The Electric Light Orchestra has sometimes swamped itself in grandiose conceptions, and Eldorado (A Symphony) sounds like a prime opportunity to do it again. But thanks to strong original songs, Eldorado emerges as something of a triumph for the group.

ELO has its own amplified string section and is augmented here by full orchestra and chorus. The orchestral interludes are not oppressive (except for the pompous prologue), and generally range from mildly pleasant to merely irrelevant. The heavy strings and choral backings, though not to my personal taste, serve as effective filters, enhancing the dreamlike atmosphere of composer Jeff Lynne's story line.

The concept here is an updated "Miniver Cheevy" of sorts about your workaday dreamer longing for the stuff of legend. The tracks alternately depict Lynne's '74 Cheevy striving to escape his mundane existence, and dreaming heroic dreams. Nothing profound, but excellent grist for a strong suite of songs.

Here Lynne shines—the eight individual tracks represent the strongest, most varied set yet recorded by ELO. "Can't Get It Out of My Head" is an immediate favorite, vaguely suggestive of the Kinks, with a lush, irresistibly pretty melody. Other standouts include "Illusions in G Major," a skillful, power-packed Fifties-style rocker with intriguing lyrics; "Poor Boy," a robber ballad cleverly employing an uncanny John Wesley Harding soundalike vocal. "Mister Kingdom" pleasantly evokes the Beatles' "Across the Universe"; "Boy Blue" is an enjoyable, extremely simple rock number; and "Eldorado," though embarrassingly rotund in spots, is a tuneful Bee Gees-like ballad.

As a concept album Eldorado is lyrically effective and thankfully not overbearing. The symphonic aspects sometimes get out of hand, but generally work well enough. And as for the rest, Eldorado is the most successful Electric Light Orchestra album to date. (RS 177)

KEN BARNES