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THE MOODY BLUES

Crossover Prog • United Kingdom


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The Moody Blues picture
The Moody Blues biography
Formed in 1964 in Birmingham, UK - Suspended activity between 1974 and 1977 - Still active as of 2017

Imitation. Innovation. Sensation. That pretty much sums up the first phase of THE MOODY BLUES. Their 1965 debut, "The Magnificent Moodies", was your standard British Invasion record; R&B covers and originals from Mike Pinder and Denny Laine that included an earlier #1 hit single, "Go Now". In 1967, Justin Hayward and John Lodge replaced Laine and Rod Clarke, and what followed was the stunningly original "Days of Future Passed".

Featuring orchestral arrangements and introducing to many ears the transcendent tones of the mellotron, that work almost single-handedly set the stage for the progressive rock movement. Subsequent albums confirmed the band's status as England's newest sensation: "On The Threshold of a Dream", "A Question of Balance", "Every Good Boy Deserves Favour" and "Seventh Sojourn" all hit #1. Hibernation of a sort followed in the mid '70s, as each member of the band released solo albums (Hayward and Lodge had the most success with their 1975 effort, "BLUE JAYS")!

The band regrouped in the '80s and picked up where they left off (commercially anyway) with "Long Distance Voyager". Though the '90s found the Moodies less of a commercial force than a cult band, the group still tours and releases albums on occasion (including 1999's "Strange Times"). Their mix of sentimentalism and existentialism still resonates with listeners today, a point perhaps best made when the band was invited to play themselves on that most trendy of television shows, The Simpsons.

See also: HAYWARD & LODGE

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THE MOODY BLUES discography


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THE MOODY BLUES top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.32 | 97 ratings
The Magnificent Moodies [Aka: The Beginning]
1965
4.19 | 882 ratings
Days of Future Passed
1967
3.85 | 438 ratings
In Search of the Lost Chord
1968
3.77 | 375 ratings
On The Threshold Of A Dream
1969
4.09 | 416 ratings
To Our Children's Children's Children
1969
3.53 | 317 ratings
A Question of Balance
1970
3.55 | 316 ratings
Every Good Boy Deserves Favour
1971
3.72 | 297 ratings
Seventh Sojourn
1972
2.73 | 155 ratings
Octave
1978
3.32 | 219 ratings
Long Distance Voyager
1981
3.03 | 134 ratings
The Present
1983
2.26 | 112 ratings
The Other Side Of Life
1986
2.43 | 90 ratings
Sur La Mer
1988
2.80 | 83 ratings
Keys of the Kingdom
1991
2.61 | 87 ratings
Strange Times
1999
2.54 | 68 ratings
December
2003

THE MOODY BLUES Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.11 | 61 ratings
Caught Live + 5
1977
3.46 | 42 ratings
A Night at Red Rocks with the Colorado Symphonic Orchestra
1993
3.82 | 30 ratings
Hall of Fame - Live at the Royal Albert Hall 2000
2000
3.67 | 17 ratings
Lovely To See You Live
2005
2.80 | 19 ratings
Live At The BBC: 1967 - 1970
2007
3.42 | 21 ratings
Live at the Isle of Wight 1970
2008
4.21 | 5 ratings
The Days of Future Passed Live
2018

THE MOODY BLUES Videos (DVD, Blu-ray, VHS etc)

3.29 | 9 ratings
Legend of a Band
1990
3.32 | 25 ratings
A Night At Red Rocks With The Colorado Symphony Orchestra (DVD)
1993
4.10 | 14 ratings
Hall Of Fame
2000
2.18 | 18 ratings
The Lost Performance: Live in Paris '70
2004
3.35 | 16 ratings
Lovely To See You Live (DVD)
2005
2.61 | 10 ratings
Live at Montreux 1991
2005
4.02 | 10 ratings
Classic Artists: The Moody Blues
2006
3.56 | 19 ratings
Threshold of a Dream - Live at the Isle of Wight 1970
2009
4.09 | 4 ratings
Days of Future Passed Live
2018

