Not sure how many times I've read this 40 year old book written by the drummer and co-founder of the Electric Light Orchestra, Bev Bevan. However this most recent of perusals has provided some different perspectives than earlier reads, thanks to passing of time and changing attitudes.
First off, don't expect scintillating prose or fascinating insights into the life of a rock'n'roll musician and his bands. Outside the unique personal issues (where Bevan was born, the personal lives and attributes of the members of ELO) that are unique to the band members, I suspect this biography is not too different from any other 70s band's story. The tales of booze, drugs, sex, the hard scrabble for success and the benefits of getting it when fame and fortune does arrive are tropes I reckon one finds in many similar books.
Bevan's prose is also workmanlike, which is both a plus and a minus. There is an honesty about his writing that would've been obscured if he tried to be more elegant or intellectual, or (as probably happens in most rock autobiographies) a ghost writer had been employed. On the other hand the text is rather prosaic; there are hardly any patches of purple prose or poetry herein.
One thing that jars a little as one reads this book is how women and sex are depicted. To be honest some of the episodes described in 'The Electric Light Orchestra Story' feel rather sleazy. Oh, there are also moments of unease when Bevan relates his anecdotes about encounters with members of the gay community (either socially or as fans of ELO). This is where and when this book reads very much as a creation of its time and its culture.
If all these criticisms gives one the impression I didn't like 'The Electric Light Story' well that's not correct. I'm a huge ELO fan and this is still the bible of the band's first decade or so. No one else has or probably will write a similar book about the band unless Jeff Lynne comes out from behind the shades and does his own story. There are lots of great photos, some funny and even some sad moments. The latter is especially so when now-passed members of ELO such as Hugh McDowell, Kelly Grouctt, Mike Edwards and Louis Clark are referred to. Bev's insights into the his early years with bands like Denny Laine & the Diplomats and of course the Move are great, and I suspect he would be a wonderful source of material on the Brumbeat movement. Finally this is a very useful book when it comes to finding some insights into the bloated richness of 70s rock'n'roll, a world that was almost blown away by punk and later movements.
In summary, if you love ELO like I do this is a must read. If you love the music of the 1960s and 70s this is a rewarding read. If you aren't too concerned about these areas and want to deep dive into a serious autobiography from a major musician or his or her band you will find better.