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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.

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Buy THE MOODY BLUES Music


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THE MOODY BLUES discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

2.27 | 83 ratings
The Magnificent Moodies [Aka: The Beginning]
1965
4.17 | 740 ratings
Days Of Future Passed
1967
3.84 | 379 ratings
In Search Of The Lost Chord
1968
3.74 | 328 ratings
On The Threshold Of A Dream
1969
4.10 | 354 ratings
To Our Children's Children's Children
1969
3.51 | 273 ratings
A Question Of Balance
1970
3.53 | 275 ratings
Every Good Boy Deserves Favour
1971
3.69 | 263 ratings
Seventh Sojourn
1972
2.71 | 138 ratings
Octave
1978
3.29 | 190 ratings
Long Distance Voyager
1981
3.02 | 115 ratings
The Present
1983
2.25 | 96 ratings
The Other Side Of Life
1986
2.39 | 74 ratings
Sur La Mer
1988
2.77 | 72 ratings
Keys Of The Kingdom
1991
2.60 | 77 ratings
Strange Times
1999
2.51 | 59 ratings
December
2003

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

3.11 | 54 ratings
Caught Live + 5
1977
3.24 | 33 ratings
A night at Red Rocks with the Colorado Symphonic Orchestra
1993
3.88 | 23 ratings
Hall of Fame - Live at the Royal Albert Hall 2000
2000
3.57 | 13 ratings
Lovely To See You Live
2005
2.74 | 17 ratings
Live At The BBC: 1967 - 1970
2007
3.29 | 18 ratings
Live at the Isle of Wight 1970
2008
4.09 | 2 ratings
The Days of Future Passed Live
2018

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

3.19 | 7 ratings
Legend of a Band
1990
3.28 | 21 ratings
A Night At Red Rocks With The Colorado Symphony Orchestra (DVD)
1993
4.07 | 9 ratings
Hall Of Fame
2000
2.14 | 16 ratings
The Lost Performance: Live in Paris '70
2004
3.31 | 14 ratings
Lovely To See You Live (DVD)
2005
2.55 | 8 ratings
Live at Montreux 1991
2005
4.00 | 7 ratings
Classic Artists: The Moody Blues
2006
3.47 | 15 ratings
Threshold of a Dream - Live at the Isle of Wight 1970
2009

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
4.34 | 51 ratings
This Is The Moody Blues
1974
2.31 | 7 ratings
Voices In The Sky - The best of The Moody Blues
1985
2.49 | 15 ratings
Prelude
1987
3.85 | 12 ratings
Greatest Hits
1989
4.26 | 21 ratings
Time Traveller (Box set)
1994
1.18 | 2 ratings
True Story
1996
3.05 | 8 ratings
The Best Of Moody Blues
1997
2.16 | 6 ratings
The Moody Blues Anthology
1998
2.72 | 5 ratings
The Best of Moody Blues - 20th Century Masters
2000
3.81 | 7 ratings
The Singles +
2000
4.00 | 1 ratings
Ballads
2003
4.00 | 1 ratings
Say It With Love
2003
3.81 | 7 ratings
Gold
2005
4.00 | 1 ratings
Moody Blues Collected
2007
4.00 | 1 ratings
Playlist Plus
2008
4.80 | 5 ratings
Timeless Flight
2013
5.00 | 3 ratings
Timeless Flight
2013
0.00 | 0 ratings
Timeless Flight
2013

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

2.33 | 3 ratings
Steal Your Heart Away
1964
2.80 | 5 ratings
Go Now!
1964
2.00 | 3 ratings
I Don't Want to Go On Without You
1965
2.00 | 3 ratings
Everyday
1965
3.50 | 2 ratings
The Moody Blues E.P.
1965
2.83 | 5 ratings
From The Bottom Of My Heart
1965
2.00 | 3 ratings
Boulevard De La Madelaine
1966
4.53 | 19 ratings
Nights In White Satin
1967
2.67 | 3 ratings
Life's Not Life
1967
3.00 | 4 ratings
Fly Me High
1967
3.57 | 8 ratings
Voices in the Sky
1968
4.00 | 10 ratings
Tuesday Afternoon
1968
3.45 | 11 ratings
Ride My See-Saw
1968
3.86 | 7 ratings
Voices In The Sky
1968
4.00 | 5 ratings
Never Comes the Day
1969
4.00 | 9 ratings
Watching and Waiting
1969
4.75 | 14 ratings
Melancholy Man
1970
4.13 | 13 ratings
Question
1970
3.83 | 6 ratings
The Story In Your Eyes
1971
4.11 | 10 ratings
Isn't Life Strange
1972
3.83 | 6 ratings
I'm Just a Singer (In a Rock and Roll Band)
1973
2.67 | 7 ratings
Steppin' in a Slide Zone
1978
3.00 | 4 ratings
Had to Fall in Love
1978
3.33 | 4 ratings
Driftwood
1978
3.50 | 4 ratings
Gemini Dream
1981
4.33 | 6 ratings
The Voice
1981
3.20 | 6 ratings
Talking Out Of Turn
1981
3.83 | 7 ratings
Blue World
1983
2.29 | 6 ratings
Sitting at the Wheel
1983
3.20 | 5 ratings
Running Water
1984
3.75 | 9 ratings
Your Wildest Dreams
1986
3.75 | 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
3.50 | 4 ratings
English Sunset
1999
3.00 | 2 ratings
December Snow
2003