THE MOODY BLUES Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.64 | 6 ratings
Go Now - Moody Blues #1 [Aka: In The Beginning]
1965
4.33 | 60 ratings
This Is The Moody Blues
1974
2.41 | 8 ratings
Voices In The Sky - The best of The Moody Blues
1985
2.57 | 18 ratings
Prelude
1987
3.89 | 10 ratings
Greatest Hits
1989
4.25 | 24 ratings
Time Traveller (Box set)
1994
1.18 | 2 ratings
True Story
1996
3.11 | 10 ratings
The Best Of Moody Blues
1997
2.28 | 8 ratings
The Moody Blues Anthology
1998
2.79 | 6 ratings
The Best of Moody Blues - 20th Century Masters
2000
3.81 | 7 ratings
The Singles +
2000
4.00 | 1 ratings
Ballads
2003
4.50 | 2 ratings
Say It With Love
2003
3.89 | 9 ratings
Gold
2005
4.50 | 2 ratings
Moody Blues Collected
2007
4.50 | 2 ratings
Playlist Plus
2008
4.83 | 6 ratings
Timeless Flight
2013
3.22 | 4 ratings
Timeless Flight
2013
5.00 | 1 ratings
Timeless Flight
2013

THE MOODY BLUES Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.75 | 4 ratings
Steal Your Heart Away
1964
3.17 | 6 ratings
Go Now!
1964
2.50 | 4 ratings
I Don't Want to Go On Without You
1965
2.96 | 6 ratings
Everyday
1965
3.67 | 3 ratings
The Moody Blues E.P.
1965
2.88 | 6 ratings
From The Bottom Of My Heart
1965
3.72 | 6 ratings
Boulevard De La Madelaine
1966
4.54 | 24 ratings
Nights In White Satin
1967
3.00 | 4 ratings
Life's Not Life
1967
2.32 | 6 ratings
Fly Me High
1967
3.24 | 10 ratings
Voices in the Sky
1968
4.00 | 12 ratings
Tuesday Afternoon
1968
3.85 | 14 ratings
Ride My See-Saw
1968
3.86 | 7 ratings
Voices In The Sky
1968
3.23 | 7 ratings
Never Comes the Day
1969
3.78 | 9 ratings
Watching and Waiting
1969
4.71 | 15 ratings
Melancholy Man
1970
4.14 | 17 ratings
Question
1970
4.00 | 8 ratings
The Story In Your Eyes
1971
4.17 | 12 ratings
Isn't Life Strange
1972
4.11 | 9 ratings
I'm Just a Singer (In a Rock and Roll Band)
1973
2.86 | 7 ratings
Steppin' in a Slide Zone
1978
3.50 | 6 ratings
Had to Fall in Love
1978
3.80 | 5 ratings
Driftwood
1978
3.80 | 5 ratings
Gemini Dream
1981
4.43 | 7 ratings
The Voice
1981
3.50 | 6 ratings
Talking Out Of Turn
1981
4.00 | 7 ratings
Blue World
1983
2.47 | 6 ratings
Sitting at the Wheel
1983
3.20 | 5 ratings
Running Water
1984
3.78 | 9 ratings
Your Wildest Dreams
1986
3.80 | 5 ratings
I Know You're Out There Somewhere
1988
3.50 | 5 ratings
No More Lies
1988
1.24 | 7 ratings
Bless The Wings
1991
3.80 | 5 ratings
English Sunset
1999
3.00 | 2 ratings
December Snow
2003

THE MOODY BLUES Reviews


Showing last 10 reviews only
 Keys of the Kingdom by MOODY BLUES, THE album cover Studio Album, 1991
2.80 | 83 ratings

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Keys of the Kingdom
The Moody Blues Crossover Prog

Review by Musicolorista

3 stars The Moody Blues fire Moraz and become the Blue Jays on the sea of mediocrity

So sad to look back at the past and see what it all became of the best rock band ever (in my humble opinion) in music history. After firing Patrick Moraz, the (once) quintet will get reduced to a duo, with two swansongs by Ray Thomas, here and then in 8 years time, with the album 'Strange Times'. The Moraz issue being one big enough to lead to a litigation which turned to a TV highlight in the USA in 1992. So the album was recorded during tumultuous times, which shows in how disjointed and full of ups and downs the very album is.

