJS caught up briefly with Dave (who also cites spells with The Uglys, Balls and Magnum in his musical CV) earlier this week and asked him three quickfire questions for elobf about the forthcoming show:

KJS: Morganisation are back with a bang! What have you been up to recently?
DSM: Hi Keith! 
It's good to be back! Since the Earthrise gig at Birmingham Conservatoire last November, I've been doing a lot in the studio.
KJS: Will your date at the Kitchen Garden Cafe feature the full band or should we expect something a little more intimate?
DSM: The show will be the three piece group with Mandy and Alex. I've re-Morganised us into a trio!
KJS: Your set lists often include a mix of your own songs, inventive covers and some ELO. Will we hear some new songs?
DSM: Yes! All I will say is that there'll be a bunch of new songs in the set, some being from our latest album "Seven".
Dave Scott-Morgan taking "Time" with ELO on tour (left) and with KJS (right)
Remaining tickets for the aforementioned Morganisation gig at the Kitchen Garden Cafe are priced at £12 on the door or can be purchased in advance for £10 (plus £1 booking fee) via this link thus:

Related KJS/ELOBF articles

ELO Beatles Forever (ELOBF) recommends Morganisation to those enlightened folks who enjoy the music of ELO/Jeff LynneRoy WoodThe Move'Brum Beat'The Beatles and related artistes.

*** Until next "Time" in the ELOBF Universe ... KJS ... 26-Feb-2020 ***

Friday, 21 February 2020

Interview: Mike Stevens (Musical Director: Jeff Lynne's ELO/Take That)

Meeting up: Mike with Yours Truly KJS
#1,523: Mention the name Mike Stevens to the current crop of ELO fans and they will correctly identify him as not only the Musical Director for Jeff Lynne's ELO and Take That but also as the ELO maestro's essential right hand man for all their live performances from 2013 to the present day. But the ELO connection does not end there for a man with a stellar career CV, be it his solo career or his accomplished work with Annie Lennox, 10cc and a whole host of other musical heavyweights.

Yours Truly KJS has kept in touch with Mike, having bumped into this writer, arranger, producer and noted saxophonist during the presentation of his Honorary Fellowship at Birmingham Conservatoire back in 2016. I recently caught up again with Mike in order to conduct this exclusive interview for elobeatlesforever (elobf). Enjoy!

