HAYWARD & LODGE (THE MOODY BLUES)

The years 1967-1972 produced seven classic albums of THE MOODY BLUES and had not given much time to have a break. After The Seventh Sojourn the band didn't exactly break up, but the members felt the need to have some distance from each others. (An anecdote tells how they used to give numbers to their jokes: -"Number eight." - "Hahahaha...") The most prolific song-writer Justin Hayward however started to feel the urge to get back into the recording studio, so he stayed at Mike Pinder's home in Los angeles hoping to make some music together. Soon also John Lodge and the producer Tony Clarke wanted to join, which made Pinder to withdraw from such re-grouping. The long and winding process resulted in an album that definitely deserves its place in the MB legacy.

Additional musicians were hired from groups of the Moodies' own label Threshold, dor example string players from the American Providence. The one thing that clearly separates Blue Jays from the MB output is the absence of Pinder, Ray Thomas and Graeme Edge. Clarke is again a master as the producer, and the orchestrations for three songs were written by Peter Knight, the man they worked with on Days of Future Passed.

Over half of the songs are by Hayward whose song-writing pen was in good shape. The duo shares credits for two songs, of which 'Remember Me (My Friend)' Clarke edited down to 3½ minutes from the original nine minutes. Lodge's own compositions are 'You', ''Saved by the Music' and 'Maybe', all rather romantic songs but in my opinion slightly from the better end of his output. No, nothing as gorgeous as e.g. 'Candle of Life' (1969) but at this time the vintage Moody Blues magic was of course more or less left behind.

The whole album's atmosphere is soft and emotional, but not commercially sentimental as the latter day Moody Blues tend to be. The oroginal album release was followed by the single 'Blue Guitar'. Hayward's basic track is a collaboration with the 10cc musicians, dating from 1973. That laid-back, dreamy song is naturally included in the album's CD release. Even with the absence of the original quintet's synergy and many-sidedness in song-writing, Blue Jays beats almost anything released as the Moody Blues since their comeback album Octave (1978). Before Octave each member released solo album or two. Only Justin Hayward has made a considerable solo career, starting with a good album Songwriter (1977).

The keyboards (and in particular mellotron) which were hallmarks of the Moody Blues sound were absent for this album, recorded by Hayward and Lodge to fill time during the Moodies' mid-1970s hiatus, and in their place is a string section backing which gives the album a sound reminiscent of classic baroque pop releases of the 1960s. The overall effect is close enough to the duo's Moodies compositions that the album will appeal to listeners of that band - indeed, it's a sufficiently good companion to their Moody Blues work that few fans would want to be without it - but it's definitely its own entity at the same time.

Saved by the music from pain, fear, and sorrow.

Recorded during a six year long hiatus between Moody Blues albums, Hayward and Lodge out Moody their own band. Each and every song is filled with lush orchestrations, plaintive vocals, heartfelt lyrics, and haunting melodies. Indeed, it seems there was very little chance of the Moodies reconvening during those years. Symphonic orchestrations are more apparent than on any Moodies album since Days of Future Past, even more so, and more grandiose, for in that iconic album there was much a trade off between orchestral and band tracks, while here the orchestra is fully integrated into the songs. We can separate the tracks on Days and get a bunch of good songs, but we cannot do that here and still have the same music. All of the songs are either slow ballads, where the orchestrations really make their mark or mid-tempo rockers, Saved by the Music being the liveliest of the bunch, which are enhanced by the orchestrations. The chanting vocals of the closer, When You Wake Up, brings the album to a satisfying climax. I do not have the more recent CD release where a song Hayward recorded with 10cc, Blue Guitar is featured. To be honest, I am not sure if I want it, the album closes off so well in its original form (but then again, the cassette tape I have this on will eventually wear out). If the lusher, more romantic side of the Moody Blues interests you then you have to get this album. If not, then avoid at all costs. Myself, I enjoy it a great deal. There is really nothing like it that is better; in other words, it is the best of its genre, as long as we don't confuse it with a Moodies album, and even then it stands up well.

Call them sickly-sweet, sugary or slushy. Call them too melodic, over-produced or over-arranged... Call them whatever you will, I do it. And, in spite of all the adjectives, what beautiful songs these two did gather here! And not just so, they even make them progress and evolve an enrich with brilliant guitar solos and trade-name vocals and heavenly choirs...