Not that this is a bad album. No Moody Blues album is. But it's probably their weakest ever, perhaps along with 'December'. As some other reviewer appointed, there is no more room for innovation or risk here anymore. It is what I'd call "family rock". Songs charged with charm and sweetness, stepping carefully into the safe realm, and, if only, endulging themselves sparsely into weird realms like funk or synth pop, going even further than in the dreadful 'The Other Side of Life'.

Bless the Wings (That Take You Back) shines here like snow under sunlight when compared to the rest of the songs. This ballad is easily amongst the five best tracks of their last five albums, which isn't saying a lot, but I find the intro and the sublime feel of the whole song a very good reason for giving one more star to this album. Justin's voice sounds even more angelic than ever, and the synths and guitars sound clear and trendy in a song of devoted love and respect. An absolute masterpiece of a song.

Say It With Love is not a bad song or a bad intro to the album but, speaking about album openers it is definetely the blandest and less blissful since 1981, keeping in mind every album openers were all fantastic up 'till then. It has the trademark positive Moodies feeling but lacks something. Probably true excitement.

After Is This Heaven , a song that portrays a sense of charm and tenderness you can only find in a Moody Blues album, we get into the loophole which takes us down into the lowest minutes in the Moody Blues collection, along with a few tracks in 'The Other Side of Life'. Say What You Mean l & ll repeats senselessly the same phrase over and over along with a collection of tacky synth brass sounds that never worked in a single Moodies song - apart from Under My Feet from 'The Present'. Definetely if I would have been their producer in this album I would have locked access to those sounds and suggest them a greater use of acoustic guitars. That would have made a change. Anyway, the song is catchy and dynamic, specially on its first half.

Lean on Me (Tonight) is a beautiful, sentimental ballad by John Lodge, with a nice almost-reggae rythm to it, and salvages the quality ratio of first side of the album as a decent one.

After the turn of the L.P. (I bought it in 1991, thrilled in the shop but dissapointed at home when I gave it a few listens) appears the song which should legit be the opener of the album. Hope and Pray is a wonderful, eighties sounding, but mature and intelligent, fast song with all the heart I was missing on Say It With Love . Should it have had a bit of a developed intro and a bit more production, it would have been a serious competitor amongst the extraordinary openers of the otherwise low notched former albums. The song has "the voice", the wonderful guitar solo and other values that put it up in the album podium after Bless the Wings (That Take You Back) .

The low begins from now on. Shadows on the Wall sounds unconvincing and starts signalling the weakness of John Lodge's input on the subsequent Moodies album (four dull ballads on 'Strange Times') with a sense of apathy which comes in consonance with the lyrics. When John sings "if only I didn't lose you, if only we could be" I hear "I began to lose control, I began to lose control" from John Lennon's Jealous Guy . Not that it's bad. That sense of dramaticism in the singing is probably the best value in the song, not very remarkable otherwise. Once is Enough is one of those songs, three or four located in 'The Other Side of Life' whose title my mind refuses to even remember. Not much to say about a song that for me represents an utter void of inspiration and sense of direction.

And then appears the "missing boy", Ray Thomas, who, as he did in 'Long Distance Voyager' and 'The Present' makes us feel he deserves much more room for his compositions in this album. The lost direction after the last track finds the right position of the steering wheel again with the beautiful and sky-wide ballad Celtic Sonant . Bringing long gone echoes from past harbour canticles like For My Lady or Lazy Day , here he restraints the pace and brings us a gorgeous, spiritual chant that leaves the songs around it in the mud. What a shame in the last two decades of studio work from the Moodies his appearances are so intermittent and scarce. He would have brought a lot of light to a lot of void. Celtic music was treding at that time, but the very slow pace and profoundity of lyrics and melody leaves that as less than an anecdote. The third in the album podium.