KJS: Hello again Mike! Let's go back to the beginning. Having graduated from Birmingham School of Music in 1979, what did a fresh faced 22 year old Mike Stevens get up to in the early 80's?
MS: Well, after studying at Birmingham I formed my own band and did various things including a couple of seasons at Butlins before taking the band on cruise ships where we played Top 40 songs for enthusiastic passengers ... Ha! This was a great grounding for me and helped me to understand the mechanics of great recordings and songwriter. I also played with some Mecca bands at this time. Again, it was all part of the learning process as we were learning new songs each week. It gave me a great start in the business but after a few years I really wanted to do my own thing and be part of the whole ‘Rock ‘n’ Roll’ thing.
KJS: Your solo career began to take off in 1987 with the release of your acid jazz themed "Light Up The Night" album and the single "C'est L'affaire" - a track that featured former Imagination front man Leee John. If I remember correctly, your meeting up with Leee was an important moment in the early stages of your career wasn't it?
MS: Yes! Meeting and working with Leee was very important. I was writing my own sax albums at that time and I had a small 4 track Portastudio in which I did all my own recording before getting interest from a small London based label who signed me up and put me in a big 24 track studio to make an album. Leee, who I’d met in a session, agreed to collaborate with some writing and, luckily for me, his label RCA heard this and signed up the album. I made two albums with RCA and we made a small dent of success in the States where smooth jazz was just taking off.
KJS: It was also during this time that you worked quite extensively with the late, great Pete Haycock (who was, of course, both a founding member of Climax Blues Band and ELO Part II) both in the studio and on the live circuit with "Guitar & Son" (1987) and later "Livin' It" (1992). What are your fondest memories of performing and gigging with Pete back then?
MS: Yes, Pete Haycock was a great player and around this time he was a member of ELO Part 2. I toured with him for a few years around Europe mostly, playing keyboards, sax and flute. I learnt a lot from him about playing blues, he was a master and gave me many opportunities to express myself as a soloist. Very fond memories of great gigs and lovely company! I particularly remember trading solos with him and how inspiring it was to feel the reaction of the crowd to what we were doing ... great musical adventures!
KJS: Tell me more about the moment in 1988 when Bill Withers landed in the UK with no band for a three week tour. That was your big break wasn't it?
MS: Around this time I was doing a lot of support gigs as a sax soloist supporting my albums. The Temptations, Dionne Warwick, Freddie Jackson etc. and then one day my agent rang and said he would like me to support Bill Withers on a UK tour but also would like me to use my band as his band as well! Wow ... all of a sudden I was his Musical Director for three weeks! Yes, it was a great opportunity and wonderful music! He was very chilled and generous to us, just basically letting us do our thing, arrangements were loose and we just had fun! I have a couple of great stories from that tour a bit too long to go into now but hasten to say it was very significant in my development to the bigger MD jobs that I took on later! Great learning curve!
Back in the day: Mike with Pete Haycock
KJS: A second solo album "Set The Spirit Free" arrived in 1990 and by then you had played with or had worked with the likes of Barry White, Brenda Russell, Dionne Warwick, The Temptations, Tina Turner, Mica Paris and Tom Jones! You must have been busy on many fronts before the call came from Take That?
MS: Yes, as I said before, I worked a lot at this time on the road with my sax albums and in the studio with the likes of Tom Jones, Mica Paris etc. also started to do a lot more guitar playing on sessions which I always enjoyed. The sax stuff was becoming more difficult around this time as tastes had begun to change and people got bored with having sax solos all over the place so I decided to move away from my solo career and just about at the same time Take That came calling in ‘93! They already had an MD and I was asked to join as a player but the MD they had didn’t really know too many players so I ended up getting a lot of the guys myself! After a few gigs the MD decided to move on so I just took over. Most of the guys I had booked anyway so was a natural progression.
KJS: You've been the Musical Director for Take That now for getting close to three decades from their initial arrival on the scene to their amazing resurgence through their many hits and as a key member of their imaginative tours. During that time you’ve overseen the establishment of their touring band and, by extension, that for Jeff Lynne too. I noticed that there's a lot of love for you and the band too from the TT fans! When you signed up, did you foresee the success of Take That and how did it affect you down the years? What would you consider to be your personal highlight to date and also your fave Take That song?
MS: Well initially it was only 1993-96 as they split and it really was a teen band although enjoying massive success. When the reform happened in 2005-6, it really was a reinvention and incredible how it developed on! We really had no idea it would take off like it did, the guys were always talking it down in the beginning, believing it was probably only going to last a very short while but, incredibly, it kept on going and when the first album of that era hit everybody realised this was something special. Highlights were always the tours, just massive, doing 8 nights at Wembley stadium in front of 85,000 people a night is something I always remember! “A Million Love Songs” has always been dear to me as it is a great feature for me as a sax player but my favourite song probably has to be “Rule The World”.
KJS: As with working with Take That wasn't enough, you’ve also spent many years working with Graham Gouldman and have performed with 10cc on several tours. With a songbook ranging from the quirky to progressive rock to the layered eloquence of "I'm Not In Love", did you approach working with 10cc any differently than with Take That? Looking back, which 10cc track did you enjoy performing most?
