Moody Blues - Gold [Original recording remastered]

Track Listings
Disc: 1

1. Tuesday Afternoon (Forever Afternoon)

2. Nights in White Satin

3. Ride My See-Saw

4. Legend of a Mind

5. Voices in the Sky

6. Lovely to See You

7. Never Comes the Day

8. Gypsy (Of a Strange and Distant Time)

9. Candle of Life

10. Watching and Waiting

See all 17 tracks on this disc
Disc: 2

1. Remember Me My Friend [Single Edit] - Graham Deakin, Kirk Duncan, Tim Tompkins, Tom Tompkins

2. Blue Guitar - Lol Creme, Kevin Godley, Graham Gouldman, Eric Stewart, 10cc

3. Steppin' in a Slide Zone

4. Had to Fall in Love

5. Driftwood

6. Forever Autumn - Herbie Flowers, Ken Freeman, Justin Hayward, Barry Morgan, Jo Partridge, Chris Spedding, Jeff Wayne

7. Voice

8. Talking Out of Turn

9. Gemini Dream

10. Blue World

See all 17 tracks on this disc

Tracks:

Tuesday Afternoon (Forever Afternoon)
Nights in White Satin
Ride My See-Saw
Legend of a Mind
Voices in the Sky
Lovely to See You
Never Comes the Day
Gypsy (Of a Strange and Distant Time)
Candle of Life
Watching and Waiting
Question
Melancholy Man
Story in Your Eyes
Lost in a Lost World
New Horizons
Isn't Life Strange
I'm Just a Singer (In a Rock & Roll Band)

Tracks:

Remember Me My Friend [Single Edit] - The Blue Jays, , Graham Deakin, Kirk Duncan, Tim Tompkins, Tom Tompkins
Blue Guitar - The Blue Jays, Lol Creme, Kevin Godley, Graham Gouldman, Eric Stewart, 10cc
Steppin' in a Slide Zone
Had to Fall in Love
Driftwood
Forever Autumn - Herbie Flowers, Ken Freeman, Justin Hayward, Barry Morgan, Jo Partridge, Chris Spedding, Jeff Wayne
Voice
Talking Out of Turn
Gemini Dream
Blue World
Sitting at the Wheel
Your Wildest Dreams
I Know You're Out There Somewhere
Say It With Love
Bless the Wings (That Bring You Back) [Orchestral Mix]
Strange Times
December Snow

Customer Reviews:

Beautiful Album, Ugly Cover.......2007-07-13

I cannot offer up any better reviews than the ones that have already been given. I would just like to add that I can understand why Justin Hayward's one solo work and two duo works with John Lodge are featured on here. It's a great intro to these efforts for folks who might not be aware of them. Since these "non-Moody" tracks were listed, I also think there should have been at least two songs from the Denny Laine-era Moodies and definitely three from the Prelude album.

My only "real" beef with this CD (and it's an albeit shallow, superficial one) is the AWFUL front cover photo!! Pray tell, what blind person picked that one? Surely the Moodies didn't OK this ghastly thing?! The usually gorgeous and sexy John Lodge looked like someone's dear old Auntie Mame! Justin and Ray are both handsome and photogenic and this did neither of them justice at all. There were several great photos in the booklet- namely the delectable center spread and the terrific back cover- that would have been great for the CD's front. I just use the back cover in place of that dreadful waste of film.

All in all, I definitely recommend 'Gold' to those looking for a good first taste of The Moody Blues. After a listen, I guarantee you'll want to go back for seconds- and thirds. Just change the front cover photo first- lol!

As good as Gold! :).......2007-06-16

For me, "Gold" is a wonderful double CD, just like "This is The Moody Blues" and "Anthology." This compilation is like a condensed version of "Time Traveller" with a few additions.

This set includes the shorter, non-orchestral versions of "Tuesday Afternoon" and "Nights in White Satin," previously featured on the 1996 compilation, "The Best Of The Moody Blues" (Contrary to the full versions featured on "Time Traveller" and "Anthology").