Magic continues with a promising acoustic guitar intro, but then disappoints from the dismal opening drum fill (sounds like played by a fiddling unexperienced child) to the anticlimatic, predictable verse, the forced chorus and a bridge which is an unthinkable mashup of bebop, American brass blues band kind of thing and on the top of it a sax solo which says definite goodbye to any expectations of tasting any of those good old Moodies' atmospheric, heartfelt and tuneful wonderful suites which used to close the albums in such an epic way.

Never Blame the Rainbows For the Rain is a lovely ballad with a nostalgic and sad feeling that mends a lot for the end of the album, and almost seems to acknowledge the long gone days are behind, but in a nice and honest way. Not being a great song, the understated singing and beautiful lyrics make up a nice closing seal for this work.

A work which maybe would have benefitted from three (impossible) things:

1 more presence of Ray Thomas,

2 being fair to Patrick Moraz (who signed with the Moodies in the condition of being a member of the band, fact later denied by the other members in a very dodgy way) and letting him paint the songs with his wonderful keyboards in the fashion he did on 'Voyager' and 'Present'

3 and giving it a more folky, less synth-pop focus. This last move somehow they tried on their 1999 'Strange Times' with relative success, but sadly since the 80s reunion on, the spark of the band drained gradually, maybe caused by loss of inspiration, band politics and commercial demands never met.

But never blame the rainbows for the rain. Although in this case, it's the other way around. Sadly.

 Fly Me High by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1967
2.32 | 6 ratings

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Fly Me High
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

2 stars The Moody Blues almost became a brand new band when Justin Hayward and John Lodge replaced the original vocalist Denny Laine (who later joined Paul McCartney's Wings) and bassist Clint Warwick in 1966. Neither of the latter were notable songwriters whereas both Hayward and Lodge were to become the most prolific songwriters in the group, surpassing the original members Mike Pinder and Ray Thomas -- not to speak of drummer Graeme Edge -- in that matter. Before this new classic line-up debuted with the legendary and orchestrated concept album Days of Future Passed (1967), they recorded a bunch of single songs that were two decades later collected in a compilation titled Prelude (1987).

The songs on this single are closer in style to the beat / r&b era of the former line-up. 'Fly Me High' was one of the first songs Justin Hayward wrote and sung in The Moody Blues. It's a simple, straight forward, fast tempo rocker that I would rather place in the early/mid sixties instead of the watershed year 1967 when the whole rock genre started developing and maturing at full speed. Also Hayward's songwriting was to improve enormously in a short time, but this song is no more than a humble start.

The keyboard player Mike Pinder composed the B side song '(Really Haven't) Got the Time'. He plays piano very fast, almost like Jerry Lee Lewis, and sings the main vocals. The most of his serious-toned and deeply thoughtful songs during the classic Moody Blues era up to Seventh Sojourn (1972) are among my dearest favourites. Some of his songs on the Moodies albums are admittedly less impressive, but this fast and hilariously rollicking tune is completely different from anything Pinder was to compose and sing in the following years. The sound quality is also rather poor. In fact this song seems to date from the earlier line-up.

Since I'm not fond of either song here, I have to rate this single low. However, if you're a Moodies fan, the mentioned Prelude compilation gives an interesting selection of non-album songs and definitely broadens your picture of the classic line-up's stylistic development.

 Days of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.19 | 882 ratings

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Days of Future Passed
The Moody Blues Crossover Prog

Review by ssmarcus

5 stars I make no claims to be an expert historian of progressive rock. I also fully recognize that whatever I do know about the formative years of the movement are essentially processed narratives I've learned from experts, like some reviewers on prog archives, that contextualize what was supposedly important and relevant. And yet, for the life of me, I can't understand how In the Court of the Crimson King is considered 'ground-zero' for progressive rock and not this record. Often considered an ambitious psychedelic rock record in the vein of Sgt. Peppers or Pet Sounds, its hard not to see in Days of Future Past a statement that pushes rock into formally 'progressive' territory.

