Jeff Lynne and Rosie Vela sing during the 2001 Zoom Live Tour. Click any image to enlarge.
A very long and exhaustive review of the ELO: Zoom Live DVD: Jeff Lynne’s attempted comeback tour with a (mostly) new ELO band and old and new material. Click any image to view larger version.
I know its a couple years old, but I recently discovered the
UPDATE: While doing some research for this review, I came across perhaps the most exhaustive and complete Jeff Lynne site extant:
I was struck by how well his band recreated the originals. Its very complex music, with many layers of harmony and instrumentation. They did so with an 8-piece band, including a backing vocalist and only 2 strings, so the core band was the normal 5-piece, but they did an awesome job on most of the material.
The Bissonette brothers,
Lynne hasn’t lost a note in the 17 years since ELO last performed. He still has a strong top-end and falsetto and had very few awkward vocal moments. Viewing his old live videos, I’d say if anything, he’s improved.
He looks just the same too, same afro, sunglasses, scruffy beard. He hasn’t put on weight, gone grey or bald, although he’s a bit more restrained than he used to be on stage. Watching old ELO videos he reminds me of Ian Anderson, both in exuberance and appearance. Here he is much more laid back and just seems relieved the audience still loves the music.
This entire performance was slightly pared down from the classic ELO, with no violin and less affected backing vocals. All the songs were played in a more straightforward manner, which mostly worked well. There were some odd decisions that seemed a bit off-kilter though and left empty spots where they could easily have arranged things differently, but all in all the show was amazing.
I’m a completist, so I’m going to take it track by track and cover every member of the band.
This “emptiness” was apparent on the opener, “Do Ya”, in the parts where the sweet slide guitar harmonies were played as single notes by 2nd lead and rhythm guitarist Marc Mann, who also doubled on special keyboard parts and backing vocals. If Mann couldn’t manage to play at least 2 note slide chords, why couldn’t have Richard Tandy (original ELO member and keyboardist) doubled the part, as he did in Strange Magic’s intro? It sounded really lame, and Mann is a great guitarist, as well as credited as the music director and arranger. Distracting and unprofessional start, there.
The same thing on “Showdown”, which has also has a harmony lead guitar part that he played alone, and it sounded wrong and stupid. Why a guitarist of his caliber couldn’t figure out an arrangement where he played both parts at once is beyond me. I’ve seen guitarists in a much less rarified level who pulled off 2 parts more complicated than these at once.
Lynne did turn around quickly when his solo ended and that part started, and Mann looked up at him, nodding. I wonder if Lynne was supposed to keep playing, doubling that part, and forgot? Who knows, its possible. Same thing on the drum “drop-out” where strings and a slowly stretched guitar note, before the last chorus. Not very well done, in my opinion. Come one guys, you’re better than that.
Mann did recreate some classic ELO guitar sounds in other songs, however, and pulled off some nice original solos as well. He also played on the 2001 ELO release of the same name,
It was the first such compilation personally overseen by Lynne himself. It seems to have been the start of Lynne’s interest in re-engaging with ELO’s legacy. In 2001 he released the first ELO album of original material in 17 years.
He also formed the band seen on this DVD, and performed on Storytellers, the VH-1 show on which performers play and talk about composing their most popular songs, if you don’t know. I couldn’t find a video of that anywhere, it sounded interesting and the video I found on YouTube where he talks about composing “Livin’ Thing” and “Can’t Get It Out of My Head” was very interesting indeed, especially to a musician, so I’d of course love to see more of that.
Its a pity that poor response and ticket sales forced Lynne and Co. to cancel the planned tour, it was a fantastic lineup and much more talented, enjoyable and valid than the insipid Electric Light Orchestra II or The OrKestra, both stocked with bit players or over-the-hill ex-members playing (sometimes) shambolic versions of these great songs. Unquestionably, they are less than stellar without Lynne’s vocal.
Speaking of the new album, only one of the songs, Moment in Paradise, really struck me. I realize musicians like Lynne, who are still very active writing new stuff, hate the fact that people only want to hear the classics, but hey, he’s the one calling the project ELO. None of his new stuff held up to the old ones, at least to my ears. The audience seemed to agree, offering polite applause and golf claps, although they seemed to have been warmed up by someone to annoyingly chant “ZoomZoom” whenever Lynne mentioned the album. It just didn’t seem spontaneous.
This review seems to have tendentiously focused on the negative, but I liked the show and there was much more good than bad. Yeah, the new stuff seemed unnecessary and not really interesting. The old numbers, however, were uniformly great.
