Together with its direct successor, Out of the Blue, this is probably the album that forever defines the sound of the Electric Light Orchestra in the minds of most people. From this point, the rough-edged rock 'n' roll of earlier works like Ma Ma Ma Belle or the rather more reined back strings and whimsy of songs like Mr Radio would make way for these bigger, lusher and more 'cinematic' arrangements. This seemed to be a nod to the softer string sound in US soul, as the album's title and even its cityscape artwork suggests. It's rather like the difference between watching a film on TV at home, them going to see the same thing on a big screen in surround sound in a cinema. Neither is bad (quite the contrary), they are just different types of experience.
It's also around this time that Jeff Lynne SERIOUSLY found his songwriting boots. There is not one (full length) song on here that couldn't have hit the UK singles chart top 10 if they'd been released. Indeed, several of them did. In amongst the well known hits like the operatic Rockaria! and the tender and melancholic Telephone Line, not to mention the now legendary Livin' Thing are other lesser konwn gems: Tightrope (possibly my favorite ELO song ever), that begins with a fanfare of dramatic swooping strings before romping off into a rollocking rock number; So Fine with its funky middle eight and congas; the heartfelt and beautiful ballads The Mission and Shangri-La. The other nice surprise is the inclusion of a storming cover of Do Ya (from The Move's rather wonderful Message from the Country). As good as the orignial version is, this version is actually a little bit better. Basically, in production terms, Lynne gives it the kitchen sink. And it could have sounded a dreadful mess, but doesn't: it's sublime.
It's perhaps strange to think now, at this remove that punk wasn't really the sound of 1976-77. Music like this and the Eagles' Hotel California was what many people were actually listening to and buying. The later revisionism of a certain type of music wonk would have you believe this music was reviled and irrelevant. It wasn't. And while lots of the prevailing commercial music of that part of the 1970's was becoming overblown and self-indulgent, this didn't: this is a perfect example of how to write and record fabulous, memorable pop songs. And by Lynne's own admission, it really didn't get much better than this for him.
Lucky for us that he got this good.