In a state of post-high excess, Electric Light Orchestra embarks on a double album. A novel concept now. We do not define quality by how long a piece of work is any more than we can suggest the world is flat. It may have been believed in the past, but there is no longer any indication of truth. Some have been burned by the excess of Sandinista or the poor notions of The Wall. But a four-sided piece of work from Jeff Lynne, whose work with E.L.O. had worked so well in the sub-forty-minute format, felt like a gamble. A bold move from a band which, despite the similarities in their sound, was often looking for ways to reinvent their popularity. Not out of bravado but out of interest. Richard Tandy and the rest of the talented orchestra are affected by the boom of synth-like sounds.
Lucky for E.L.O., it fits their style. An adept piece of work comes through Secret Messages, and it has nothing to do with the allure of its double-sided nature. Over an hour of Lynne and company may feel like too much to chew but title track Secret Messages has some of the best work, lyrically and instrumentally, the band has ever crafted. Jazzier tones on Loser Gone Wild are scuttled for a drum machine-like pounce, a clearing of the skies and a self-portrait for Lynne to express himself as a popular loser without purchase in his past. Autobiographical charms can be heard through Secret Messages. The bulk of this comes from the joy of Lynne being so open, and so daring with his instrumental choices. Secret Messages earns its length, with tonal whiplash tracks like Loser Gone Wild marking an intense overhaul of the E.L.O. sound. This is their hidden gem. E.L.O. shaking off fan expectations and marking a new sound, a perfect continuation of the decade’s moodiness.
Lynne has nothing to lose. Four Little Diamonds into Stranger hears out this bold movement. Lighter and softer works remove the prog and synth expectations of the time and instead, lean into the quality lyrical craftsmanship which guided Out of the Blue to such highs. Frankly mellow and moody lounge-like swing comes through on the clicking No Way Out. Incredible depth is found in this record – not all of it coming together as consistently as their heyday but E.L.O. is at their adventurous best here. Do yourself a favour and listen to the extended edition of this record, those deep cuts are incredible. They are stronger than the album pieces.
Something like Train of Gold takes a bit of time to grow into but the heavier synth paired with the high strings and harmonica parts is a charming instrumental collection. Softer flourishes like Letter from Spain are as reflective as it gets for Lynne and the rest of the band. A powerhouse of emotive passions and a real cluster of surprises can be heard on Secret Messages. They may have found themselves in a slump towards electronic indifference but this album has a tightness to it the band would never experience again. Rock ‘N’ Roll Is King feels like a lazy last effort but has the same energy expected of the band at the time. But a fade-out on this nonsense single is not quite the end Secret Messages should have. Another reason to listen to the extended version, to reap the extra rewards of E.L.O. at the time.