Do indulge yourself once and for all with this splendid album. The quality of the raw material is so good it will instantly make you forget about the corny presentation..and, what the hell, there is also a corny (hidden) side in us all which now and then wants to be released... or is it just me?

Anyway, do not tell anybody, but get this Cd. You will not get disappointed if you liked The Beatles and The Moody Blues.

I cannot imagine why I did not buy this record when it came out somehow it passed me by. So somewhat later, I have finally given this record the plays it deserves, and frankly its wonderful. I always liked the M.B's but found some parts of their music a little irritating , they were a band that everyone seemed to respect despite some embarrassing moments.

Blue Jays, seems to be free of such defects of style, and is closer to the brilliant Seventh Sojourn than any other moodies recording. The inclusion of Blue-guitar is a real bonus and tidies up nicely.

A very pleasant album that demonstrates the very skilful writing of haywood and Lodge.

This absolute treasure was written while The Moody Blues' were on hiatus between 'Seventh Sojourn' and 'Octave'. Every single track on the album is melodic, moody, deep and rich. With the Moodies' long-time producer, Tony Clarke, at the mixing desk, it is hardly surpising that this sounds like a Moody Blues album, although it is actually quite different in many respects.

For those who love Haywards profound ballads and Lodge's airy harmonies this is a must hear. There is something different about each song and there are interesting choices of backing instruments (pipe organ and trumpets on 'Maybe' to a simple string quartet on 'Who Are You Now?' to the rocking guitar and piano on 'Saved by the Music'). "My Brother" and "I Dreamed Last Night" are big heartwarmers, drenched with emotion and lyrical imagery. Who can sing of the bittersweet pain and promise of love like Hayward?

I could often compare the songwriting combination of Hayward and Lodge to the quality of Lennon-McCartney. I once read a reviewer describing this pair as the masters of mellow rock. I don't believe anyone can write songs as beautiful as this anymore. There is nothing too deep or philosophical in the lyrics, just a blend of voices to paint with sound on the canvas of imagination. The wonderous harmonies here are good for a romantic evening in front of the fire place. It's a fantastic album that never tires of listening too - several times in one sitting! Every Moodies fan must have this in their collection. 5 stars.

This CD is an incredible masterpiece. There is not one track that I don't like - - and most of them I LOVE. Seriously. Justin's and John's vocals are strong, soulful and thought provoking.

I've only had this CD for a few weeks. I now listen to it every single morning before going into work. It's inspirational to me and helps me start my day on a thoughtful note.

As I said previously, I really love each and every track. My personal favorites are Remember Me (My Friend), You, Nights Winters Years, I Dreamed Last Night, Maybe. Those are the songs that stand out for me....PLUS a special note about Saved by the Music:

This song is beautiful and more upbeat. I fell in love with it - but wasn't sure about the chorus. Simple and to the point. I want you to know, after hearing it 3 or 4 times, I started going to work humming this song to myself. Couldn't get it out of my mind. This song has a different twist and I, too, LOVE this track.

Justin and John, in a way, are made for each other. If you believe in destiny, this is it, folks.

If you are a fan of The Moody Blues' classic era in the late 1960s and early 1970s, then Justin Hayward and John Lodge's Blue Jays is a must album for you. It maintains the sound of the Moodies from Days Of Future Passed through Seventh Sojourn. Hayward and Lodge utilize the Moodies' producer, Tony Clarke, some of the songs are orchestrated by Peter Knight, who orchestrated the Days Of Future Passed album, and even the cover art is done by Phil Travers, who illustrated six of the classic Moodies albums, from In Search Of The Lost Chord through Seventh Sojourn. Blue Jays has a mix of ballads and upbeat numbers, typical of a Moody Blues album. When released in 1975, while the Moodies were on hiatus and doing solo work, Blue Jays was treated by fans as a new Moodies album. Hayward and Lodge subsequently went on to record solo albums that were a bit more of a departure from the classic Moodies' sound. But Blue Jays marked the beginning of Hayward and Lodge as the performing and songwriting duo who would front the Moodies after they reformed in 1978. The Blue Jays CD release also includes the single Blue Guitar, which was originally recorded by Justin Hayward and 10cc, with John Lodge and Tony Clarke later adding their touches.

