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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.

The Moody Blues official website

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THE MOODY BLUES discography

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

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

2.27 | 79 ratings
The Magnificent Moodies [Aka: The Beginning]
4.17 | 711 ratings
Days Of Future Passed
3.84 | 361 ratings
In Search Of The Lost Chord
3.74 | 316 ratings
On The Threshold Of A Dream
4.09 | 341 ratings
To Our Children's Children's Children
3.50 | 258 ratings
A Question Of Balance
3.52 | 261 ratings
Every Good Boy Deserves Favour
3.68 | 250 ratings
Seventh Sojourn
2.70 | 133 ratings
3.30 | 183 ratings
Long Distance Voyager
3.03 | 110 ratings
The Present
2.25 | 92 ratings
The Other Side Of Life
2.41 | 69 ratings
Sur La Mer
2.79 | 67 ratings
Keys Of The Kingdom
2.60 | 72 ratings
Strange Times
2.52 | 54 ratings

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

3.10 | 51 ratings
Caught Live + 5
3.25 | 30 ratings
A night at Red Rocks with the Colorado Symphonic Orchestra
3.89 | 20 ratings
Hall of Fame - Live at the Royal Albert Hall 2000
3.60 | 11 ratings
Lovely To See You Live
2.75 | 15 ratings
Live At The BBC: 1967 - 1970
3.28 | 17 ratings
Live at the Isle of Wight 1970

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

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

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]
4.34 | 49 ratings
This Is The Moody Blues
2.31 | 7 ratings
Voices In The Sky - The best of The Moody Blues
2.49 | 15 ratings
3.77 | 12 ratings
Greatest Hits
4.26 | 21 ratings
Time Traveller (Box set)
1.00 | 1 ratings
True Story
3.05 | 8 ratings
The Best Of Moody Blues
2.16 | 6 ratings
The Moody Blues Anthology
2.72 | 5 ratings
The Best of Moody Blues - 20th Century Masters
3.81 | 7 ratings
The Singles +
4.00 | 1 ratings
4.00 | 1 ratings
Say It With Love
3.81 | 7 ratings
4.00 | 1 ratings
Moody Blues Collected
4.00 | 1 ratings
Playlist Plus
4.75 | 4 ratings
Timeless Flight
3.67 | 3 ratings
Timeless Flight
0.00 | 0 ratings
Timeless Flight

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

2.33 | 3 ratings
Steal Your Heart Away
2.80 | 5 ratings
Go Now!
2.00 | 3 ratings
I Don't Want to Go On Without You
2.00 | 3 ratings
4.00 | 1 ratings
The Moody Blues E.P.
2.87 | 4 ratings
From The Bottom Of My Heart
2.00 | 3 ratings
Boulevard De La Madelaine
4.58 | 19 ratings
Nights In White Satin
2.67 | 3 ratings
Life's Not Life
3.50 | 4 ratings
Fly Me High
3.50 | 8 ratings
Voices in the Sky
4.07 | 9 ratings
Tuesday Afternoon
3.55 | 11 ratings
Ride My See-Saw
3.86 | 7 ratings
Voices In The Sky
4.20 | 5 ratings
Never Comes the Day
4.11 | 9 ratings
Watching and Waiting
4.20 | 10 ratings
Melancholy Man
4.16 | 13 ratings
3.80 | 5 ratings
The Story In Your Eyes
4.10 | 10 ratings
Isn't Life Strange
3.50 | 4 ratings
I'm Just a Singer (In a Rock and Roll Band)
2.71 | 7 ratings
Steppin' in a Slide Zone
3.00 | 4 ratings
Had to Fall in Love
3.00 | 4 ratings
3.50 | 4 ratings
Gemini Dream
4.33 | 6 ratings
The Voice
3.00 | 6 ratings
Talking Out Of Turn
3.57 | 7 ratings
Blue World
2.20 | 6 ratings
Sitting at the Wheel
3.20 | 5 ratings
Running Water
3.78 | 9 ratings
Your Wildest Dreams
3.80 | 5 ratings
I Know You're Out There Somewhere
3.00 | 5 ratings
No More Lies
1.23 | 7 ratings
Bless The Wings
3.50 | 4 ratings
English Sunset
3.00 | 2 ratings
December Snow


Showing last 10 reviews only
 Days Of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.17 | 711 ratings

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 | 711 ratings

Days Of Future Passed
The Moody Blues Crossover Prog

Review by Tapfret
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 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
4.09 | 341 ratings

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
3.30 | 183 ratings

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
3.30 | 183 ratings

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
3.68 | 250 ratings

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 | 316 ratings

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
4.09 | 341 ratings

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."