THE MOODY BLUES Reviews


Showing last 10 reviews only
 The Days of Future Passed Live by MOODY BLUES, THE album cover Live, 2018
4.09 | 2 ratings

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The Days of Future Passed Live
The Moody Blues Crossover Prog

Review by Kingsnake

4 stars Old songs, old voices.

But still it's very great. It's a trip down memorylane. Here Justin, John and Graeme are accompanied by four great musicians to fill up the keyboards/flute/harmony-vocals. The Moodies are way over 70 (!!) years old now, so it's a not a surprise it al sounds a bit sedated. Although the band picks some rocking tracks, it all sounds rather soft. But that's what we already expected, so nothing new here.

CD 1 is a greatest hits, the band runs through their hits from the sixties through the seventies up to the eighties.

But the real treat is CD 2 where the band plays Days of Future Passed in it's entirety, with orchestra(!!!) The band released th original album in 1967, so it's 50 years old (!!!) It's great to hear the difference. And like good wine, it only gets better by aging.

Too bad that Ray Thomas wasn't there to play with them (as is Mike Pinder), because he sadly passed away. I don;t know why Mike doesn't play with the Moodies anymore and if they even asked him to be part of this, but that's a whole other story.

The accompanying band is really tight and I must say I like the female vocals. The baritone voice of Ray Thomas was never replaced, so that's a history-story now.

Anyway: it's great to hear the Moodies do what they do best: play symphonic softrock with so many harmonies. And for a couple of 70-years old geezers, they really deliver a solid live-album.

 Melancholy Man by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1970
4.75 | 14 ratings

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Melancholy Man
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

5 stars The Moody Blues were an amazing collective of wonderful songwriters (in their classic period 1967 - 1972, that is). To a certain degree the mellotron expert Mike Pinder was left in the shadow of Justin Hayward and John Lodge in that matter. At least his songs were relatively seldom seen as single releases, and in the concerts it probably was even more obvious. 'Melancholy Man' is among the best known songs he wrote and sang for the Moodies, and it truly deserved to be released as a single. The album A Question of Balance (1970) marked a shift towards slightly simpler, less psychedelic arrangements in order to be able to better perform the songs live. I think it was Pinder whose songwriting improved the most at this point. 'My Song' in 1971, 'Lost in a Lost World' and 'When You're a Free Man' in '72, all deeply emotional and meaningful songs. He had a pretty dark view on the world back then, which turned into gorgeous, melancholic songs. After he had moved to California, he made pretty dull and light music in his happiness.

'Melancholy Man' paints a heart-aching picture of deep loneliness. It's quite a vocal-oriented song, in the usual verse/chorus structure, with a little synth solo in the middle. In my opinion it would be totally pointless to miss any proggier edge to it. It sounds so good just the way it is. Especially the final section in which the other members (most audibly Hayward) sing the verse in the background while Pinder reaches the emotional peak in his vocal part -- it's goose bumps for sure.

'Candle of Life', then, is one of the finest songs John Lodge wrote for the band. It originally appeared on the album To Our Children's Children's Children (1969). Also this song is probably on my Top Five of the Moody Blues songs -- and there really are so many wonderful songs to choose from! Of course it would be more interesting if there was a good non-album song on the single's B side. Usually I save five stars to those singles containing at least one non-album track, but this time I'll make an exception. I'm glad to notice that the majority of ratings (without reviews) have done the same.

