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.
Bevan has, however, 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.
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 favourite).
Lynne subsequently disavowed his limit
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. Bevan has, however, 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. 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 favourite). Lynne subsequently disavowed his limit
Jeff Lynne