 Days Of Future Passed by MOODY BLUES, THE album cover Studio Album, 1967
4.17 | 711 ratings

Days Of Future Passed
The Moody Blues Crossover Prog

Review by Imperial Zeppelin

5 stars Days of Future Passed is perhaps The Moody Blues' most important album in their discography as it was one of the first progressive albums and one of the first concept albums in its time. It's a simple concept about a typical day and the passing of time in which every track reflects a time of day. The songs fit their time quite well in terms of the energy and the atmosphere.

What was unique (and progressive) about this album when it came out is its clever use of the Mellotron along with the orchestration provided The London Festival Orchestra throughout the album. Although some people might argue that it's not really a progressive rock album and say that it is more of a psychedelic and baroque pop album. Nevertheless, it has been very influential for the Progressive Rock genre especially Symphonic Prog.

The lavish orchestration really adds a lot of colour and texture to each song on here. I think that without the orchestra, the album wouldn't have sounded as interesting and beautiful as it is. Not that I'm saying the songs fall short on their own, but it adds a whole new dimension to them. As it greatly helped the concept by giving the musical representation of each time of the day.

With the orchestral overture, the haunting "Dawn is a feeling", the bright-sounding "Another Morning", the energetic and fast paced "Peak Hour" the eastern-flavoured "The Sun Set / Twilight Time", and the magical hit "Nights in White Satin" the album offers a diverse selection of songs that all flow together perfectly into one beautiful conceptual album that was like a blueprint for Symphonic Progressive music and influence many bands to come.

Highlights: Dawn Is a Feeling ? Forever Afternoon (Tuesday?) ? Nights in White Satin

 To Our Children's Children's Children by MOODY BLUES, THE album cover Studio Album, 1969
4.09 | 341 ratings

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

Review by Mr. Gone

5 stars I love this album. It's probably my favorite of the "Core 7". And part of the reason is that it truly feels like a concept album - not just lyrically, but musically.

If you check my review of Octave, you will note that I consider that album to the be the "anti-Children's". While some of the songs are actually quite good, the package as a whole does not hold up. With Children's, by contrast, the individual songs are also pretty good - but the whole is greater than the sum of the parts. A Gestalt smorgasbord, if you will.

I understand that the arrangements on here were largely impossible to replicate live. It's too bad in some ways that they couldn't have expanded their touring group with another guitarist and keyboardist (at least) to maybe better approximate the lush, languid sounds that permeated this album. But they didn't, and, as a result, only "Gypsy" ever got much exposure live (until they started touring with an orchestra, at least). Further, subsequent albums featured a much more "stripped-down" sound to accommodate the need to play songs live.

But that doesn't mean we can't enjoy the studio craft that went into making this document - and it's significant. The loud crash that introduces "Higher and Higher" shows the sonic care that went into making this album. It's one of few very rocky moments on here - and it's a great song indicating the space travel celebration that is to follow.

"Eyes of a Child" - a slower number. Not my favorite on here, but it fits in nicely with the album as a whole and as a bit of a breather from the frenetic opener.

"Floating" is one of Ray Thomas's more "fluffy" numbers. Not as good as his later offerings here, but again - it works well with the document as a whole.

"Eyes of a Child Part 2" is the other really rocky moment on here. Nice vocals by the gang.

"Never Thought I'd Live to Be a Hundred" - a nice little acoustic piece from Justin Hayward. Its companion, "Never Thought I'd Live to Be a Million" is in a similar vein. Not essential, but again - works very well as part of the whole.

"Beyond" is Graeme Edge's second offering. Nice flute work here by Thomas. The song reminds me of the three stages of a Saturn 5 launch vehicle - three separate sections here. Don't know if that was the intention, but if it was - well done!

"Out and In" is the album's centerpiece for me. I either love or hate Mike Pinder's stuff - and I love this one. Lush mellotron, great flute and percussion, and Hayward's electric guitar underpinning the proceedings wonderfully. Just a fantastic song.

"Gypsy" is another winner. More great guitar and bass work, terrific mellotron and well-arranged vocals. Very nice.

"Eternity Road" may be my favorite Ray Thomas composition. Great guitar work in the bridge portion, and a fantastic melody with a slightly edgy feel. Another winner.

"Candle of Life" is John Lodge's best song on here. Great piano and mellotron work (again), great vocals, and a thoroughly warm feel throughout.

"Sun Is Still Shining" is my one tenuous spot on here. The melody isn't terrible (though it's not great either), but Pinder's lyrics leave me completely cold. It's really the only blemish here, though, so I can overlook it.

"Watching and Waiting" is another lush offering. The melody in the verses isn't terribly inspiring, but the chorus is very nice, as are the transitional bits. A nice way to end this long-player.

Now, are all these songs absolute classics? No. Probably only five or six of them would qualify. But that's a very high number. And most of the rest work very well in the context of the greater whole, to the point that I consider this to be my most essential Moody Blues album. Five stars. Make sure you listen to the whole thing at once.

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

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