 Days Of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.17 | 740 ratings

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Days Of Future Passed
The Moody Blues Crossover Prog

Review by Luqueasaur

4 stars The conception of symphonic progressive rock: 8/10

THE MOODY BLUES' excellently crafted and surprisingly philosophical (for such a simple) concept became the foundation of album-writing that progressive rock would adopt. Mostly because, well, this IS a progressive rock album. Not the first - that title goes to FREAK OUT!, released in the previous year - but nonetheless an eloquent summary of the genre (namely, Symphonic Prog), featuring many of its trademark characteristics: wide adoption of the modern, never-used-before Mellotron and heavy influences from classical music.

Actually, DAYS OF FUTURE PASSED isn't "influenced" by classical music, it HAS it. Lush amount of orchestral arrangements - visibly present, for instance, in the opener The Day Begins - akin to a soundtrack of a 60s Hollywoodian masterpiece; they are uplifting, warm and romantic. There's also a localized - yet thoroughly amazing - moment (Evening) with Hindu influences, both percussion and melodically.

For all its progressive glories, DAYS OF FUTURE PASSED still sounds like a 60s psychedelic/pop rock album, with 60s pop-rock (Morning or Peak Hour) or psychedelic rock songs (Afternoon). However, it's a refined form of pop ("baroque pop") featuring lush Mellotron textures accompanying the simpleton 60s arrangements, so it's not boring early THE BEATLES or something. Mentioning this detail might sound I'm arguing this isn't prog, but that's not the case - I'm merely stating the album sounds somewhat poppish. "Progressive pop rock"? No, not really. "Symphonic prog with pop tendencies"? More like it.

Well, I'm not fond of the 60s, but other than the overrated White Satin (In the Court of the Crimson King's older yet worst sibling), I had no issue going through this album. In fact, it'd be no problem to go through it all again.

Definitely worth checking out.

 Days Of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.17 | 740 ratings

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Days Of Future Passed
The Moody Blues Crossover Prog

Review by Tapfret
Special Collaborator Eclectic Prog Team

4 stars The lore surrounding the genesis of this concept album and foundation piece for progressive music has several different versions. The version I always heard was the record company approached The Moody Blues to record a rock n roll side of an album while an orchestra would record the other as a demonstration of a fancy new recording system. There is also the more common, and now seemingly refuted version, that the record company intended the album to be an adaptation of a Dvorak symphony....as a demonstration of a fancy new recording system. Whichever it was, it wasn't. Except for the fancy new recording system. The quality of the recording is absurdly clean for 1967. And before anyone asks, yes, I am familiar with the original pressings that occurred prior to the 1978 restoration. The transitions between The Moody's and the London Festival Orchestra appear seamless.

The concept, lifetime in the stages of a day. Perhaps not original, even in 1967. But conveyed with undeniable sound and lyric allusory precision. Even the poetic intro and closing are strong elements to the story. I am not aware of the level of cooperation between the orchestra and band as far as the arrangements go, but the orchestral parts serve almost exclusively as transitional elements. The music is not flawless. In particular Peak Hour, the lunch time theme, which feels completely out of place. Capturing that frantic midday pace with something as groundbreaking as the remainder of the album is somewhat of a metaphor for the frantic pace at which music itself was changing in 1967. As the only real stinker of the album closes side A (for those of you following along on vinyl), the true beauty of the album unfolds on side B as the afternoon-night sections. Tuesday Afternoon, the second most popular single for the album, is permeated with Mike Pinder's mellotron. This fades to the haunting verses of the evening and Twilight Time. This section provides what is certainly the most fluid orchestral to rock transitions. The Sun Set in particular incorporates slow bongo and flute for a safari-like feel, conveying the daily vacation as the work day ends. Then we get to the most identifiable single in the Moody Blue's entire discography, Knights in White Satin. The beautiful lamentation that moves even the most stagnant soul. One could, and I'm guessing some have, write a philosophy dissertation on the meaning and gravity of the few short verses.

I've gone through different stages of finding more or less importance of this album personally, but its place in the history of progressive music is undeniable. It is not perfect, but it is amazing and borders on essential.

