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(Credits: Far Out \/ Jeff Lynne)<\/p>\n
Tue 24 February 2026 15:00, UK <\/p>\n
There\u2019s a certain degree of perfection that Jeff Lynne<\/a> wanted on every single ELO project. <\/p>\n It\u2019s not like he was trying to make every single song sound perfectly in tune by any stretch, but he did feel that anything that turned up on their records needed to have a lot more sheen to it than any average rock and roll song. He wanted to make the kind of music that The Beatles had only dreamed of back in the day, but sometimes that meant going a bit too far over the edge when making some of his masterpieces.<\/p>\n Granted, it\u2019s not like anyone was exactly slowing Lynne down at the time, either. He and Roy Wood were the ones calling the shots every single time they made a record, and even when they started to make their first classics, it didn\u2019t take long before Wood decided he was going to move on to something different. He wanted to make music that was more space-y, but Lynne found his love in creating the kind of pop tunes that he had loved as a kid.<\/p>\n While anyone could have called that \u201cselling out\u201d if they wanted to, that\u2019s not exactly the case here. Lynne genuinely loved the kind of pop-flavoured classics that he heard out of his favourite bands, and crafting those tunes wasn\u2019t going to be easy. He had to have the perfect hook to rope people in every single time he played, and it wasn\u2019t until \u2018Can\u2019t Get It Out Of My Head\u2019 that he actually felt like he was working with something that would become classic.<\/p>\n So after Eldorado, he figured there was no point in looking back. With every single record that would come out, he was starting to inch closer and closer to the kind of standards that he had heard out of his favourite records. \u2018Mr Blue Sky\u2019<\/a> couldn\u2019t have been any more perfect if he had tried, but after working on albums like Out of the Blue, there was no other place to go but down afterwards.<\/p>\n I mean, think about it for a second. Here is a double record that has some of the greatest tunes that Lynne would ever write, and while the next few albums did marginal success, there was never a chance that anyone was going to knock what he had already done. Those records from the late 1970s were untouchable, and even Lynne seemed to realise that there was no point in him trying to make something different. <\/p>\n