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"Strange Magic" is a song written by Jeff Lynne and performed by Electric Light Orchestra (ELO). It was originally released on their 1975 Face the Music album.. The 'weeping' guitar lick was provided by keyboardist Richard Tandy while Jeff Lynne played a 12-string acoustic guitar fed through a phase shifter.
The singles "Evil Woman" and "Strange Magic" were the most commercial songs that the group had recorded up to that point. "Evil Woman" was a big hit in the UK and the US, embracing disco rhythms while still embodying ELO's classic sound. Lynne wrote the chords and melody of this song in only six minutes, making it his fastest feat of composition.
"Livin' Thing" makes prominent use of augmented chords. [3] Lynne said about that: "Livin' Thing" had an augmented chord. George (Harrison) used a lot of those chords, too. I think the influence of using those types of chords came from the Long Wave sort of songs. Trying to marry the two styles together, trying to put those funny old Victorian ...
With lyrics about being followed combined with a punch of 80s pop and Michael Jackson singing the hook, this makes for an epic Halloween song! Related: The Best Horror Movies on Amazon Prime Video ...
Strange Magic: The Best of Electric Light Orchestra is a compilation album by Electric Light Orchestra (ELO), released in 1995 only in the US.. The compilation favours album versions rather than single versions; tracks such as "Rock 'n' Roll Is King", "Shine a Little Love" and "Boy Blue" are longer.
If you're tired of your stomach feeling like a distended balloon, you're not alone. In fact, it is pretty common. A study shows that almost 18% of people experience bloating at least once a week ...
"Fire on High" is the opening instrumental track from the 1975 Electric Light Orchestra (ELO) album Face the Music. The song was the UK B-side to the band's worldwide hit single "Livin' Thing", issued in blue vinyl.
Billboard praised the use of the title lyrics as a hook. [8] Cash Box noted the 20th-century influences and "commercial qualities" of the song, stating "from the classic hookline — a recurring four notes from ' Anchors Aweigh ,' through an electronic schism from a dramatic TV serial two-thirds of the way through."