 To Our Children's Children's Children by MOODY BLUES, THE album cover Studio Album, 1969
4.10 | 354 ratings

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

Review by Matti
Prog Reviewer

5 stars I'm delighted to see how many reviewers have given this album five stars. Don't know yet which way I'll round my 4 stars... I won't speculate how progressive The Moody Blues were, and for the large number of reviews I'll try to be short. This album is, at least to some degree, a conceptual one inspired by space exploration and the technical evolution of mankind. On the sharply rocking opener 'Higher and Higher' the band made up their own sound effect for a rocket, unsatisfied with the real thing by NASA. The song was written by Graeme Edge and the narrator's voice belongs to Mike Pinder. John Lodge's 'Eyes of a Child' has a very beautiful melody and the vocal harmonies are lovely as usual. Ray Thomas looks at space age from a more naive perspective in his sympathetic 'Floating', foillowed by the brief and edgier Pt. 2 of 'Eyes of a Child'. The instrumental 'Beyoand' is IMHO the worst track, it sounds terribly outdated in its psychedelia.

The B side is notably more coherent; each song, with the exception of Mike Pinder's average 'Sun Is Still Shining', is marvelous, full of the best Moody Blues magic. 'Gypsy', 'Eternity Road', 'Candle of Life', 'Watching and Waiting'.... Wow! This is a lovely album indeed, and so I'll give the full rate, despite some little marks of imperfection.

 Long Distance Voyager by MOODY BLUES, THE album cover Studio Album, 1981
3.29 | 190 ratings

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Long Distance Voyager
The Moody Blues Crossover Prog

Review by aglasshouse

4 stars The eightieth decade of the 20th century was a bittersweet one for progressive rock music. Bands started to morph into those that easily conformed to the general demand, basically going opposite of what their genre would suggest them to be. In the midst of this change bands fell left and right, abandoning the artful essence they once had. Of all of them, however, one band remained slightly static. This band of course was The Moody Blues. It seemed with Octave that the band would follow this direction and, with their slight cheese that was present on every single one of their albums to date, that they would fall the hardest. This was funnily enough not the case.

You see, the Moodies were always pop-oriented. Their most popular albums had very innocent, tawdry songs that always had a large dollop of sophistication. Thus when the 80's made it's offer of synth-laden echoes with a cheeseball attitude, the Moodies took it and flourished. Thus, 1981's Long Distance Voyager was born, replete with fully painted cover. Hayward's airy warble is turned up to ten, background vocals get louder, and the orchestral mannerisms get more pronounced with help from The New World Philharmonic Orchestra. The floatier tones (mainly from the keyboard) on this album all sort of complement the band's penchant with the ideas of time and space, seen very clearly on this album. Like many other Moodies albums, the album is rather varied, featuring the cheesy ballads like 'Nervous', but also the groovier songs like '22,000 Days' and 'Veteran Cosmic Rocker'. My tastes for this album are generally the same as they are for other MB albums- the rockier songs are usually more enjoyable, but every song's subtle sense of refinement gives them each a unique charm.

This is doubtless one of the best prog albums in the 80's done by classic bands. The Moodies show great promise, and my only hope is the other albums of the decade from them are just as good as this.

 Long Distance Voyager by MOODY BLUES, THE album cover Studio Album, 1981
3.29 | 190 ratings

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Long Distance Voyager
The Moody Blues Crossover Prog

Review by Mr. Gone

4 stars After the murky tentativeness of Octave, the band sounds much more positive and musically confident on this offering. Long Distance Voyager and its followup The Present represent a post-"Core 7" high water mark for me that the band was never able to quite match up to again going forward. At the very least, of the material they released after the "Core 7", these are the two studio albums that I continue to come back to the most.

"The Voice" was a huge hit and deservedly so. Is it prog? Not really. But it's a very melodic, energetic pop song with a few progressive overtones, and it's catchy as all get-out. Great guitar solo by Justin Hayward here too.

"Talking out of Turn" was a start to the ballads that John Lodge would start to compose more and more as time wore on. This particular ballad is quite well done. Orchestration adds a lush feel to the proceedings, and the song remains memorable even if it might be a shade too long (the guitar, again, is outstanding here).

A lot of people really dislike "Gemini Dream". I get it. If I started from Days of Future Passed I would probably hate it too. But this was actually the first MB song I ever heard, and being 8 or so at the time I kinda liked it. And I kinda still do. (Sorry to anyone who doesn't like reading this last paragraph - I'm not exactly proud of it either).

"In My World" has some countryish guitar and some beautiful backing vocals at its end (prominently featuring Ray Thomas). Thomas' vocals on tracks other than his own (unlike The Present, where other than his own songs he only gets a lead on "Going Nowhere" and no discernible backing vocals whatsoever) definitely drive up the quality of this album for me (although his decreasing instrumental contributions continue to be a disconcerting trend).