The strong piano intro of Evil Woman followed Do Ya, high-lighted by the amazing harmonies of Lynne’s then girl-friend, Rosie Vela.
She’s lovely, sexy and in perfect voice as the 2nd vocal in the very complicated and dense vocal arrangements. I never heard a bad or missed note the entire show (although her solo on One Summer Dream was “iffy”, but hey.
As mentioned above, Lynne has cut the top harmony from all these songs (along with the violin parts) which brings them all down a register and makes them a bit less dated and more dependent on the compositions themselves, rather than the production or the ELO “sound”, with the emphasis on electronic gimmickry, production tricks and none of the nasal, flat-inflected backing vocals that characterized the classic ELO hits.
This is an improvement and more listenable in the long haul. The vocals are smoother, for a more universal appeal. Richard Tandy also plays a lot more piano than synthesizer, which classes up the arrangements (although there is a lot of sweetening string reinforcement by Tandy and Mann throughout, using string synth pads, but its unobtrusive).
Lynne seemed to have a bit of trouble getting into the groove of the next song, Showdown (he did the “it’s a real submarine” lyric, love that), but most of the other songs were stellar versions, and not always note-perfect copies of the original studio recordings, yet still as compelling and entertaining. As I mentioned, there was a weird drop-out where the strings and Mann’s guitar vibrato (which is harmonized by several guitars on the studio version).
Strange Magic was weirdly beautiful, all the vocalists contributing amazing work on this and all the difficult vocal arrangements. Vocals like these are extremely hard to pull off live, although it helps to have 5 singers who have lead vocalist talent in their own right (I think Tandy might have been singing some also, or maybe the mike was just for his vocoder parts).
The doo-wop ballad Telephone Line was so resonant it raised goosebumps, at least on one listener’s arms. Lynne’s heartfelt and sincere delivery of the agonized but tender lyric and melody was another emotional high point to the set. The gorgeous arrangement, dominated by Tandy’s piano and cellos augmented with string synths and gentle backing vocals led by Vela, might be my favorite of the entire set list.
On Livin’ Thing, utility guitarist/keyboardist Mann earnestly played the intro through a processor that must have used a sampled violin on his guitar, and he pegged it. If the camera hadn’t featured him I never would have figured out who did the part, it sounded like a sampler (although of course you can run them through guitars too). Who needs violins?
Two very svelte and chic cellists, Peggy Baldwin and Sarah O’Brien (from the “highest levels of the Royal Academy”, according to the accompanying interview with Lynne) comprised the electric string section for which Lynne opted in these arrangements, and it worked very well. The arrangements were also toned down and less “busy” than the originals, but still hit the high points that made the songs unique and recognizable.
The strings were also very compressed and although there was a very limited dynamic range, the sound suited this version of ELO and it worked, but this entire set was much less “rocking” than the classic band used to deliver. A lot of the energy of that spirited ensemble was missing, but replaced with competence and respect for the compositions. Its a hard call if its a fair trade. This treatment probably holds up better on repeated listenings.
Turn to Stone followed -I’m skipping the new songs, which I also skipped on the 3rd listen to the .avi, they just didn’t do anything for me and I didn’t particularly dislike them, but I could have easily done without them-, turning in the most exuberant performance up to that point. The crowd was enthusiastic and loudly appreciative through the entire concert, but they really got into “Stone”, with its loping bass line and beat and soaring vocals. The quick middle falsetto break (“I’m Turnin’ I’m Turnin’ I’m Turnin’ to Stone!”) was especially fine and drew a cheer from the crowd and a big grin from Lynne in response. He seemed to genuinely be enjoying himself throughout.
Vela’s graceful hand movements and sinuous dancing, sweet voice and lovely person, in a classic black gown (like the cellists), plus her ease and personable attitude were a definite asset the entire set, and added greatly to the band’s appeal. Facially, she very much resembles the nude girl holding the jet on the cover of Blind Faith’s only album.
The entire band was dressed completely in black, in line with the subdued tone of the entire concert and lack of flamboyance or “rockstar” quality to the proceedings.
A few more unremarkable new songs followed and caused a bit of a lull. I’m sure they had to fill up the time slot, but a dropping a few of the new songs would have resulted in a tighter and more cohesive set without sacrificing entertainment value, at least to my ears.