The "Best of" mix of "Ride My See-Saw" is on here, so there is no cross-fade from the "Departure" track, on "In Search of the Lost Chord" ... This mix begins with the count in. There is just one Ray Thomas track on this release, which is "Legend of a Mind," one of my favorite Ray Thomas compositions (and awesome to listen to through headphones). Then, we get "Voices in the Sky," which should have appeared on the 1985 best of compilation featuring that song title as the name of the album!

Two more Justin Hayward tunes follow from "On The Threshold of a Dream," including, "Lovely to See You" and "Never Comes The Day" ... This version of "Lovely To See You" (unlike the mix on "Anthology") is unique, and starts off like the mix heard on the "Out Of This World" LP, so we don't hear the choir and mellotrons that end out, "In The Beginning," from "O.T.T.O.A.D."

Up next are three of my favorites, from "To Our Children's Children's Children," the 'mellotron-driven' "Gypsy," "Candle of Life," and "Watching and Waiting," and from "A Question of Balance," the original LP mix of "Question" appears, along with "Melancholy Man," which are two of the album's highlights.

It was also a treat to hear the single mix of "The Story in Your Eyes," originally from the "Legend of a Band" CD, which is a few seconds longer than the mix heard on "Every Good Boy Deserves Favour."

From "Seventh Sojourn," the two John Lodge classics, "Isn't Life Strange" and "I'm Just a Singer (In a Rock and Roll Band)" end out the first disc. The original version of "Isn't Life Strange" appears here (not the remake on "Legend of a Band"), and "I'm Just a Singer" starts off with the loud, crashing drums, not the cross-fade from "When You're a Free Man," from the original LP. Mike Pinder's "Lost in a Lost World" returns, since "Anthology," but on this occasion, it is followed up with Justin's "New Horizons," much like the sequence originally from "Seventh Sojourn" ... "Gold" substituted "Go Now" and the "Days Of Future Passed" orchestral excerpts, from Disc One on "Anthology," with this fine tune.

Opening up the second disc is Justin Hayward and John Lodge's "Remember Me, My Friend," from "Blue Jays" ... On this occasion, the song is edited down to make room for additional tracks on the disc.

"Blue Guitar," also makes another appearance on a "Best of" compilation, and it's a nice bridge between the "Blue Jays" track and the material from "Octave."

"Stepping in a Slide Zone," "Had To Fall In Love," and "Driftwood" appear from "Octave," but because of the length of the CD, "Driftwood" is edited down a bit, fading out about a half minute earlier than the full version on "Octave."

Justin Hayward's "Forever Autumn" follows, creating a nice bridge between the timeline of "Octave," and "Long Distance Voyager." However, the song fades out a few seconds earlier than the mixes on previous compilations ("Time Traveller"/"Anthology").

From "Long Distance Voyager," the full length hits, "The Voice" and "Gemini Dream" are heard on this collection (Not the single edits from the "Voices in the Sky" compilation), but there is an edited version of John Lodge's "Talking out of Turn," which I first heard on the earlier CD version of "Voices in the Sky."

Excerpts from "The Present" include, "Blue World" and "Sitting at the Wheel." Once again, as heard on "Time Traveller" and "Anthology," the end of "Blue World" is cross-faded with the intro to "Sitting at the Wheel."

The trio of "Your Wildest Dreams," from "The Other Side of Life," "I Know You're Out There Somewhere," from "Sur La Mer," and "Say it With Love," from "Keys of the Kingdom," made for a lovely combo, as they are all played in the same chord.

The four-minute orchestral mix of "Bless the Wings That Bring You Back" (Previously featured on "Anthology") makes a reappearance here.

"Strange Times," from the album of the same name, finally makes its first appearance on a Moody Blues compilation (Previously, "Haunted," "Foolish Love," and "Love Don't Come Easy" were the first entries from "Strange Times" to appear on a Moody Blues compilation, before this release, and that collection was "Say It With Love"), as does the beautiful and relaxing "December Snow," from "December," which closes out this collection.

