Jeff Lynne's ELO
Last night, I saw Jeff Lynne's ELO's final concert in Philadelphia. It was a fun concert, but I couldn't help feeling sad. Not because they are not returning as a band, but because of Jeff Lynne's career trajectory.
Lynne started ELO by writing the most creative, most inspiring pieces of music, fusing elements of classical music and rock, such as From the Sun To the World (Boogie #1), the 10538 Overture, their take on Roll Over Beethoven, and the absolutely brilliant chef d'oeuvre Kuyama. The inspiration, the instrumentation, the mood -- all were sublime. Not receiving sufficient popular acclaim for his sheer genius, he moved somewhat downmarket, but still contributed creative masterpieces, such as the 20-minute Concerto for a Rainy Day.
Eventually, however, Lynne conceded everything, producing AM-style hits and nothing more. His instrumentation was still interesting, but the songs had little substance or brilliance.
Last night, the crowd cheered him on for these "hits." When he performed one of his early inspirations, the 10538 Overture, the crowd appeared listless and uninterested, simply waiting for the next simple song.
I can't help thinking that it must have been a bittersweet conclusion to his remarkable career. For a genius of his level to be reduced to a mere minstrel....
The parallel with the contemporary world of literature, where the formulaic and commercial dominate the bookstores and airwaves, was not lost on me.
Lynne started ELO by writing the most creative, most inspiring pieces of music, fusing elements of classical music and rock, such as From the Sun To the World (Boogie #1), the 10538 Overture, their take on Roll Over Beethoven, and the absolutely brilliant chef d'oeuvre Kuyama. The inspiration, the instrumentation, the mood -- all were sublime. Not receiving sufficient popular acclaim for his sheer genius, he moved somewhat downmarket, but still contributed creative masterpieces, such as the 20-minute Concerto for a Rainy Day.
Eventually, however, Lynne conceded everything, producing AM-style hits and nothing more. His instrumentation was still interesting, but the songs had little substance or brilliance.
Last night, the crowd cheered him on for these "hits." When he performed one of his early inspirations, the 10538 Overture, the crowd appeared listless and uninterested, simply waiting for the next simple song.
I can't help thinking that it must have been a bittersweet conclusion to his remarkable career. For a genius of his level to be reduced to a mere minstrel....
The parallel with the contemporary world of literature, where the formulaic and commercial dominate the bookstores and airwaves, was not lost on me.
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