"Meanwhile", despite no Thomas contributions whatsoever, is probably my favorite song on here. It has moving lyrics of resignation and moving on, and some fantastic keyboard work (particularly the electric piano) from Patrick Moraz.

"22,000 days" is Graeme Edge's contribution to this album. All three of the vocalists are singing, though Thomas again seems to be higher in the mix. It's a bit of an oddball track in the midst of the more lush, melodic material mostly here (it's a grinding rocker with a heavy drumline), but it's weirdly catchy, and Thomas gets a nice harmonica solo in the middle.

"Nervous" is another Lodge tune enhanced by an orchestra. Thomas' flute provides a nice lead-in, and the song beautiful choruses and a great ending, although the verses, while pretty, don't exactly grab you. Still a nice song overall.

The album ends with three compositions from Thomas running together. "Painted Smile" is a weird offering apparently about a clown trying to appease his audience while being quite unhappy himself. Perhaps a reflection on how Thomas himself often felt at the time. It's musical tragicomedy, and while not particularly memorable it shows he still had his whimsy. "Reflective Smile" is a poem bridging its surrounding tracks together, which is hardly essential but not overly annoying either. "Veteran Cosmic Rocker" is an autobiographical piece, with Thomas often substituting "I" for "he" in numerous spots when performing the song live. It's a rather savage-sounding rocker, and the "he's afraid he's gonna die" lyrics (including a similar quote at the end of the song) add to a feel of unease. I'm not sure if I like it or not - but it's certainly memorable.

So, overall? A lot of fun. Not perfect and certainly not to the standard of most of their late-60's/early-70's work, but highly enjoyable nonetheless. The synthesizers are melodic and tastefully used; the guitars are heartfelt and clear, the drumming is well-done and the vocals are top-notch. Four stars.

 Seventh Sojourn by MOODY BLUES, THE album cover Studio Album, 1972
3.69 | 263 ratings

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Seventh Sojourn
The Moody Blues Crossover Prog

Review by aglasshouse

4 stars The Moody Blues had steadily edged their way into the 70's, having formed eight years prior. Seventh Sojourn, ironically enough the band's eighth album, was the last before a short hiatus the 'Blues took before re-emerging in 1977. Touted in their early days as a skillful art-rock band, Seventh Sojourn is an album that encompasses the classical influence from their earlier days, as well as more of a Simon-Garfunkelian style. Many of the songs on the album are in the vein of dreary-orchestral rock songs, with Hayward singing his breathy vocals with echoing melodies accompanying him.

Seventh Sojourn is very heavy on boisterous, climactic pieces, and from start to finish is a ride for the senses. From 'Lost In A Lost World', the choral-rock piece with lovely violin work as well as the bass riffs by Ledge, to the fast paced break-neck closer 'I'm Just A Singer (In A Rock And Roll Band)' that evens ends with clapping as if this album was just a giant spectacle with the world as it's audience. The only problem the album suffers is this level of symphonic power does sort of lose it's edge while going through a full listen. Don't get the wrong impression though, because such an experience is still highly recommended in the long-run. If you are a fan of the band or just that more loosely- interpreted side of prog, then this album is for you. One of the best albums I've heard in a while.

 On The Threshold Of A Dream by MOODY BLUES, THE album cover Studio Album, 1969
3.74 | 328 ratings

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On The Threshold Of A Dream
The Moody Blues Crossover Prog

Review by Bungler

4 stars I am a huge Moody Blues fan . Days Of Future Passed is still one of my favorite albums of all time . Today I will review their fourth album

On The Threshold Of A Dream

We start the album with In The Beginning , which is a nice haunting beginning for an album like this .

The second track Lovely To See You , is a nice , fun , melodic Pop Rock song . There is nothing really Progressive about this song but its still really pleasant and enjoyable .

The third track Dear Diary , is probably one of my favorite songs on the album . With a nice catchy riff , that goes on through the whole song.

The fourth track Send Me No Wine , is a nice catchy number . For me this song sound like what would happen if Credence Clearwater Revival were English .

The fifth track To Share Our Love , is a another fun melodic song , which dose not heart to be on this album . I also could see this song being played in a movie , where the two main characters are running away from criminals who are trying to chase them down .

The sixth track Deep Within You , is a song that remind me of Jethro Tull . Even though this song is good , I personally believe this is one of the weaker tracks .

The Seventh track Never Comes The Day , is my least favorite song on the album . But that dose not mean its a bad song ,that's just my opinion .