MS: I was in 10cc for close to 14 years and loved it! Graham is a wonderful guy and an iconic songwriter. We played all over the world and the band was always loved wherever we performed! I played mainly keys with the band but also did a bit of bass and electric now and again. Vocals have always been a big part of the band and I always enjoyed the singing parts immensely. The pressure of other gigs has meant unfortunately I had to stop doing it but great memories still remain. Iain Hornal joined around the time I left and is a perfect fit for them. We even did a few crossover gigs together! I loved doing “Good Morning Judge” as I played bass and “The Things We Do For Love” is brilliant but nothing beats playing “I’m Not In Love”.
KJS: Your career seems to have never stopped expanding and evolving as you've also been the Musical Director for Annie Lennox more or less from the time that you started working with 10cc in 2002. You also produced her albums "Songs Of Mass Destruction" in 2007 and "A Christmas Cornucopia" in 2010. I imagine that this is another string to your bow that you've thoroughly enjoyed! How did the opportunity to work with Annie come about? Is there also a stand out moment from working with Annie that you'd care to recall?
MS: Annie has been a wonderful friend and colleague since I started working with her in the very early 2000’s. I met her initially to put together and MD her first real solo tours in 2002-3. She is a truly inspiring performer and writer and I can honestly say some of my greatest musical moments have been in her company! As she started to perform less, I started to work with her in the studio and eventually we formed a great working partnership on her later albums which were also recorded at my own studio. As well as the albums you’ve mentioned, one of the big highlights for me was to be nominated for a Grammy for “Nostalgia”, an album we did in 2015. We performed the key track “I Put A Spell On You” at the 2016 Grammys and Annie very definitely stole the show. The same song also became the opening music for “50 Shades of Grey” which was a big highlight for me as a producer and performer. There are too many magical moments to mention with Annie, maybe in another interview I’ll elaborate!
Star of the Show: Mike's solo releases
KJS: You were asked to oversee the Queen's Jubilee Concert at Buckingham Palace in 2012 and also the closing ceremony for the London Olympics. They both must've been a huge honour for you and hopefully not too much pressure! Did you get to enjoy both occasions when I imagine that there were many aspects of both productions keeping you busy?
MS: The Diamond Jubilee was without doubt the biggest job I ever took on! It was wonderful and scary all at the same time. Coordinating playing and organising the music and musicians for such a massive concert was daunting and knowing that we were playing live to nearly a billion people meant I could only really enjoy it after we had done it ... Ha! Again there are many stories associated with that day, too many to recount but it was fun and a great experience! Especially the after show in Buckingham Palace ... brilliantly surreal!
KJS: Fast forward to 2013 when you and the TT band were 'borrowed' by Jeff courtesy of Gary Barlow for the Children In Need Rocks concert and the ELO ball started rolling, proverbially speaking. Not long after that, Hyde Park happened and then three major tours not forgetting Glastonbury and the Rock & Roll Hall of Fame Induction. I guess that your work with Take That10cc and Annie Lennox meant that you had covered many genres and styles. How did you find learning and arranging all those great Electric Light Orchestra hits for the live shows? Were there any challenges that you'd not experienced before or were the songs something you took to instantly? You look very comfortable with Jeff on stage. What is working with Jeff like?
MS: Meeting Jeff in 2013 was a wonderful coincidence ... and proved very beneficial in the long run! I’ve always worked with Gary Barlow on the “Children in Need Rocks” shows and put together the house bands. In 2013 Jeff had agreed to be on the bill with Richard Tandy so obviously I had two ELO songs to do with him for the show. These shows are very musically involved and require lots of rehearsals and I always recall we use to end long days in rehearsals with “Mr. Blue Sky”. It really helped to relax the band after a long day in the studio. I just hit it off with Jeff at this time, I was a big fan of the music and really felt a close understanding of what he wanted. It’s was a great success on the show and, low and behold, a year later I got a call from te BBC to say that Jeff was up for reforming his ELO with us to do Hyde Park ... Quite an unbelievable moment! As I said, I feel a great understanding with Jeff and I felt his vision for bringing the band back. He really wanted to recreate those records as he had recorded them back in the 70’s - something that was very difficult back then! He’s great to work with because he knows what he wants but, at the same time, he let’s me get on with it! If something’s not right he will tell me straight away, it’s all about trust and as long as it’s right he’s happy. He’s an incredibly generous and funny man ... We’ve had some wonderful times and I’m so honoured to be standing next to him on a stage, as are all of his band. He’s a musical genius on that stage as far as we’re all concerned and it really is a labour of love for everyone!
KJS: Having enjoyed and still enjoying what can only be described as wonderful career (with a new ELO tour around the corner), what would you say are the moments, things and/or events that you personally take most pride from since you started out?
MS: Hyde Park has to be up there! Nobody, including Jeff, knew how this was going to work out. It was only after the first few chords of “All Over The World” that I think I knew it was special, up until then we were nervous and a bit unsure. The Wembley concert is probably my overall favourite but 3 nights at the Hollywood Bowl in LA with an orchestra was pretty amazing too!
KJS: Now here's what always get asked during my interviews for elobf! What are your fave ELO songs and, of the ELO songs that have not been given the live treatment to date by Jeff Lynne's ELO, what would be your choice for a live debut later this year?
MS: Ah! The favourite question ... Ha! I genuinely have more than one favourite! It’s genuinely hard to pick out just one ... “Mr. Blue Sky”, “Don’t Bring Me Down”, “Telephone Line”, “All Over The World”, “Livin’ Thing” ... love them all! As for ones we haven’t done, I can’t say as I may be giving things away but there are some and hopefully we’ll be doing them in the new show.

