Jeff Lynne Biography, Age, Dead, Elo, Tours, Songs and Interview

Jeff Lynne Biography

Jeff Lynne is an English songwriter, singer, record producer, and multi-instrumentalist from Birmingham who co-founded the rock band Electric Light Orchestra. The group formed in 1970 as an offshoot of the Move, of which Lynne was also a member.

Jeff Lynne Age

Jeff was 30 December 1947, Shard End, Birmingham, United Kingdom. He is 71 years as of 2019.

Jeff Lynne Height

Jeff stands at a height of 1.79 m

Jeff Lynne Image

Jeff Lynne Image

Jeff Lynne Daughters

Laura who was born December 1979 and Stephanie born 1981

Jeff Lynne Elo

Lynne contributed many songs to the Move’s last two albums while formulating, with Roy Wood and Bev Bevan, a band built around a fusion of rock and classical music – a project which would eventually become the highly successful Electric Light Orchestra (ELO). The original idea was that both bands would exist in tandem, however Bevan has since suggested that Lynne had little interest in the Move, stating:

“The only reason Jeff Lynne ever joined the Move was to form a new band. He was never interested in being a part of the Move. It was a good, money-earning band. It really subsidised the beginning of ELO for getting musicians in and recording and rehearsals and stuff. Jeff never wanted to be in the Move. He wanted to form a new band.”

Problems led to Wood’s departure from ELO in 1972, after the band’s eponymous first album, leaving Lynne as the band’s dominant creative force. Thereafter followed a succession of band personnel changes and increasingly popular albums: 1973’s ELO 2 and On the Third Day, 1974’s Eldorado and 1975’s Face the Music. By 1976’s A New World Record, Lynne had almost developed the roots of the group into a more complex and unique pop-rock sound mixed with studio strings, layered vocals, and tight, catchy pop singles. Lynne’s now almost complete creative dominance as producer, songwriter, arranger, lead singer and guitarist could make ELO appear to be an almost solo effort. However, the ELO sound and the focus of Lynne’s writing was also shaped by Louis Clark’s and Richard Tandy’s co-arranging, under Lynne’s direction (notably the large string sections), and Bev Bevan’s drumming, while Richard Tandy’s integration of the Moog, harmonium, and Mellotron, with more novel keyboard technology, gave Lynne’s songs a more symphonic sound. Kelly Groucutt’s distinctive voice mixed with Lynne’s to produce the classic ELO harmonic vocal sound.

The pinnacle of ELO’s chart success and worldwide popularity was the expansive 1977 double album Out of the Blue, which was largely conceived in a Swiss chalet during a two-week writing marathon. The band’s 1978 world tour featured an elaborate “space ship” set and laser light show. In order to recreate the complex instrumental textures of their albums, the band used pre-recorded supplemental backing tracks in live performances. Although that practice has now become commonplace, it caused considerable derision in the press of the time. Lynne has often stated that he prefers the creative environment of the studio to the rigours and tedium of touring. In 1979, Lynne followed up the success of Out of the Blue with Discovery, which held No. 1 in the UK for 5 weeks. The album is primarily associated with its two disco-flavoured singles (“Shine a Little Love” and “Last Train to London”) and with the title’s word play on “disco” and “very”. However, the remaining seven non-disco tracks on the album reflected Lynne’s range as a pop-rock songwriter, including a heavy, mid-tempo rock anthem (“Don’t Bring Me Down”) that, despite its use of a drum loop, could be considered the antithesis of disco.[citation needed] Lynne later recalled his forays into dance music: “I love the force of disco. I love the freedom it gave me to make different rhythms across it. I enjoyed that really steady driving beat. Just steady as a rock. I’ve always liked that simplicity in the bass drum.”