There was just one criticism I had on this release ... This was in regard to the edited down versions of songs like "Driftwood" and "Talking out of Turn," which are better suited for the 2 CD set titled "The Singles+" (I'm not big on edited down songs, and those were two fine songs that should be left at their regular length). Since the full length mixes of the songs wouldn't fit the length of the overall CD, I would rather see them replaced by shorter songs like "Veteran Cosmic Rocker" and "This is The Moment." It's a shame that there was only one Ray Thomas composition that appeared on this collection ... At least two of his songs could have been featured, so I think "Veteran Cosmic Rocker" would have been a nice choice, too.

On the whole, this is an excellent double CD compilation for The Moody Blues, with a great selection of songs and outstanding sound quality ... Same goes for "Anthology," as well. Both collections have their positive points! Thanks for reading! God Bless... :)

moody blues are the best.......2006-07-05

this is truly a good moody blues album it has alot of good songs from all there albums. It is missing one my favorite songs "go now", but its ok the album is still good with out it. I love listening to the moody blues because it relaxes me. They truly are one of the best bands out there. Without moddy blues i wouldnt be as happy as i am now.

FANTASTIC !!!.......2005-10-03

I LOVE IT. I LOVE IT. MOODY BLUES IS THE BEST. "GEMENI DREAM" IS THE SONG THAT GOT ME HOOKED ON MOODY BLUES. AND "BLESS THE WINGS" HAS BECOME MY FAVORITE ALL TIME SONG. EVERYONE SHOULD EXPERIENCE THIS CD.

You can't go wrong.......2005-08-10

I like this CD, even though I own a bunch more pretty much like it. The one thing that gets me with The Moody Blues is how many "Best of..." CDs they have out there. All right already. But, this is the latest and includes the song December Snow. Love that song. So, if you don't have many "Best of..." CDs, this is a good one to get. If you are a die hard fan, this is a must have.

Average customer rating:

Who knows more music like this?
A symphonic pop-rock masterpiece that stands the test of time
ON THE CUTTING EDGE...
is it a masterpiece?
Rock music + orchestration = progressive rock concept album

Days of Future Passed
The Moody Blues
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Classic Rock | Styles | Music
Similar Items:

Every Good Boy Deserves Favour
In Search of the Lost Chord
Seventh Sojourn
Question of Balance
Disraeli Gears

ASIN: B000000IR9
Release Date: 1990-10-25

Tracks:

Day Begins
Dawn: Dawn Is a Feeling
Morning: Another Morning
Lunch Break: Peak Hour
Afternoon: Forever Afternoon (Tuesday?)/Time to Get Away
Evening: The Sun Set/Twilight Time
Night: Nights in White Satin

Amazon.com

The Moody Blues' second album was also their first of what would be a succession of "concept" albums. Inspired by the Beatles' Sgt. Pepper and utilizing the London Festival Orchestra primarily for epic instrumental interludes between songs, Days of Future Passed moved the Birmingham band away from its early R&B roots (as displayed on its debut album with soon-departed future Wings member Denny Laine) into uncharted rock territory, making them the early pioneers of both classical and progressive rock. The concept of the 1968 release was very simple, tracing a day in the life from dawn to night, from awakening to sleep. The seven tracks spawned two hit singles--"Tuesday Afternoon" and "Nights in White Satin" (which hit No. 2 four years after the LP's original release) and a prog-rock cottage industry. --Bill Holdship

Customer Reviews:

Who knows more music like this?.......2006-01-12

"Days of future passed" is the most beautiful album I ever heard. It's because the instrumental music between the songs of the Moody Blues. Those instrumental pieces are rare, but I want to hear more like this! Can you help me? Please mail to: leif.boysen@xp-win.com --- thank you so much!

A symphonic pop-rock masterpiece that stands the test of time.......2005-09-30

Days Of Future Passed (1967.) The second Moody Blues album.

INTRODUCTION:
Truly, the Moody Blues were a pop-rock band with a sound all their own. They are one of the first groups that can truly be considered progressive. In the beginning, the group had a very different sound from the one fans would know and love them for, but following the release of their debut album, Denny Laine and Clint Warwick departed the group. They were replaced by Justin Hayward and John Lodge, who would be instrumental to the band's future successes. Along with drummer Graeme Edge, the band's classic formation was complete. The new version of the band planned to record a version of Dvorak's New World Symphony with the London Festival Orchestra, conducted by Peter Knight. However, the band changed their plans, and decided to do an entire album with the orchestra! Their plan was a concept album about the various times in a single day. This became the Days Of Future Passed album, released in December of 1967. It has since become the most popular album the band ever recorded. Read on, and see it the band's sophomore album lives up to its hype.