A personal message from Mike:
"I would like to say a big thank you to all the bands loyal followers and fans who have been so generous towards us in bringing back the music of Jeff and ELO. We really appreciate all the kind words and look forward to seeing you all on the shows!"
A Stellar Career: Mike with Jeff Lynne's ELO, Take That and 10cc
Yours Truly KJS and elobeatlesforever (elobf) would like to put on record their sincere thanx to Mike Stevens for his participation in this interview. We wish Mike and the band all the very best for the Autumn tours and whatever lies beyond ...
*** Until next "Time" in the ELOBF Universe ... KJS ... 21-Feb-2020 ***

Saturday, 15 February 2020

Quill Spring Forward with Bev Bevan for March Dates (Postponed)

#1,522: Leading Midlands songstress Joy Strachan-Brain will soon be taking her Quill troops through a quintet of dates during March and May alongside The Move, ELO and Black Sabbath legend Bev Bevan. The septet will call in at Solihull, Lichfield, Stourport, Bilston and Lowdham with a set list that will include not only their own material but also some inspired live reworkings of songs from Bev's illustrious career and their own inimitable take on some classic trax. Yours Truly KJS has been to and written many Quill gig reviews for elobeatlesforever (elobf) down the years and has no hesitation in recommending their four forthcoming shows. Venue and ticket info can be found below thus:

Saturday 7th March
Quill ft. Bev Bevan @ The Core Theatre, Solihull
Tickets: £19 each

Postponed (was Saturday 21st March)
Quill ft. Bev Bevan @ Fusion Festival, The Civic, Stourport-on-Severn
Tickets: £20 each

Saturday 2nd May
Quill ft. Bev Bevan @ Lowdham Village Hall nr. Nottingham
Tickets: £20 each

Friday 9th April 2021 (was Thursday 26th March)
Quill ft. Bev Bevan @ The Robin 2, Bilston
Tickets: £16.50 each

Saturday 4th September 2021 (was Thursday 21st November)
Quill ft. Bev Bevan @ The Garrick Theatre, Lichfield
Tickets: £24.50 each
Solid Centered: Quill performing ELO's "Telephone Line" in 2019 (Photo: Rob Groucutt)
Quill are: Joy Strachan-Brain (Vox) ~ Abby Brant (Vox/Keys) ~ Kate McWilliam (Fiddle/Vox) ~ John Jowitt (Bass) ~ Lee Evans (Guitar) ~ Andy Edwards (Drums/Percussion) ~ Bev Bevan (Percussion/Drums)

Related KJS/ELOBF articles

elobeatlesforever (elobf) recommends Quill ft. Bev Bevan to those enlightened folks who enjoy the music of ELO/Jeff LynneRoy WoodThe Move'Brum Beat'The Beatles and related artistes.