In 1979, Lynne rejected an offer for ELO to headline the Knebworth Concert in the UK, allowing Led Zeppelin to headline instead. In the absence of any touring to support Discovery, Lynne had time to contribute five tracks to the soundtrack for the 1980 film musical Xanadu. The score yielded three Top 40 singles: “I’m Alive” (UK No. 20), “All Over The World” (UK No. 11), and the title track “Xanadu”, which reached number one in the UK. Nevertheless, Lynne was not closely involved with the development of the film, and his material consequently had only superficial attachment to the plot. Xanadu performed weakly at the box office (although it later has experienced popularity as a cult favorite). Lynne subsequently disavowed his limited contribution to the project.
In 1981, Lynne took the band in a somewhat different direction with the science-fiction themed album Time, reaching number one for two weeks in the UK, producing the second Top 3 single in less than two years. The strings were still featured, but with heavily synthesized textures. Following a marginally successful tour, Lynne kept this general approach with 1983’s Secret Messages and a final contractually-obligated ELO album Balance of Power in 1986. Lynne discusses the contractually-obligated nature of the final albums on the short interview included with the ‘Zoom’ DVD. ELO now had only three remaining official members (Lynne, Bevan, and Tandy), and Lynne began devoting more time to producing. During his time in the Electric Light Orchestra, Lynne did manage to release a few recordings under his own name. In 1976, Lynne covered the Beatles songs “With a Little Help from My Friends” and “Nowhere Man” for All This and World War II. In 1977, Lynne released his first solo single, the disco-flavored “Doin’ That Crazy Thing”/”Goin’ Down to Rio”. Despite ELO’s high-profile at that time, it received little airplay and failed to chart.

In 1984, Lynne and Tandy contributed two original songs “Video!” and “Let It Run” to the film Electric Dreams (they also provided a third song, “Sooner Or Later”, which was released as the b-side of “Video!”). Lynne also wrote the song “The Story of Me,” which was recorded by the Everly Brothers on their comeback album EB84. Even before the official end of ELO, Lynne began his move toward focusing almost exclusively on studio production work. Lynne produced and wrote the 1983 top-40 hit “Slipping Away” for Dave Edmunds and played on sessions (with Tandy) for Edmunds’ album, Information. Lynne also produced six tracks on Edmunds’ follow-up album in 1984, Riff Raff. In contrast to the dense, boomy, baroque sound of ELO, Lynne’s post-ELO studio work has tended toward more minimal, acoustic instrumentation and a sparse, “organic” quality that generally favors light room ambiance and coloration over artificial reverb, especially on vocals. Lynne’s recordings also often feature the jangling compressed acoustic guitar sound pioneered by Roger McGuinn and a heavily gated snare drum sound.

Jeff Lynne Documentary

In 2012, Lynne and Tandy teamed up at Lynne’s Bungalow Palace home studios to record a live set of ELO’s songs. This was broadcast on TV as part of the Mr. Blue Sky documentary. Lynne and Tandy reunited again on 12 November 2013 to perform, under the name Jeff Lynne and Friends, “Livin’ Thing” and “Mr. Blue Sky” at the Children in Need Rocks concert at Hammersmith Eventim Apollo, London.

Jeff Lynne Death

He is not dead

Jeff Lynne Long Wave

Long Wave is the second solo album recorded by Jeff Lynne. released on 8 October and 9 October 2012. The album contains cover versions of songs that influenced Lynne’s songwriting whilst growing up and residing in Birmingham; it was recorded between 2010 and 2012.

Jeff Lynne Tickets

For more information about his tickets click here

Jeff Lynne Beatles

He has collaborated on various projects with former members of the Beatles

Jeff Lynne When I Was A Boy

“When I Was a Boy” Released: September 23, 2015

Jeff Lynne War Of The Worlds

Jeff Wayne’s Musical Version of The War of the Worlds is the debut album by Jeff Wayne, retelling the story of The War of the Worlds by H. G. Wells, released in the UK 9 June 1978.

Jeff Lynne Armchair Theatre

Armchair Theatre is the first solo album by Jeff Lynne, released in 1990.

Track listing

“Every Little Thing” – 3:41
“Don’t Let Go” (Jesse Stone) – 3:00
“Lift Me Up” – 3:36
“Nobody Home” – 3:51
“September Song” (Maxwell Anderson, Kurt Weill) – 2:57
“Now You’re Gone” – 3:57
“Don’t Say Goodbye” – 3:09
“What Would It Take” – 2:40
“Stormy Weather” (Ted Koehler, Harold Arlen) – 3:42
“Blown Away” (Jeff Lynne, Tom Petty) – 3:29
“Save Me Now” – 2:39
The song “Save Me Now” ends at minute 1:53. After 15 seconds of silence (1:53 – 2:08), an unusual whirring sound and seagull cawing are heard for 13 seconds. After the whirring sound there are 10 seconds of silence, followed by Jeff Lynne saying “Hey, it’s still going y’know,” and chimes ringing