OVERVIEW/REVIEW:
With this album, Graeme Edge, Justin Hayward, and John Lodge created a symphonic pop-rock masterpiece - and one that stands the test of time. Not only is the band in their prime on this album, but so is the London Festival Orchestra, conducted here by Peter Knight. The album itself is divided into seven suites, each of which relates to a different time of the day. Appropriately enough, the album is started off with a piece called The Day Begins. The opening track is an orchestral instrumental sequence which helps to set the tone for the rest of the album. Following the instrumental portion of the song, Graeme Edge treats us to some of his spoken-work poetry, which only adds to the overall charm factor of the album. Second comes the Dawn suite. This is a slow, melodic, and mature piece of music, whose overall sophistication was well ahead of its time musically. This should have been one of the big hits on the album, but sadly, it has been forced to remain as an underrated masterpiece all these years. It's a shame that the best songs on albums often tend to be the most underrated ones... oh well. And then we move onto the morning suite. This is a happy, uplifting orchestral experience. The overall tone of the song is very similar to that of the poppy tunes on David Bowie's self-titled debut album, also released on 1967. At the middle of the album comes the Lunch Break suite. The first two minutes of this song are the traditional, orchestral sounds you've likely come to expect, but after that the song explodes into sixties-style rock, along with several other smaller musical transition. Next up is the Afternoon suite. The first half of this suite is the melodic, orchestral pop tune Tuesday Afternoon. The Justin Hayward-penned masterpiece became one of the band's biggest hits of all time, and appropriately so - it's one of the band's best songs. The second half of this song, Time To Get Away, is a drastic transition from the melodic and uplifting first half. Here the band slows things way down, and takes on a gloomy tone. It's a shame the first half of this suite became so popular and the second half never really got the proper credit, because it really is excellent! The sixth suite is the Evening suite. This is more of the symphonic pop-rock you've come to love so far. In many places, this song's sound resembles that of the Beatles, but with the orchestration and distinctive vocals, it's uniquely Moody Blues. Closing out the album is the biggest hit the band ever had, Nights In White Satin. This Night suite, the final track on the album is what would propel the band into classic rock super stardom, and it's not surprising at all to see this song still get played on the radio on a regular basis. And, there you have it. Days Of Future Passed is a symphonic rock masterpiece that must be heard to be appreciated.

EDITION NOTES:
There is a standard remastered version of this album readily available in America. It should do fine, but if you're a die-hard Moody Blues fan, you may want to consider hunting down one of the import remasters. I have heard that they have better sound quality, and that there is even an import that has an interview with the band. The domestic version, sadly, lacks any bonus material other than some short comments, looking back at the time the album was created. I wish they would have included the single edits of Tuesday Afternoon and Nights In White Satin as bonus cuts, though.

OVERALL:
There is no other album out there like this one. And there never will be, either. If you want to experience pop music at its most unique, the Moody Blues classic sophomore album is just waiting to be discovered, or in some cases, rediscovered. If you want to be impressed, buy this album. And if you're new to the Moody Blues, and you want to start with one of their albums rather than a compilation, this is the one to start with! Final verdict? MASTERPIECE. Five stars.

ON THE CUTTING EDGE..........2005-08-05

A unique and magical meld of pop and classical strains make for an unusually compelling CD. The symphonic orchestration of the Moody Blues' music extends their range, and somehow it all works.