*** Until next "Time" in the ELOBF Universe ... KJS ... 15-Feb-2020 ***

Tuesday, 11 February 2020

Edited Light Orchestra Revisited

#1,521: After having recently obtained a rather nice copy of French edition of ELO's 1975 single "Evil Woman" b/w "10538 Overture (Live)" (Polydor/Jet 2001 608) timed at 3:15 long (as was the US single edit) versus the 4:28 long album version on "Face The Music", Yours Truly KJS was reminded how this much shortened edit completely tore the heart out of a song that still managed to peak at #10 in the States not forgetting that the UK issue also reached #10 albeit with a more acceptable, longer 4:12 edit.

The main reason for the rather dramatic practice of foreshortening the duration of many singles back in the day was, of course, largely down to the need to fit in with radio playlists where no more than four minutes was thought to be the optimum requirement for maximum audience impact with the added benefit that listeners would buy the album too to hear the song at its full length.

The reduction in the playing time of many Electric Light Orchestra singles was discussed in a previous 2018 elobeatlesforever (elobf) article entitled: Singled Out: The Edited Light Orchestra wherein KJS/elobf compared several single edits against their album counterparts. Here's what this writer considers to be the top five ELO singles most impacted by their amputation for the 7" format:

"Evil Woman" (US/Fr) from 4:28 to 3:15
"Can't Get It Out Of My Head" (UK/US) from 4:26 to 3:06
"Boy Blue" (US) from 5:17 to 2:53
"Mr. Blue Sky" (NL) from 5:05 to 3:44
"Roll Over Beethoven" (UK/US) from 8:05 to 4:30

Related KJS/ELOBF articles
 Singled Out: The Edited Light Orchestra
Singled Out: The Electric Light Orchestra (No Answer)

*** Until next "Time" in the ELOBF Universe ... KJS ... 11-Feb-2020 ***

Saturday, 8 February 2020

Review: Just Covers (Baby Scream)

#1,520: It would be true to say that the music of Argentinian Power Pop trailblazer Juan Pablo Mazzolo and his Baby Scream project has been a regular feature on elobeatlesforever ever since their debut here on elobf back in January 2013 judging by (believe it not) the six enthusiastic EP/album reviews written by Yours Truly KJS in the ensuing seven years!

2020 sees Juan and Baby Scream venture into relatively new territory with a ten track set of covers (as the album title suggests!) in their own inimitable style. There are some interesting choices of both songs and artistes here whether it be the atmospheric 10cc classic "I'm Not In Love", Culture Club's "Karma Chameleon", Cyndi Lauper's "Time After Time" or Sepultura's brutal "Roots Bloody Roots" which now a nice electronica tune replete with vocoder! I really like the way that seemingly unique, simple and complex original song arrangements of various genres have been deconstructed and reassembled into a very listenable and enjoyable album fit for a new decade in a shifting musical landscape. Undoubtedly this is most evident with what is my fave track, a wonderful reworking of Aaron Neville's 1966 soulful ballad "Tell It Like It Is" into what amounts to a wonderful Lennonesque anthem. "Just Covers" is a triumph and a job well done. ★★

Trax: "I Wanna Be Famous" ~ "I'm Not In Love" ~ "Love My Way" ~ "Karma Chameleon" ~ "Roots Bloody Roots" ~ "Secret Agent Man" ~ "Stay Forever, My Love" ~ "Tell It Like It Is" ~ "Warm Fuzzy Feeling" ~ "Time After Time"

"Just Covers" by Baby Scream is available now via Bandcamp from just $7 (click here to buy) and will also be available to stream from March, as will be the CD edition via Just One More Thing Records.