Jeff Lynne Tour

DATE

TIME

VENUE

Thu, 20 Jun

20:00

Anaheim, CA, United States
Honda Center

Thu, 27 Jun

20:00

Chicago, IL, United States
United Center

Fri, 5 Jul

20:00

Atlanta, GA, United States
State Farm Arena

Sat, 13 Jul

20:00

Philadelphia, PA, United States
Wells Fargo Center

Tue, 16 Jul

20:00

Newark, NJ, United States
Prudential Center

Thu, 18 Jul

20:00

Toronto, ON, Canada
Scotiabank Arena

Sat, 27 Jul

20:00

Chicago, IL, United States
United Center

Thu, 1 Aug

14:00

Pittsburgh, PA, United States
PPG Paints Arena

Jeff Lynne Songs

YearSong
2015When I Was a Boy
2011While My Guitar Gently Weeps
1990Every Little Thing
1988Handle with Care
1988End of the Line
1986Calling America
1983Rock ‘N’ Roll Is King
1981Ticket to the Moon
1981Twilight
1981Hold On Tight
1981Here Is the News
1980All Over The World
1980I’m Alive
1979Shine a Little Love
1979Last Train to London
1979Don’t Bring Me Down
1979Midnight Blue
1977Standin’ in the Rain
1977Sweet Talkin’ Woman
1977Turn to Stone
1977Mr. Blue Sky
1977Wild West Hero
1976Living Thing
1976Telephone Line
1976Do Ya
1976Rockaria
1975Evil Woman – Live
1975Strange Magic
1974Can’t Get It Out of My Head
1973Ma-Ma-Ma Belle
1973Showdown
197110538 Overture

Jeff Lynne Net Worth

Jeff has an estimated net worth of  $30 million dollars.

Jeff Lynne Facebook

Jeff Lynne Instagram

Jeff Lynne Interview

Jeff Lynne Looks Back On Traveling Wilburys & the 30th Anniversary of ‘Vol. 1’: ‘It Was a Marvelous Time’

Updated:10/19/2018

I’ve read a lot of different stories about how the band came together. What’s your recollection?

I’d just started working with George, producing [Cloud Nine], and we’d been working on it for a couple of months probably, and George said, “You know what? Me and you should have a group.” And I said to him, “Oh, that’s a great idea.” What a lovely thing to be asked to be in a group by George Harrison. And I said, “Who should we have in it?” I don’t know what I was expecting, but he said, “Bob Dylan.”

And then I said, “Can we have Roy Orbison in it as well?” ‘Cause it was still a fantasy, really, at the time for me. I didn’t realize that this was about to happen. And luckily, we both said “Tom Petty,” because we both loved Tom, and it all came together just like that.

Did it feel like a challenge to get all these people together? Or did you think, “He’s a Beatle, so he knows everybody, and I know a lot of people myself, it won’t be that hard”?

It seemed like it was doable. I didn’t have to wait too long to find out whether it was doable. They all said yes immediately, so that’s how it started out. It was just on the phone, basically, and then we got together in L.A. at Bob’s house.

Did George announce that he was forming this group on a radio show? From what I understand, that’s how the public found out about it.

He may well have done, but I don’t know. I didn’t hear the radio show, so I didn’t know about that particularly. What I remember mostly was George had half a song done, and then we all convened at Bob Dylan’s garage, which is kind of wacky in itself. He had a little miniature studio in there, and [the song] was called “Handle With Care,” and that was the first one we did.

Who knew whom at the time?

I didn’t know Tom that well. I’d met him a couple of times, I’d met Bob a couple of times. I’d never met Roy, but that was my dream, to meet Roy Orbison — and to be in a group with him was just ridiculous. I couldn’t possibly believe that. We weren’t close pals, but it was meant to be, because when we did all meet up together, we got on great.

Is it true that some of the group went to one of Roy Orbison’s shows, and right before he got on stage, you asked and he said yes?