Though some of the music on this 1967 release may now seem pretentious and pedestrian, such as the poetry which is, in fact, somewhat trite and sophomoric, the rest of it is quite sublime. Two tracks in particular make this CD well worth having, "Forever Afternoon (Tuesday?)" and "The Night: Nights in White Satin". These two tracks are quintessential Moody Blues.

is it a masterpiece?.......2005-07-04

Well yes, of course it is. 'Days of Future Passed', released in 1967, followed on the heels of 'Sgt. Peppers' as one of the first concept albums, and though The Beatles also beat The Moody's to the punch in merging their rock instruments with a full orchestra, The Moody's did so more extensively, and arguably more expertly than The Beatles. That isn't to say 'Days of Future Passed' is as good as 'Sgt. Peppers', but it is a purer vein in the genre of the concept album.
The Moody's made use of the London Festival Orchestra in several ways. On a number of the compositions, such as John Lodge's 'Time To Get Away', the orchestra exists 'in concert' with The Moody's guitars and drums. Throughout the suite the orchestra also provides musical commas and dashes, interludes between the pop compositions. Unfortunately, these are the only 'dated' segments of the production, sounding at times like soundtrack music for 1960's movies (and we're not talking '2001' either...). At other times, such as in the opener 'The Day Begins', the orchestra gives us cameo's into themes that will dominate later in 'the day'.

Ah yes, 'the day'. What could be purer than the simplistic concept 'Days of Future Passed' is based upon: translate the stages of a prototypical day (morning, afternoon, evening, and night) into their musical equivilents. Interestingly, The Beatles did something of a 'Days of Future Passed' mini-series on 'Sgt. Peppers', in the form of 'Good Morning' and 'A Day In the Life'. Obviously the concept was not as pure as The Moody's take, and The Beatles version gets lost in their grander vision. Grander isn't necessarily better, however, and The Moody's simplicity is a large part of the appeal to 'Days of Future Passed'.

The Moodys apparently are not morning people, because the album starts out slowly. Rather than bounding out of bed 'The Day Begins' and 'Another Morning' are bright, but generally soft passages dominated not by The Moody's rock instruments, but the soothing strains of the London Festival Orchestra. It really isn't until 'Lunch Break (Peak Hour)' that we can conclusively confirm that this is indeed at least partially a rock and roll excursion. John Lodge's 'Peak Hour' is a driving number, however, and it begins a six-song sequence that is probably the best in The Moody's extensive catalog.

'Forever Afternoon (Tuesday?)', which became more commonly known as 'Tuesday Afternoon', follows 'Peak Hour'. The song was the only single release from 'Days Of Future Passed' until 1972 when 'Nights In White Satin' was released and rose to number two on the national charts. 'Tuesday Afternoon', though every bit as appealing as 'Nights...' only rose to number 24 in 1968. Each song in this progression has an uncanny knack for musically mimicing its time in 'the day', and the lyrics give us insight to how we, as people, respond to that progression. More than anything else, this is what makes 'Days of Future Passed' a masterwork.

The remaining songs on the disc, 'Time To Get Away', 'The Sun Set', and 'Twilight Time' are indispensible to the whole, and as wholly entertaining as 'Tuesday Afternoon' and 'Nights...'. Each number accentuates and complements the others. Pure magic. Almost as though it had to be.

1967 was a remarkable year for music. Along with The Beatles and The Moodys, Jimi Hendrix released another seminal work, 'Are You Experienced?'. Albums such as these have an impact that reverberates for many years subsequent to their release. Each is an essential componant to understanding the artists and the eras that produced them. This album is a must-have, regardless of your musical penchants or peculiarities.

Rock music + orchestration = progressive rock concept album.......2004-10-20

"Days of Future Passed" has one of the stranger stories behind the birth of an album in rock history. In 1967 Deram Records, part of the Decca label, wanted to promote its new Deramic Stereo process and tapped the Moody Blues to do a rock version of Dvorak's "New World Symphony." However, instead of putting together something that would anticipate Emerson, Lake & Palmer's live performance of Mussorgsky's "Pictures at an Exhibition," the group persuaded the powers that be to abandon the Dvorak idea and let them do their own original compositions. Obviously inspired by the Beatle's "Sgt. Pepper," the result was a concept album presenting an archetypal day from "The Day Begins" to "Nights in White Satin" and essentially became the first major salvo in the Progressive Rock movement.

The fusion of rock and classical music works well overall, mainly because the pretentiousness of the songs was offset by the stunningly beautiful orchestrations by Peter Knight, played by the London Festival Orchestra, and integrated with the group's instrumentation. Arguably the Moody Blues never scaled these grand heights again and in one significant sense they never tried: after "Days of Future Passed" the orchestra was replaced by a Mellotron on their albums. But what would become part of the Moody Blue's music that would continue were the deep thoughts profoundly intoned by Graeme Edge, which certainly gave this album one of the most unusual endings in rock history.

