We had Xanadu. Now please give us the jukebox musical Electric Light Orchestra.

That was the main takeaway from Jeff Lynne’s ELO concert at Madison Square Garden on September 16th.

As is well known, the ELO co-founder’s stated goal with Electric Light Orchestra was to pick up where the Beatles’ “I Am the Walrus” left off. What exactly did he mean by that? He probably wasn’t just referring to the heavy psychedelic menace of that track (although Lynne loves to introduce albums – and concerts – with a bizarre space-changing time jump sequence – the ELO spaceship crashing into hyperspace).

It’s more likely that Wood (and later Lynne) was thinking of those snappy cellos, of George Martin’s string arrangement in general and, above all, of the production, which included everything including the kitchen sink. The endless appeal of the ELO sound is that, as Lennon noted of “I Am the Walrus,” it “has enough little bits and pieces to keep you interested even a hundred years later.” It’s rock ‘n’ roll and Phil Spectors Wall of Sound crossed with the orchestral score for a fantastically brooding sci-fi adventure film. (The late appearance of a menacing intonating male choir, a favorite maneuver of Lynne’s, should sound absurd in a pop context. In fact, it’s never not great.)

The robust workmanship is part of the appeal anyway. Probably more important is the lightness and liveliness of Lynne’s pop songwriting. “Evil Woman,” “Sweet Talkin’ Woman,” “Livin’ Thing,” “Don’t Bring Me Down” and “Mr. “Blue Sky” is pop at its most exquisite and grinning. “Evil Woman” could go on pretty much forever and no one would complain. These are songs that you can’t resist grinning and singing along to. With a large audience, the feeling is almost euphoric.

While his more progressive colleagues created ponderous rock symphonies, Lynne understood that the drama of classical instruments could be harnessed in the service of fun. Think of the Vivaldi-influenced violin breaks in “Livin’ Thing,” which could serve as a soundtrack for a scene The Great Train Robbery (complete with heroic trumpet moment). And Lynne’s unerring pop instincts ensured ELO could cruise through the disco era with flair, with “Don’t Let Me Down”, “Last Train to London” and “Shine a Little Love” more than worthy additions to the catalogue were. (However, the futuristic shimmer motif of “Shine a Little Love” could be toned down a bit in concert.)

In concert, Lynne prefers to let the songs speak for themselves – which is fine when the songs are this good. In fact, it’s sad to see Lynne lost in the musical wonderland he himself created. He is enjoying this last tour so much and has more than earned his retirement.

But clearly there is a deep desire among music lovers to engage with ELO’s greatest hits – which is why a catalog or compilation of a musical based around these hits (not a biomusical, please) seems like a given at this point. It could be that a “21st Century Man” takes a “Ticket to the Moon” or a “Hero of the Wild West” misses a “Sweet Talkin’ Woman.” Apparently there would be a robot with a vocoder voice – and someone named Bruce. (Producers, I am available to discuss ideas.)

All I know is that for an hour and a half, Jeff Lynne’s ELO transported a sold-out audience to a galaxy of infectious, feel-good symphonic pop. And I’m ready for another trip.