A simple anecdote will suffice in highlighting just how fully realized this record's progressiveness is. Mellotrons were initially intended to provide a stage or studio act access to orchestral sounds that would otherwise be unwieldy to capture in those settings. Of course, as any prog fan will attest, the Mellotron indeed had its own distinct shimmer and timbre. This sound became a staple of progressive rock and is still in demand to this day despite modern synthesizers being able to perfectly replicate orchestral sounds. And yet, The Moody Blues, even with having a full-fledged orchestra on hand for recording in Days of Future Past, itself a super progressive move, still opted to incorporate the Mellotron extensively during the recording process thus giving this record the same prog feel of later groups like Genesis, Yes, and of course, King Crimson.

Along with the orchestra and Mellotron use, Days of Future Past embraces longer form multi-movement songwriting, develops musical ideas across different songs, and is arranged as a concept record. I may be a novice or dilettante music historian but, for what it's worth, Days of Future Past is my choice for first ever progressive rock album... Oh, and it also happens to be stunningly beautiful and captivating.

 Boulevard De La Madelaine by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1966
3.72 | 6 ratings

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Boulevard De La Madelaine
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

4 stars 20-Year Chronological Run-Through, pt. Four: 1966.

I don't remember which one I have heard first, the Moody Blues original of 'Boulevard de la Madeleine' or Finnish rock artist Pate Mustajärvi's strong, translated cover version from the 80's. Anyway, having never been very interested in pre-'67 Moody Blues in general, I have "always" liked this song. It has an intriguing sense of drama, about love, and the arrangement is sophisticated. Definitely among the best pop songs of 1966, together with several Simon & Garfunkel songs.

On the B side, 'This Is My Hose (But Nobody Calls)' keeps rolling in a sharp tempo. By and large I don't quite like the thumping performance, but the composition -- by Michael Pinder, I presume -- in itself has a lot of potential. Interesting enough not to drag down my rating for this single.

 Everyday by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1965
2.96 | 6 ratings

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Everyday
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

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.

 A Question of Balance by MOODY BLUES, THE album cover Studio Album, 1970
3.53 | 317 ratings

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A Question of Balance
The Moody Blues Crossover Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars "A Question of Balance" is The Moodies album that opened up the new decade being the album that they released in 1970. It is interesting that the album's intention was to focus more on songs that could be played easier in concert, thus it strips away a lot of the psychedelia that was heavily present on their previous albums. As such, it stands out more among the many albums that the band released during this time, their "classic seven", which seem to almost melt together, almost making it difficult to discern one from another, yet all containing some excellent music, though much of it seems to sound dated after all of these years.

This album stands out among their early albums for a couple of reasons. First of all, there is a noticeable amount of variety among the tracks and each track stands out even though the music flows from one track to another most of the way through. The variety present on this album stems from the fact that each and every member seems to contribute songs evenly throughout the album with the exception of Justin Hayward who contributes 3 songs out of the 10 total tracks. This variety however, does not take away from the cohesiveness of the album as , for the most part, it has a warmer tone that seems to connect better to an audience, not buried in the usual synths and orchestral layers that many of their previous albums had.

But, that is the thing with "A Question of Balance" and is the thing that sets it apart from these albums even though it fell in the middle of these classic albums that the band is famous for. Starting off with their big hit "The Question", you instantly hear the difference as the song is quite acoustic sounding. Another thing you might notice is if you have their amazing collection "This is the Moody Blues", you will notice that the version on this album is quite a bit different from the one on that collection. This version was made for this album as the mellotron and orchestra are taken out of the mix making it even more acoustic and concert-friendly. The other, more familiar, version was the version used for the single that was released before this album. I love both versions of this song and it remains one of my favorite tracks from the band.

The first side of the album features a song written by each member of the band. "The Question" is from who has pretty much become the lead man of the band, Justin Hayward. After this, Mike Pinder's "How Is It (We Are Here)" which brings the mellotron back in, but manages to keep the track simple and interesting. Another familiar track follows, "The Tide Rushes In", Ray Thomas' contribution for the first side of the album. This one is a distinctive Thomas track, more of a nostalgic sounding track and one that also fits well on the album, melancholic, yet a nice tempo. The flute laden "Don't You Fell Small" which is Graeme Edge's song, is a bit closer to the previous album's sounds, but still all performed by the musicians without any orchestra, and allowing a bit more instrumentatlism to come into play. All of the members participate in the vocals on this song. The last track on the first half is John Lodge's contribution "The Tortoise and The Hare". The lyrics are based around the famous story, the song is the most upbeat on this side with the guitars being allowed to shine through.