The stage was contemporary and interesting, without being cheesy. It was designed like a modern adaptation of ELO’s iconic spacecraft, which opened at the beginning to reveal the band. Video displays behind the band scrolled Matrix-like “digital rain” effects, swirling lights and colored designs and shapes. The lighting was dominated by white individual spots and monochromatic “scenes”, like the unchanging blue ambiance for the next song.
The mid-concert classic was, to me, the musical highlight of the show, the Beatle-ish Mr. Blue Sky, a song with many timing and tempo changes, lots of lush contrapuntal or counter-melodic vocal parts, special effects and dynamic variations. It was played with precision, led by Greg Bissonette’s flawless thrumming of a beat reminiscent of the middle section of A Day in the Life (and with a Penny Lane fire bell, actually hitting a fire extinguisher). And yet you could see Lynne was having a great time, grinning and singing with intensity and feeling.
The crowd loved Richard Tandy’s vocoder bit in the middle, a rare taste (for that concert) of the 70’s electronic sound ELO pioneered and parlayed into a recognizable style. Tandy seemed to get a kick out of their performance of the song, giving the thumbs up to the crowd near him at the end. Tandy was the only original member of the band, and was very influential in arranging and contributing to the ELO albums of their peak. He even originated the names of many of their most noted albums, like A New World Record, Out of the Blue and Discovery.
Ma-Ma-Ma-Belle has never been one of my personal ELO greatest, notwithstanding it was originally co-written and recorded with Marc Bolan, one of my favorite artists. It was fine, but a bit of a let-down after Blue Sky. Richard Tandy did contribute a nice piano solo.
Another old one, One Summer Dream, followed. The song sounded very much like something Paul McCartney would write, at least in the style he’s settled into the last decade or so. It was pretty and pleasant, but a bit slow for a concert and really took some of the steam out of the show. It seemed an odd choice, since the song was not a hit single or well-played album cut (as far I know, anyway). It was a chance for Vela to sing solo on the extended coda, but although I really loved her in this concert, it exposed her limitations as a featured lead singer.
In another interview Lynne mentions his father complimented him on the chord changes in that one, so maybe it holds a special place for him in that regard. In the same interview he mentions his father criticized his music on occasion for lacking melody, which motivated Lynne to stomp into the front room and pound out “Can’t Get It Out of My Head” in response.
The epic Tightrope followed, another complicated arrangement, done professionally, but not one of their best songs. I always thought Lynne’s singing style was calculated to ape Lennon, but on this song particularly I realized he sounds more like Harrison on many songs, particularly these days, and most especially on this one. Perhaps its due to their close collaborations on Cloud Nine and Traveling Wilburys. Lynne uses George’s understated phrasing and is much more restrained and modest in his performance than when he fronted the band in the 70’s (I’ve only seen videos, of course, someone who actually attended may differ).
I was also checking out some videos of George’s 1974 concert tour and was struck by the similarities, even down to the posture and guitar stances while playing lead.
Next, State of Mind, another new one, and yes, Lynne seems to be writing for the same very limited audience to which soft Paul addresses these days: the mid-tempo-rocking adults who used to enjoy this type of music and would appreciate melodic, uninspired mediocrities that don’t rock too hard. It doesn’t suck, but I don’t want to listen to it, much.
Can’t Get it Out of My Head followed, and was an example of how to take it down and not lose momentum. Always one of my favorite ELO tunes, I was ready to love this, and Lynne didn’t disappoint. As a slow ballad, its actually very driving and powerful, and the lyrics are as close to genius as anything he’s ever written.
A very basic and streamlined arrangement, touchingly sung. Mostly just piano, acoustic guitar, muted cellos and some synth voices wafting far in the background as a wash. The human backing vocals were simple, sparse and angelic. For such a seemingly well-grounded guy (well, with divorce and break-up in his past, like everyone, I guess), Lynne can certainly write well about pain and loss.
The synth solo in the middle harkened back to Tandy’s Moog days. Lynne’s vocals the entire show were very dry and clear, a refreshing contrast to the robotic vocoder sound of most of today’s pop stars, tone corrected and chorused, reverbed, echoed, doubled and tripled and mixed with more competent singers, then flanged within an inch of their lives. Can’t Get was surely the emotional highlight of the show (well, along with Telephone).
Moment in Paradise, with a haunting and engaging piano riff was, as I mentioned, the only new song that really stuck with me. This one was also sung in a McCartney voice and would have fit right in the Flaming Pie or Chaos and Confusion tracklist. Nondescript but not irritating, but not really catchy or entertaining enough to want to own and replay over and over.