The eighth track Lazy Day , is a one of the best songs on this album ( in my opinion ) . The lyrics are fun and quotable , the song is really melodic , and is just perfect . I could see this song being used as an intro to a Comedy film , with the main character for example waking up and doing his morning routine .

The ninth track Are You Sitting Comfortably ? Is a beautiful song , with a nice clean sound .

The tenth track The Dream , is an intro to the last remaining tracks Have You Heard ? ( part one ) , The Voyager , and Have You Heard ( part two ) .

The eleventh track Have You Heard ? ( part one ) , is a great ( but short ) song , which should be be listened together with the other two tracks .

The twelfth track The Voyager , is a fantastic piece of music .

The thirteenth track Have You Heard ? ( part two ) is a great closing song to this fantastic album .

So this is my review of On The Threshold Of A Dream by The Moody Blues .

Thanks for reading my review !

 To Our Children's Children's Children by MOODY BLUES, THE album cover Studio Album, 1969
4.10 | 354 ratings

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

Review by Ghost_of_Prog

5 stars When discussing the best Moody Blues album, the common answer given is Days of Future Passed, which contain the classics "Night in White Satin" and "Tuesday Afternoon", as well as being one of the first bands to incorporate a symphony into their music. Even from a progressive rock standpoint, if there were no Moodies, there would be no King Crimson, so DOFP would deserve the most respect. While I can't deny how much of an impact that album had, I believe To Our Children's Children's Children is the one deserving of the title of best Moody Blues album. It deserves to be placed alongside DOFP as being influential of the progressive rock genre. There's no doubting that psychedelic rock had a huge influence on the genre and this album is the missing link which showed that moment when it made that transition.

When discussing the material on this album, I feel it necessary to discuss it in regards to each individual musician's contribution rather than the songs individually. One of the strengths of this album is that all the band-mates actually step out of their comfort zone when it comes to sound. I've always considered that to be the sign of a good musician and the Magnificent Moodies, while not the most technical or profound, certainly fit that bill.

Justin Hayward (guitars) and John Lodge (bass) act as the band's two main songwriters. The former focuses on softer songs (like Nights in White Satin) and the latter tends to write "rock-n-roll" songs (i.e. Ride My See-Saw). While Justin contributes with his traditional sound with the album finale Watching and Waiting, he pulls a surprising curve ball with Gypsy, a song that is surprisingly dark and heavy for a Moody Blues song. The change pays off as it is one of the best songs in Justin's repertoire. On the other hand, Lodge doesn't write a single "rock" song on this album. His two main contributions are the two part Eyes of a Child and Candle of Life, the latter being one of my favorites by the Moodies with it's soft symphonic sounds tinged with psychedelic rock melodies. Even if I didn't like the songs, I would respect the two of them for trying something new, but it works very well for them and I'm a little sad that neither of them tried to do it again after this album.

I must confess that whenever a song by Graham Edge (drums) or Mike Pinder (keyboards) comes on, I always feel the temptation to hit the skip button. I don't really care for Graham's poetry overtaking the music and I find Pinder's songs boring; experimentalism with no adventure. However, both of them pull a pleasant surprise with their contributions to the album. In regards with Pinder's work,Out and In is mellow rock song drenched in psychedelica and Sun is Still Shining is best described as a playful funk/folk song. Graham finally writes a full song with the opening Higher and Higher which starts loud, calms, and then continues to slow build up until the instruments climax. Beyond took me completely by surprise. Written by Graham, it is an extremely catchy instrumental that connects the two sides of the album. Being used to him just writing poetry, I was honestly shocked that he wrote an instrumental of this caliber.

And last but not least, Ray Thomas (flute), the unsung hero of the band. Despite not writing the most popular songs, his work always tends to be a personal favorite of mine ("Twilight Time", "Legend of a Mind", "Dear Diary"). The two best songs on the album, which truly encapsulate the feeling of space, are written by him. Floating is very light and playful, reflecting the lyrics of a hotel resort on the moon, where people spend their time carelessly jumping 60 feet in the air. On the other hand, I don't think I've ever heard a song capture the open, mysterious, endless beauty of the cosmos as in Eternity Road, which is, bar none, the Moodies' most underrated work.

Actually, that can be applied to this entire album. Unlike the other classic seven albums, this one does not have a "hit" song on it. Yet for all the adventurous material, stepping out of comfort zones, and wonderful sounds and orchestrations, To Our Children's Children's Children easily deserves the five star rating and the title of "Best Moody Blues album."

Thanks to ProgLucky for the artist addition. and to E&O Team for the last updates

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