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The Moody Blues

Crossover Prog

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The Moody Blues Everyday album cover
2.96 | 6 ratings | 1 reviews | 17% 5 stars

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Singles/EPs/Fan Club/Promo, released in 1965

Songs / Tracks Listing

1. Everyday
2. You Don't (All The Time)

Line-up / Musicians

- Michael Pinder / keyboards and vocals
- Ray Thomas / bass, flute, vocals
- Graeme Edge / drums
- Denny Laine / guitar, vocals
- Elaine Caswell / percussion
- Clint Warwick / bass

Releases information

Record Label: Decca
Catalogue No: F12266
Country of Origin: UK

Thanks to mogorva for the addition
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THE MOODY BLUES Everyday ratings distribution

(6 ratings)
Essential: a masterpiece of progressive rock music(17%)
Excellent addition to any prog rock music collection(0%)
Good, but non-essential (50%)
Collectors/fans only (17%)
Poor. Only for completionists (17%)

THE MOODY BLUES Everyday reviews

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Collaborators/Experts Reviews

Review by Matti
3 stars 20-Year Chronological Run-Through, pt. Three: 1965.

This single came after The Moody Blues Mk. 1's sole album the Magnificent Moodies; both songs are included on the Esoteric Recordings' reissue. The band was later to undergo a major change in the line-up and musical style, but this is of the beat era featuring Denny Laine as the main vocalist and guitarist. At this point Laine, Michael Pinder (keyb, voc), Ray Thomas (fl, voc) and co. had shifted from covers -- 'Go Now', their biggest hit, being one too -- to their own songwriting.

'Everyday' is a very short song, under two minutes, and as such fairly nice one. It has a lot of vocal harmonies (something they undoubtedly learned from The Beatles and took to another level) and an interesting rhythm pattern. Graeme Edge may be among the most underrated rock drummers. Pinder's work at keyboards is in the tinky-tonk Baroque pop style of the era, still far from the orchestral nuances of what was to come. Admittedly this little song wears out its charm quickly.

'You Don't (All the Time)' (2:22) is a surprisingly complex and witty pop song coming from 1965. Also here the group offers their excellent vocal harmonies, and Ray Thomas adds some flute. To some degree the composition is perhaps half-baked, and its melodies are rather forgettable, but there are some very interesting things in it.

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