Sorry Jeff, I like and respect you, but according to Zoom’s dismal sales (and the subsequent cancelling of the planned tour to support it), I’m not alone in being unmoved by your new stuff. George Harrison played slide on the studio version, and Mann’s exact duplication pointed up the similarities of Lynne’s new songs with the style of the Anthology “Beatle’s Reunion” songs.
I’m struck by how much all Lynne’s new stuff sounds like the “new” Beatles songs of that same couple of years when he worked with them on Anthology. Free As a Bird and Real Love epitomize the faux Beatles sound of which Lynne is a master, not that its a bad thing. It worked well for the ELO era, but now he seems trapped in the same rut as McCartney, repeating pretty little songs that just don’t seem to resonate like they did in both their respective hey-days.
I have always noted how much Klaatu and ELO sound alike, which is logical since they were both building on the Beatles “Abbey Road” and “Sgt. Pepper” style legacy. When people accuse bands like ELO, Klaatu etc. of being “Beatlish” they usually mean that era. Raspberries were more ’64-65, Revolver-Rubber Soul, Beatle-ly.
Klaatu’s latter albums fell into the identical bland trap- they seemed to be repeating the same formula that made very enjoyable, original and unique work in their early stuff, but somehow the magic was gone. The seamless backing multi-layered backing vocals (the early Beatles were more of a trio of voices), the chord changes, the string sound, its all there but its just lacking something essential. If I knew what it was I’d write some hits myself.
I’ve also noticed how much both bands also sound like Cheap Trick, and visa-versa, but again, its no surprise since they are all influenced by the later Beatles period. Cheap Trick, I think, avoided the pitfall Klaatu and ELO fell into by being more rock-oriented and less pretty, at least all the time. But the melodies and harmony sounds are very much like the Cheap Trick sound, and they all sound a lot like early Wings, maybe more than the Beatles.
As an aside, I also recently noticed ELO’s minor hit Jungle, from their most popular and arguably best record Out of the Blue is almost a straight lift from the McCartney B-side C Moon(which became an A-side when the flip, Hi Hi Hi was banned on the BBC). The chord pattern is identical, the melody very, very close, and the arrangement, down to the lead vocal ad libbing, the nonsensical lyric hook (C Moon is presumably the opposite of L 7, or square, as mentioned in the original – you’ll have to look that one up for more explanation), percussion heavy, raucous drunken chorus and animalistic sounds at the end. I wonder if McCartney ever spoke to him about that when they were doing the Anthology? heh. “I’m chuffed you like my stuff, and imitation is one thing Jeff, but you’ve lifted me entire song!”
Back to the concert at hand:
10538 Overture, a very old one, originally a Move song and the first song released with the band calling themselves ELO, came after. It wasn’t much familiar, and it was a bit long and ponderous for so late in the concert. Well done but not a great melody or composition. I think it was actually included for historical reasons, because its not a gem of a song and didn’t exactly excite the audience. It didn’t sound fun to sing in that very high register (he apologized for his voice, unnecessarily, several times during the show). The Cheap Trick song “Downed” from In Color (and in Black and White) lifts the main descending D chord riff from this song.
So Fine would have been my choice for inclusion instead, a boppy, poppy number. This late in the concert you don’t want to get bogged down in long, epic songs that leave the audience looking at their watches, calculating how many more hits you can cram in before the clock winds down. In an interview Lynne mentioned he was trying to write “like the American bands, like Doobie Brothers” on that one, so maybe it bugs him now. It does bear a superficial structural resemblance to “Listen to the Music”, with the noodling bass intros and guitar riffs and big swelling vocal choruses. The structure of the chorus is very like, you can almost fit the lyrics and melody of one into the other.
Sorry, but as a producer I hear these things in everything to which I listen, which is not as annoying to me as to some of the people who have to hear me opine about it, apparently!
Ordinary Dream followed, another new one from the neo-Beatles school, and then Shine a Little Love, from ELO’s “Discovery” album (Disco? Very! was the joke at ELO’s expense at the time it came out), ok fine. It was probably the most dated number they did all night, with its cascading synth glissandos and BeeGees’ vocals. The preceding 3 songs would have not been missed by me had he simply not played them.
But, moving on:
The concert wrapped up (penultimately) with probably my least favorite hit and ELO’s biggest, Don’t Bring Me Down. That’s often true, I guess, I’m a huge Queen fan but detest Another One Bites, their biggest hit.
However, as I’ve found is the case with many songs I hated when they were current, I enjoyed this one very much. Lynne and his band were obviously having a great time and it showed, and it made the song fun and entertaining.
