Magic Recovery Key

Epic/Legacy's 2005 release All Over the World: The Very Best of Electric Light Orchestra is the latest installment in the seemingly endless series of ELO comps. Since it follows 2003's handy single-disc The Essential Electric Light Orchestra by merely two years, it's easy to wonder what distinguishes this from the other ELO collections on the market, and whether it was necessary to release another single-disc set so quickly after the last. The biggest differences between All Over the World and Essential is that the 2005 release has some very nice but altogether too brief liner notes from Jeff Lynne along with five more tracks than the 15-track 2003 release.

Epic/Legacy's 2005 release All Over the World: The Very Best of Electric Light Orchestra is the latest installment in the seemingly endless series of ELO comps. Since it follows 2003's handy single-disc The Essential Electric Light Orchestra by merely two years, it's easy to wonder what distinguishes this from the other ELO collections on the market, and whether it was necessary to release another single-disc set so quickly after the last. The biggest differences between All Over the World and Essential is that the 2005 release has some very nice but altogether too brief liner notes from Jeff Lynne along with five more tracks than the 15-track 2003 release.

One of the most subtly satisfying electric blues albums of the '70s. Fenton Robinson never did quite fit the "Genuine Houserocking Music" image of Alligator Records – his deep, rich baritone sounds more like a magic carpet than a piece of barbed wire, and he speaks in jazz-inflected tongues, full of complex surprises. The title track hits with amazing power, as do the chugging "The Getaway," a hard-swinging "You Say You're Leaving," and the minor-key "You Don't Know What Love Is." In every case, Robinson had recorded them before, but thanks to Bruce Iglauer's superb production, a terrific band, and Robinson's musicianship, these versions reign supreme.

The trio America (vocalists/guitarists Dewey Bunnell, Gerry Beckley, and Dan Peek) approximated the 1970s California pop folk sound so well that when their first single "A Horse With No Name" appeared on the radio waves in the fall of 1972, many listeners assumed it was a song by Neil Young. Ironically, "Horse" knocked Young's own "Heart of Gold" out of the Number One slot that year and jump-started America's career as a sort of lighter and less-filling version of Crosby, Stills Nash & Young. All three members of the group were competent and accessible songwriters, and their easy harmonies brought America several big hits throughout the '70s, including two produced by Beatles-producer George Martin, "Tin Man" and "Lonely People." Peek left at the end of the decade, leaving America as a duo, and they managed one more radio hit, "You Can Do Magic" in 1982. All of these are included on this collection, along with "Ventura Highway," "Muskrat Love," "Sister Golden Hair" and key album tracks.