It used to be my favourite album of all times, but the long-neglected criticism starts percolating to my mind and sobering my wiew now. Yes, the album is a bit monotonous, paradoxically enough, as the promising pre-conceived notion was to render each track in a different key and tempo. Still, the arrangements reek of sameness, which makes it a bit hard to sit the whole album through.

Which is sad, because the compositions are brilliant, and the level of the performers' emotional attachment seems to be even higher than on the previous Moody Blues albums. The harmonies are impeccable (especially in the rocking "Saved by the Music"), and the lack of Thomas' and Pinder's voices is hardly felt. The moving "Who Are You Now?" even manages the mellotron in the background, and the other tracks are rejuvenated by the presence of a string quartet and sometimes even a french horn player (which is a welcome addition to the Moodies instrumentarium). The overall feel of the album is very bright, but this is not flat or market-induced optimism. There are two Hayward-Lodge collaborations (the first instance of such a credit ever), both of which are classic Moody Blues tracks. In fact, each of the songs (with the exception of Lodge's "Isn't Life Strange" rip-off called "Maybe", which is undercomposed and underperformed vocally but overarranged at the same time) could adorn any of the core-7 Moody Blues album. Replace "Maybe" with "Suitcase' off Hayward's second solo album, wipe the Hollywoodish "Nights Winters Years" finale and you might get the greatest prog-related spin-off album ever!

Just got this from Amazon.co.uk yesterday. My, my, this takes me back! I bought it back in '75, when it first came out, and I was stunned at the time over the sheer musicianship, the songwriting, the orchestration, the production and Justin's guitar. The tracks run into each other which tends to add to the album's completeness, in my view. My cd is the remastered version, and it sounds really crisp coming out of the speakers. Every track is wonderful, and the album is easily comparable with the best work the Moodies ever did. As commented on already, this does in fact sound uncannily close to a Moodies album. 'This Morning' is a highlight, the guitar work especially standing out and a very emotional melody in both verse and chorus. 'Remember Me (My Friend)' is softer, with nice acoustic guitar at the beginning, though the harmonies here are a little fragile in places. 'My Brother' is a mid-paced track that has another wonderful melody, whilst 'You' is ridiculously catchy, with the piano work in particular worth mentioning. 'Nights Winters Years' is the big ballad on the album, Justin singing it with full orchestral backing. This is classic Haywood material and goes down a treat, especially on dark winter nights, in front of an open fire. (Ours is gas, unfortunately!) In fact, the whole album has a wintry feel to it, or late autumn at least. 'Saved By The Music' is probably my least fave track, simply because the verse is almost child-like in its quality, especially in the vocals, maybe too simple for me, but the chorus is memorable, and, as the song fades, you hear that wonderful Haywood guitar soloing out nicely. 'I Dreamed Last Night' is another highlight. More acoustic guitar here, with a strong melody, and gorgeous harmonies in the chorus. Percussion work, here and throughout, is top notch. 'Who Are You Now' is quieter, with gentle acoustic guitar the predominant instrument. Another introspective Haywood song, with effective harmonies again. 'Maybe' is another orchestral-backed ballad, this time sung by John. He doesn't quite have the strength in his voice that Justin has, but he sings it well enough, and the song fades out nicely with some good instrumentation. Then fades in the third highlight, 'When You Wake Up', which was the B side of the single 'Blue Guitar'. This track is full of Haywood's guitar work, beautifully played, winding its way sinously through the track. The melody is strong, and the chorus is climatic in character. Finally comes the bonus track, the aforementioned single 'Blue Guitar', which starts with some absolutely superb spacey guitar from Haywood, before leading into yet another strong melody, and ending with more excellent guitar. This is a shorter track, and strangely doesn't feature John Lodge at all. But it fits nicely on the album. It has been wonderful revisiting this album, and it is recommended for anyone who wants to listen to strong melodies without any pyrotechnics or metal riffs. In fact, it is recommended for anyone who has the Moodies albums and would like to hear another one! Four stars.