There is no doubt that you are listening to a Moody Blues album here, but you will notice a difference in the sound as you get into the 2nd half of the album. This continues with Hayward's 2nd contribution "It's Up to You" which has a strong rock feel to it that borrows heavily from the sound of the time, specifically The Beatles and others. A nice, smooth track follows, Lodge's "Minstrel's Song", which has the folk-ish sound to it as hinted at by the title, but also retains a sing-a-long, nice rock attitude in the chorus, though it does get a bit repetitive at the end. Quite a lovely track though. Hayward returns one last time contributing his 3rd track "Dawning of the Day", a more complex, yet acoustic- based track that adds in some great flute, mellotron and piano flourishes during the instrumental break. Mike Pinder's somewhat famous track "Melancholy Man" follows this. This track flows along quite smoothly and softly and is a fan favorite and also the longest track on the album at almost 6 minutes. It has a nice melody that will stick with you as you become familiar with it, you'll find it playing over and over in your head, but not in an annoying way. This is another personal favorite of mine, and for me, it embodies the warm and safe sound of the band, but adding in that folk element among the lovely instrumentation that at time gets pretty thick along with the descending wordless vocals and layers of warm musical sound. The last track "The Balance" is written by both Graeme Edge and Ray Thomas and contains the expected poetry/spoken word that you hear in their early work. The music is light and mostly acoustic accented by the usual psychedelic vocals, but kept in the background. The verses are spoken and the chorus is sung. The track fades out as levels of vocals and instruments build. This track is probably the one that hasn't aged as well as the others on this album.

The music on this album does have more heart than previous albums and the listener will feel more connected to the sound. However, it is still undoubtedly The Moody Blues, you still have the nice soft and cozy sound that envelops you like a warm blanket, but this time, unhindered by the over-produced sounds and hoopla of previous albums. Ray Thomas doesn't contribute the amount of songs that he usually does and his presence seems to be less this time around, but that probably also accounts for the warmer and less busy sound of the album. It probably also accounts for the fact that most of the music on this album has aged a lot better than most of the music on their other albums from this period of time. In the end, this album, to me, stands out better than the others in this early part of their career as it seems to be less busy and more focused. There are parts of it that haven't aged that well, but for the most part, overall, the album has aged much better than many of their other albums. To me, this album comes in as the 2nd best of their early career, not far behind their classic "Days of Future Past". This ends up as a solid 4 star album, which at time even creeps into 4.5 star territory. The Moody Blues thus prove they can fit into a new decade, yet mostly still retain their signature sound, just without so much of the "needless" orchestration that they usually heap on.

 Days of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.19 | 882 ratings

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Days of Future Passed
The Moody Blues Crossover Prog

Review by sgtpepper

4 stars The first album post-mid-60's album by Moody Blues is also the most ambitious and progressive one. Little commercial interest, abundance of symphonic passages, fantastic vocals and emotions. It sounded futuristic in the year of release and sounds quite dated today. Take example of "The day beings" - what was of historical rock importance before seems a bit dull nowadays as it does not bring anything now. "The dawn: dawn is a feeling" has a calming and rich orchestral instrumentation well suiting lyrical voice by Hayward. "The morning: another morning" sounds uplifting, refreshing with flutes, mellotron and marching rhythm. Moodies also show their vocal harmonies capabilities. The melody is rather simple but documents the lightness of the song. "Lunch break" starts disappointingly similar to the previous composition but after two minutes, thankfully, a fresh 60's Mersey beat kicks in with typical rock outfit and refreshing mellotron. Pay attention to soaring vocals in a mellow section with organ or mellotron behind. The combination of mellotron and rock ensemble is pretty progressive.