Plus, it rocked with the Bissonettes and Michael Mann driving it and Tandy’s rollicking piano. The “Gruse/Bruce” mondegreen had Lynne smiling at its absurdity. They also added a hoedown chorus toward the end that was an “interesting effort” at breaking things up.
Lynne spoke briefly and infrequently between songs, with a modest, self-deprecating humor and zero ego or star attitude. You never know about showbiz types, they are all actors and always on stage, but from interviews I’ve seen and his performance in this concert, Lynne seems like a genuinely nice, unassuming guy. Considering his impressive accomplishments and the superstars with which he has worked and gained respect, that’s a refreshing change. Maybe that’s why he was at ease working with such luminaries as the Beatles, George Harrison, Roy Orbison, Tom Petty and the elusive Bob Dylan.
They finished up with Roll Over Beethoven, minus the violin solo -which kind of made the song, in my opinion, but I’m nitpicking I guess. Lynne’s solos were extended instead, pointing up the fact he is a rather limited lead guitarist when extended. Richard Tandy didn’t have much to say after his first solo, either. You are a fine keyboardist, but glissandos only take you so far, Dick.
However, it was still a spirited ending to a very great show of musicianship and singing of some of the best rock compositions ever assembled by one band. ELO, it is not often noted, had the most top 40 hits, with 46, of any band during the 70’s. They also bear the unfortunate(?) distinction of being the band with the most top 40 hits in history never to have a #1. They did finally get one in the UK with Olivia Newton John singing Xanadu. Another case of hating one of their top selling songs!
The only real criticism I have is the lulls caused by the uninspired new music and the over-all subdued tenor of the concert. There were only rare flashes of energy and joy in the music. While Electric Light Orchestra Part II had a lot less talent than this lineup, they seemed to be having a lot more fun.
Rosie Vela’s pretty and talented self, dancing in place next to Lynne while she sings (nearly as much as he does), and visible in nearly every shot (she was strategically placed very near him in the center of the stage) was a welcome addition. Since everyone else stood in place and played, with the very occasional rocking by Lynne or bassist Bissonette, it would have been a pretty boring visual spectacle without her to look at.
And it also refuted the trope that female cellists are non-descript, dishwater plain wall-flowers who wear gym socks and have band-aids on their knees (see John Cusack’s “The Sure Thing”).
Even before I knew they were involved I suspected as much from her demeanor on stage, she seems enormously fond and proud of Lynne and enjoying herself immensely, and you can tell she really likes the songs. She hasn’t done much since, you can find out more about her at her “presence on the web”,
An ex-model and singer/songwriter in her own right, although she’s only put out one album (Zazu, 1987) and not done much else musically since, Vela is impressive here. She doubles Lynne on a lot of high stuff and takes all the main “response” parts that echo his lead, as well as the dominant lead backing vocal part on every song. As an ex-model she’s comfortable in the spotlight and it shows, she was relaxed and real during the entire show.
Greg Bissonette is also very animated and enthusiastic. His drumming is, to me, the overwhelming reason these very musically challenging songs, with abrupt timing, tempo and dynamic changes, work so well and seem so polished. He is just amazing on every single song. He appropriately recreates all of Bev Bevan’s signature rolls and fills, yet updates the entire set with very professional flair.
Bevan was, of course, a childhood friend of Lynne and Tandy, a member of the Move, which preceded ELO, and a founding member and the original drummer throughout the entire career of ELO, who even continued on with ELO2 long after Lynne had stopped performing live. He also played with Black Sabbath once ELO started winding down, appearing on the Mob Rules album and tour.
Bissonette is razor tight while at the same time he adds a nice swing and feel to everything he plays. His work is reminiscent of the fantastic job Abe Laboriel Jr. did with the Beatles’ classics when he toured with McCartney- updating and improving the work for a live situation, while not losing the essence and what made the drum parts both unique and timeless to their respective songs. Its an uneviable task to recreate parts people know so very well, while at the same time updating them and making them work live.
The girls on cellos, probably unused to the cameras, close proximity and intensity of the crowd, seem a bit nervous and only here and there loosen up and get into the music, but their playing was flawless, and they are a delight to watch, very attractive and chic they are. Mann, trapped in the back row and only given a couple solos and featured parts, is mostly unseen and performed his role in a quietly professional, behind the scenes manner.