We went down to a show in Orange Country somewhere — I think it may have been Anaheim — and we actually watched his show first, because we got there a little bit late. Then afterwards, we were in his dressing room and asked him to join the group, and he [said] yes. There was never any long, big thought about it. Everybody thought it was a good idea.

What was the biggest hurdle you faced in getting everyone together?

Believe it or not, there wasn’t one. Because we had the studio, we just planned for ten days, to write ten songs for the album. Which is what we did: getting together around lunchtime, strumming five acoustic guitars. We’d all share chords, ideas for the chord changes, just to get the backing track, and then we’d lay those down. Sometimes we’d double-track those five acoustics, so it’d become ten acoustics. It was rather extravagant, but the rest of it was very, very simple. We would then have dinner and write the words at the same time we’re having dinner. We’d be sitting there at the table, throwing out lines.

Bob got a lot of the lines, just because he’s such a great writer of lyrics. And it was just fascinating, really — the whole thing was done at dinner time. We’d then go back in the studio and sing them. We’d sort out which parts would suit everybody, and then me and George produced it. It was a marvelous time.

When we’d done the ten songs, they were just basic tracks, really — acoustic [guitars], bass, a couple of drum beats, and then we took it home to to England to really finish it off. Tom came over to play, and Roy came over to finish them off — to make them into what you’d call proper records, rather than demos.

On Vol. 1 it does feel like some of the songs sound like Bob Dylan songs, some sound like George Harrison songs, some like Tom Petty songs, Orbison songs, Jeff Lynne songs. How did that process happen?

Usually the guy who had the most to do with the lyrics would sing most of it. And other people would get choruses or a bridge to sing. We’d do different parts that would suit their voices. It was just a matter of trial and error, really.

Getting Roy Orbison in the studio, it was just magic to me. As well as doing the Wilburys at that time, I was doing three tracks for his own album [Mystery Girl]. I was just producing him, and I was knocking these tracks out between the Wilburys sessions. If there were a few hours left in the day from the end of a Wilburys session, I’d go back to work on the Roy Orbison songs. I got the privilege of recording his voice, which to me, has always been the greatest thing ever.

Was there any concern at all that egos would get in the way during the sessions?

It never did get in the way. I never thought that it would. I mean, we had met up before we all started thinking about doing the work, and [it was just] a bunch of guys having fun.

Tom came up with loads and loads of words for the songs as well, and Tom… [his death] really knocked us about, that one. Three of them gone now — I can’t believe it still. It’s one of those things: “No, it can’t be true.”

Where do you think that lack of ego came from?

I think it just came naturally, because George was a bit of a name on his own. I think that they were all totally in tune with this idea that George had originally. Everybody saw what everybody did, and I was mainly the producer of it, trying to get it all as good as it could be. They all knew that everything was covered. Nobody thought that they were better than anybody else, really. I actually made up the name Traveling Wilburys. I don’t think Bob was that keen — he wanted to call it Roy and the Boys.

There’s a story out there that George called the mistakes during the recording of Cloud Nine “Wilburys,” because you said, “we’ll bury them in the mix.”

That’s totally a fabrication. Somebody invented that just to make it sound good, but no there was nothing subtle at all about The Wilburys. What you saw [was] what you got. That was it.

What was it like to collaborate on producing with George on that album? That partnership must have laid the foundation for the Wilburys.

George wanted to be sure we would get on, because we didn’t know each other, but he liked my ELO records. I’d just been working with Dave Edmunds on a song, and [George] asked Dave to ask me if I’d like to work on his new album. I said “Of course!” So I went around to his house, and there he was, on the boat on the lake. We had a few beers and a laugh, and after a couple of days of just talking about me producing him, he asked me if I’d like to go on holiday to Australia.

I said, “Oh, I’d love to,” and so we did. We went through Hawaii and then to Australia to watch the Grand Prix in Adelaide — that’s where it was in those days — and we became really great friends and had really good fun. I even co-wrote one of the songs with George — “When We Was Fab” — off Cloud Nine. It was just a wonderful opportunity to use some really good sounds, some nice, ’60s kind of sounds.

Was there a desire on some of these guys’ parts to just be someone in a band for a while?