"The afternoon" is one of the most haunting song by MB, a great melody, tons of mellotron, good use of rhythm piano. The second part is a baroque-pop oriented ("(Evening) Time to get away") with very nice melodies. Falsetto vocals would be unthinkable from a serious rock band but MB have no problem with that. Beatles' moments with piano and horn enrich the flow.

"The evening" is a playful orchestral intermezzo. Lush melody highlighted by cellos and spiraling flute with hypnotic beats, specially mixed vocal. "Twilight time" is a great melancholy song, lovely arrangements. Innovative vocals, busy bass guitar colouring, love also the semi rock'n'roll piano.

The last song is the irresistible and immortal "Nights in white satin" - attention fully deserved.

This work has its undeniable place among the collection of 60's shaping albums.

 To Our Children's Children's Children by MOODY BLUES, THE album cover Studio Album, 1969
4.09 | 416 ratings

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To Our Children's Children's Children
The Moody Blues Crossover Prog

Review by sgtpepper

3 stars I've bought the double CD release with bonus tracks and definitely recommend it for Moody Blues offer the one kind of moody and dreaming landscape with lyrical singing, more down-to-earth music as opposed to psychedelic "In search of a dream". This means to me also that there are fewer progressive elements to discover.

"Higher and higher" is a futuristic upbeat track with good electric and acoustic guitar playing and rising soundscapes. "The eyes of a child - part one" has pleasant vocal harmonies and acoustic guitar + mellotron tracks. "Floating", "Gypsy" and "Candle of life" are pop highlights with strong melodies and harmonies. "Candle of life" has a pompous landscapes with classical piano and tons of mellotron evoking orchestra. If you're looking for midly progressive tracks than you'll be quite happy with "Beyond" with mellotron intro, organ intermezzo. I would say that the pop elements on the album are by far most recognizable out of other directions the band tried here. A strong album of their classic era.

 In Search of the Lost Chord by MOODY BLUES, THE album cover Studio Album, 1968
3.85 | 438 ratings

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In Search of the Lost Chord
The Moody Blues Crossover Prog

Review by sgtpepper

3 stars The second album by MB relies on own instrumentation instead of orchestra. These guys have mastered quite a few instruments including harp, saxophone, sitar and can do a things or two in production, you certainly won't be disappointed when it comes to sound.

The music is in the pop-rock vein, with bold moments, sometimes even experimental but dated and little progressive comparing to today's progressive trademarks. You can feel emotions and good hearted-intentions that few other bands can convey. Melodies are excellent and so are vocal harmonies, dinstinctive with a lot of substance. The typical mellotron is used in the background to a good effect and epicness. Another instrument I would highlight is the bass that is well thought out and audible. Apart from music, the cover and concept of the album are other two highlights.

Musically, I like the pompous ending of "House of four doors (Part 1)" with creepy doors, mellotron/piano. The following "Legend of a mind" has a convincing instrumental part with excellent flute and enigmatic mellotron. You can hear distant psychedelia and epic vocal harmonies. "Voices in the sky" is a warm folky track with mellotron, flute, acoustic guitar and piano - full sound. "Best way to travel" sounds like coming from a different band because it is rocking and sounds a bit rough. The bass, drums remind of psychedelic Beatles. "The actor" is a soaring ballad and the band chose the best possible vocal to it. Harmonies deliver even more emotional depth.

3.5 stars as this is musically a great but progressively non-essential album.

 Never Comes the Day by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1969
3.23 | 7 ratings

BUY
Never Comes the Day
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

3 stars This single has two songs taken from the Moodies' classic line-up's third album On the Threshold of a Dream (1969), which in my opinion might be the most uneven of the seven wonderful albums. That unevenness is represented here as well. 'Never Comes the Day' is in my opinion among the finest Justin Hayward songs: great sounds -- Pinder's mellotron is there, naturally --, beautiful melodies and a dynamic alteration between dreamy, mellow parts and the catchy chorus, with such gorgeous build-up in between. The only detail I'm not that fond of is the harmonica.

'So Deep Within You' is a mediocre Mike Pinder song. Of course it sounds pretty good per se, as the Moodies always did at that innovative era, but the composition is rather dull and monotonous.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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