Likewise Matt Bissonette, who while playing a very tight, appropriate and non-obtrusive bass line the entire night, never really rises above workmanlike. But perhaps virtuosity would have crowded the already dense arrangements on most of the songs. I’d have liked to have heard more of the melodic, moving type bass McCartney pioneered and Kelly Groucutt, the bassist in ELO’s most classic lineup, used on some of ELO’s work. Reportedly Lynne was very interested and active in writing the exact bass line for most of the songs, particularly Mr. Blue Sky, which if you listen towards the end, has some really intricate and interesting changes.
Groucutt, and likely Bissonette, were limited in some areas in that the cellos (and sometimes the piano left hand) often double the electric bass in sections, and a bass line that moved too far off center might clash, still, even in boogie-woogie bass lines like Roll Over, Bissonette colors a bit too much within the lines. But these are minor quibbles.
I’d also liked to have heard Sweet Talking Woman and So Fine instead of some of the new stuff, or rather than 10538 Overture or Tightrope (never a single but supposedly a “fan favorite”) or Shine a Little Light, the only truly annoying song in the set. If he were going to pull from high-lights of the old live set, “Nightrider” would have been an interesting choice. I’d have rather heard some of the really fantastic cuts from the “Out of the Blue” LP as well, like Wild West Hero, which was a minor hit, or even Birmingham Blues, a stalwart of the Out of the Blue Tour. Sweet is the Night, Steppin’ Out, Big Wheels, Standin’ in the Rain, Thunder and Lightning, Night in the City, any of those would have been preferable, at least to me personally, and I think the crowd, which seemed to be long-time ELO fans, would have gotten a kick out of any of those.
Listening to the arrangements I can find nothing to make them impossible to do live, and the classic lineup of ELO included some of these in their playlists of the times, but I guess they are either are not favored by Lynne for some reason or there were other concerns, like pacing or time. Tellingly, Lynne also left So Fine off the 3-CD Flashback box-set, the only song with a lot of radio play at the time omitted.
Seven of the 23 songs, almost a third, were from the new Zoom LP, which to me seems a bit self-indulgent, especially considering ELO’s plethora of truly recognizable hit songs. Wild West Hero or Rockaria or even Fire On High, but hey, its his gig and it hit the major high spots, and I guess his personal picks.
I’m glad they left out the execrable Hold On, at least. I guess it would have been asking a lot for Diary of Horace Wimp, but that would have been a show-stopper!
All in all, I say buy it. Watching it inspired me to read and watch a great deal about Lynne, and he seems as modest and unassuming as he is talented.
The breadth of his work and collaboration is truly amazing and impressive, and covers a lot of my favorite artists. His work with George alone, the most under-appreciated and unheralded of the solo Beatles, alone, makes Lynne a hero to me.
So, my recommendation is to buy this DVD and keep the SKIP button handy.
ELO 2001 Zoom Live Performers
- Jeff Lynn lead vocals, electric & acoustic guitar
- Richard Tandy keyboards
- Marc Mann keyboards, electric guitar & backing vocals
- Matt Bissonette bass & backing vocals
- Gregg Bissonette drums & backing vocals
- Peggy Baldwin electric cello
- Sarah O’Brien electric cello
- Rosie Vela vocals
ELO 2001 Zoom Live Set List
- Do Ya (A New World Record 1976, originally released by ELO’s precursor, Move)
- Evil Woman (Face the Music 1975)
- Showdown (On The Third Day 1973)
- Strange Magic (Face the Music 1975)
- Livin’ Thing (A New World Record 1976)
- Alright (Zoom 2001)
- Lonesome Lullaby (Zoom 2001)
- Telephone Line (A New World Record 1976)
- Turn To Stone (Out of the Blue 1978)
- Just For Love (Zoom 2001)
- Easy Money (Zoom 2001)
- Mr. Blue Sky (Out of the Blue 1978)
- Ma-Ma-Ma Belle (On The Third Day 1973)
- One Summer Dream (Face the Music 1975)
- Tightrope (A New World Record 1976)
- State Of Mind (Zoom 2001)
- Can’t Get It Out Of My Head (Eldorado 1974)
- Moment in Paradise (Zoom 2001)
- 10538 Overture (The Electric Light Orchestra 1971)
- Ordinary Dream (Zoom 2001)
- Shine A Little Love (Discovery 1979)
- Don’t Bring Me Down (Discovery 1979)
- Roll Over Beethoven (ELO2 1973)
UPDATE _One Summer Dream_ was misattributed to the new album Zoom, which also threw my math off on his new songs. Fixed and apology to Lynne, for my criticism of his inclusion of so many new songs. Now I see there was one less, making it less than a third new songs.