This is another album that benefits from being on CD because as an album or cassette Side 2, with "The Afternoon: Forever Afternoon (Tuesday?)" and "Nights in White Satin," was going to be listened to a lot more because those are far and away the best songs on the album. I bet that I am not alone in having gotten a bit tired of "Nights in White Satin" and now having more of a liking for the song known as "Tuesday Afternoon," but the other is still a gorgeous song. Both were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. Then you throw in Graeme Edge's poetry just to make this really seem like a high concept album. I think "Days of Future Passed" still stands up today, even if David Antsey's cover painting belies the high brow approach. Besides, if it does not, then it surely takes me back to a time when it did.

Average customer rating:

Psychedelic, Progressive and Moody
Absolutely fabulous. Timeless! Extraordinary talent .
GOLD sound is the ONLY sound

On The Threshold Of A Dream
The Moody Blues
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

Baroque Pop | Oldies | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Classic Rock | Styles | Music
Similar Items:

In Search of the Lost Chord
Days of Future Passed
Tommy (1969 Original Concept Album)
A Night At The Opera
Untitled

ASIN: B000000ITI
Release Date: 1994-10-11

Tracks:

In The Beginning
Lovely To See You
Dear Diary
Send Me No Wine
To Share Our Love
So Deep Within You
Never Comes The Day
Lazy Day
Are You Sitting Comfortably
The Dream
Have You Heard (Part I)
The Voyage
Have You Heard (Part II)

Amazon.com

Released in 1969, just eight months after In Search of the Lost Chord, Threshold continues the Moody Blues's journey as cosmic seekers but in a less exotic manner. Here, Justin Hayward packs away the sitar and the band has swept most of the mystical and Eastern influences under the Kilim rug, replacing them with a science-fictional search for meaning and futuristic production methods. As on two earlier albums, Graeme Edge regales listeners with esoteric poetry, this time adding a whimsical, ironic edge to his ponderous verse. The songs have also undergone a similar overhaul, allowing the band's talent for melody to overcome the psychedelic whirls that embellished the earlier albums. John Lodge's assertive bass takes control of the bucolic "Lovely to See You," Roy Thomas's deceptively cheerful "Dear Diary," and the upbeat "Lazy Days," which also contains an unexpected lyrical sting. Indeed, the entire album is underpinned with a wistful melancholy as the grandiose rockers capture the bittersweet fleeting moments of the '60s. --Jaan Uhelszki

Customer Reviews:

Psychedelic, Progressive and Moody.......2005-04-22

On the Threshold of a Dream" followed "In Search of the Lost Chord". This album has a darker feel to it than "The Lost Chord," which periodically became lightly whimsical ("Dr. Livingston, I Presume" as an example) and was generally upbeat.

"Threshold" begins with a somewhat paranoid interchange between several characters that in a few short sentences explores individuality in modern computerized society. While Graeme Edge is generally upbeat in that he says that as individuals we can "...perceive the web they weave and keep on thinking free," the sinister tone of "Big Brother's got your number" begins the album darkly. A listener will interpret the other songs in the album by this initial tone. Furthermore, the closeout by the last three Mike Pinder selections, "Have You Heard" parts 1 and 2 and "The Voyage," end the album in a melancholy fashion that also reflects on the other tracks, many of which are melancholy themselves.

In spite of the dark mood of the album, it is still great for those times when you are a bit moody yourself. For some reason I enjoy listening to this album when it's raining outside, or when I'm feeling down. You would think that the album would drive me further into the depths of depression, but it does not. Instead, it tends to make me think about why I am depressed and ultimately overcoming those issues cheers me up. Okay, it's a little weird, but it works for me.