Related KJS/ELOBF articles
 Recommended: Baby Scream (2013)
Review: Baby Scream (2013 Expanded Edition)
Review: Things U Say To A Stranger EP (2019)

elobeatlesforever (elobf) recommends "Just Covers" by Baby Scream to those enlightened folks who enjoy the music of ELO/Jeff LynneRoy WoodThe Move'Brum Beat'The Beatles and related artistes.

*** Until next "Time" in the ELOBF Universe ... KJS ... 08-Feb-2020 ***

Thursday, 6 February 2020

Rocket Man Revelation: Seeing The Move Rehearse Gave Elton Lift-Off

#1,519: Sometimes a chat goes in a direction that you did not foresee. Yours Truly KJS was talking about the music biz with Paul Harris (a friend and work colleague of mine) this week - specifically about the 'Top Of The Pops' albums that were a plenty in the seventies - and he mentioned that Elton John was one of the musicians who performed on those records.

Thus, having asked him where he had found out that interesting fact and his being aware of my involvement with elobeatlesforever (elobf), Paul told this writer that he'd also been reading Elton's recent official autobiography "Me" (Macmillan; ISBN 978-1509853311) and that both The Move and Roy Wood were mentioned therein thus:

"When Bluesology were booked to play at the Cedar Club in Birmingham, we arrived early and found a rehearsal in progress. It was The Move, a local quintet who were obviously on the verge of big things. They had a wild stage act, a manager (Ed: Tony Secunda) with the gift of the gab and a guitarist called Roy Wood who could write songs. We snuck in and watched them. Not only did they sound amazing, Roy Wood's songs sounded better than the cover versions they played ... But I can remember watching The Move and having a kind of revelation. This is it, isn't it? This is the way forward. This is what I should be doing." (end quote)

Perhaps it was written in the stars that not only would David Bowie play a significant role in the development of The Move but that The Move and a young Roy Wood would inspire Elton John in his career not forgetting that The Move themselves would eventually later morph into our beloved Electric Light Orchestra (ELO). What a privilege it must have been for Elton and clearly it was the motivation that he needed to step out of the proverbial shadows. The rest, they say, is history and all the more good reason to invest in Elton's book thus:

Remembering David Bowie
The Move: It was 50 Years Ago Today

*** Until next "Time" in the ELOBF Universe ... KJS ... 06-Feb-2020 ***

Sunday, 2 February 2020

Celebrating 11 Light Years

#1,518: Today is Sunday 2nd February 2020 and it's eleven years since elobeatlesforever (elobf) was born on Groundhog Day back in 2009 when our first article entitled (oddly enough) Beatles Forever was published (click here to read). So much has happened in the elobf universe in the 4,015 days and 132 months since. Gig reviews, album reviews, interviews, loads of vinyl issues, not a few exclusives (thanx to some amazing pals and reliable sources in the biz) and a seven month hiatus!

elobf continues to pride itself on its original and varied content as well as a proven record in introducing readers to local, national and international ELO/Beatles influenced indie artistes. We also love to keep you posted about the ongoing endeavours of ELO/ELO Part II former members and related artistes whilst also highlighting the ever increasing number of ELO tribute bands as the music of the Electric Light OrchestraJeff Lynne is discovered (and/or rediscovered) "All Over The World".

On a personal note, Yours Truly KJS is both grateful and humbled by the support and courtesy extended to me by my musical heroes Roy Wood and Bev Bevan, a whole host of superb musicians and their management. It's been quite the journey despite the actions of a certain social media platform and persistent hassle from internet trolls, some of whom call themselves ELO fans. Last but not least, I'd like to thank each and every visitor to elobf (including our ever increasing number of Twitter followers) for their continued interest.