I think so. Tom loved not having to be the big front guy. But he always looked great anyway — he looked like the front guy. Roy Orbison — what a lovely man, one of the nicest guys I’ve ever known, just a real sweetheart. He’d come to the session, and in his car he’d have a bunch of cakes, which he wasn’t supposed to have anyway, because he had a bad heart. He’d call me Jeffery and say, “I’ve got some really nice cakes in the back, come and have a look.” So he’d invite me down to the back of his car, show me them and say, “You can have first pick.” I thought that was so sweet.

What was Dylan like in this sessions? Did anything about him surprise you?

Obviously I knew all his work, but what struck me really was how he did it the same way we all do it, but only … better words? I don’t know how to explain it, but he’d get right to the point, right to the “What’s this about?” [conversation]. We’d have to say, “What’s this about, then?” after we got lines in.

Hearing you say that makes me think of “Tweeter and the Monkey Man.” I’m still not 100 percent sure what it’s about.

I think it’s about some visions that Bob Dylan had that night. Who knows? Tom helped a lot on that one, too. It’s all over the dinner table, don’t forget, so we’re just talking and saying sentences, and sometimes they fit perfectly, and sometimes they don’t, so you move them down a bit so it fits in the next verse.

There was no premeditated thinking about it. It was not what you’d normally do on an album: You’d keep going over it, time after time after time after time, to edit the song to make it as good as it can be. But Bob very much [felt] the first take is the one, and that’s it — you don’t touch it. The first take is Bob’s favorite, usually.

Many people think that song is a hat tip to Bruce Springsteen, given the imagery of New Jersey, a factory and other references. Is that the case, or was it just a coincidence?

I think he liked talking about Bruce. You should ask him about that, really, because I know they sound [like] little bits of “Thunder Road.” We all loved Bruce Springsteen, obviously; you could say it was an homage to Bruce.

When you guys are record a song like “End of the Line,” where no one is really sing lead and you’re going back and forth, what’s the atmosphere like? Is it as fun as it sounds on the recording?

Oh, absolutely, because we knew we’d got a great tune there, and everybody loved singing it. Everybody loved to have a part, because it was such a catchy and sentimental song, and when Roy comes in, he just blows my mind. Of course, Roy died just when we finished it and the record was coming out, which was the most sickening thing to me. I was devastated for ages because of that. Me and Roy had had plans to do much more together, and his voice was in really good shape. It was just so sad for that to happen.

Where did the idea of giving yourselves different Wilbury names and saying you’re half brothers come from?

Oh, that was George’s idea.

Was the idea, “Yes, we’re five huge names, but we’re just part of a band”?

Of course everybody knew who it was, but that was the idea — making it more like a real group that’s been together for years.

What is your fondest memory of doing Vol. 1?

I think my fondest memory is Roy Orbison singing on the [tracks]. When he’s laying it down, and I’m egging him on a little bit as the producer, just going, “Oh yeah, just like that!” He was such a brilliant singer, and a lovely guy. I had all the time in the world for Roy. My favorite thing of all was being pals with Roy Orbison.

Were you surprised at the success of the album? Or did the success of Cloud Nine give you a little bit of an idea that the Wilburys album might be successful?

The main thing is that [Warner Bros.] thought it would be successful, so they put a lot of faith in it. And it was very popular. I still do one song onstage on the new tour: “Handle With Care,” just to remind you of the Wilburys and show them a little bit of the Wilburys footage on the screen in the back. The crowds always love that. They love to hear that one.

You’re in the middle of your ELO tour right. How’s that going?

It’s been fantastic. It’s unbelievable. Absolutely outrageous. They’re all sold out to the roof, so it’s shocking and fantastic.

Shocking how?

Well, I haven’t been on the road ever since the Wilburys.

Is it interesting to you that songs that are forty years old are getting such a positive reception? They hold up very well.

I’m shocked. I’ve got a really good band now, and I can finally reproduce on stage what I couldn’t do before with the old group. The new group has 13 including me, and we can finally cover all the string parts, the harmony parts. I get a copy of the show afterwards, just to check how it’s going, so I’m just thrilled with the way it sounds, and the audiences are too. I don’t mean to sound like a big head, but they go mad for it.

What’s the status of the new ELO album?

I’m already halfway through it, really. So when I finish the rest of this tour, then I’ll be back in my studio.

Source:.billboard.com

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