How is the album? This album is excellent. This album was experimental and further associated the Moodies name with progressive rock. The dialogue at the beginning of the album and "The Dream" by Graeme Edge segueing into "Have You Heard Part 1", followed by "The Voyage" which then takes you back to "Have You Heard Part 2", while being a signature feature of Moodies' albums, was still very new to the world in 1969. While the music is very mellow, it was also in some ways more dreamily psychedelic than "In Search of the Lost Chord". Examples are the aforementioned Mike Pinder selections, "Never Comes the Day" by Justin Hayward, and "Are You Sitting Comfortably", an awesome way-too-short song by Justin Hayward and Ray Thomas. This album is great for a bottle of good wine, a dimly lit room, perhaps some black light posters (seriously!), and whatever else you want to add that fits the mood.

The lyrics are often cryptic in this album. For example, just what the heck do the lyrics of "Never Comes the Day" by Justin Hayward mean? One enjoyable feature of Moodies' lyrics is the point of the lyrics is to be intentionally cryptic. Yes, they meant something to the authors. However, the authors are often vague enough to allow you to interpret them to fit your own life. The Moodies have traditionally been able to make lyrics sufficiently vague that you can easily interpret the lyrics to fit your needs, while making very enjoyable songs that you need not interpret. I believe this album may have been the best of the classic 7 to achieve both these abilities for a majority of the songs; a very interesting approach that works well for the Moodies. Others have not been able to create the same kind of lyrics nearly as well or at all.

Graeme Edge, as noted above, has two selections on this album. I truly enjoy "The Dream", which may be Graeme Edge's very best "poem monologues" on any album by the Moodies. There is a lot of symbolism and blues in this poem that are the perfect lead-in for the three Mike Pinder selections following.

Ray Thomas authored "Dear Diary", "Lazy Day" and coauthored "Are You Sitting Comfortably" with Justin Hayward. "Are You Sitting Comfortably" is by far the best of the three, and I think is the best song on the album. "Lazy Day" is likely the most whimsical song of this CD, and perhaps the least blue.

Mike Pinder, in addition to the last three songs, also penned "So Deep Within You," a love song about knowing what is in your lover's heart. This song is very beautiful and easy to understand. Mike's contributions to this album are consistently good and among the best of the album.

John Lodge wrote back-to-back love songs: "Send Me No Wine" and "To Share Our Love". Both are fast-paced (for this album), and both are good. "To Share Our Love" is the better of the two, and exploits John's voice well.

Justin Hayward, in addition to the excellent "Are You Sitting Comfortably", also wrote "Lovely to See You", which is a song of friendship helping alleviate the blues (which you may need after listening to this album!), and "Never Comes the Day", which I think is a song of love, but it is mixed with other concepts that are difficult to put my finger on. Regardless, it's a good song.

If you are a Moodies fan, buy this. If you are not, and want to listen to something different, buy this. Is it dated? This album may be a little dated, but not a lot. The lyrics are about concepts that transcend time. This album is incredibly mellow. It is the third album of the second incarnation of the Moody Blues, and the last album by the Moodies to be this spacey and psychedelic. After this they begin to tackle issues of the environment and how we treat each other and our role in the universe. This album is very unique and should be part of the reason to induct the Moody Blues into the Rock and Roll Hall of Fame (why they have yet to be I do not have the foggiest clue). It is fitting that this album was released in 1969, a fitting close to an exotic decade.

Absolutely fabulous. Timeless! Extraordinary talent ........1998-10-07

I was 18 when I first heard "OTTOAD" & starting college. I was also a film-maker & did the light shows for my friends, "the group." I shot silent films & actually got a letter of permission from the Moodies to use any song of theirs for my films (to only be used in light shows & private screenings). But to return to the record...all of rock back then was maximum 4-track recording. The Moodies & Hendrix & others (the Beatles!) expanded the technical recording properties & the Moodies were perfectly in sync with the music to make perfect records. I never liked them in concert (except to see them live) but to hear them while wearing headphones & having one's conciousness altered (this was the '60's, don't forget!) was earth-shattering! I have the newly remastered CD and it's better than the original vinyl (which I still have) simply because the dynamic range is so broad (you can hear the rustle of the music score, the shuffle of feet and even a cat meowing in one piece). The Moody Blues were light years ahead of everyone in & out of music & performing arts. I truly believe they will still be playing them 200 years from now.

GOLD sound is the ONLY sound.......1998-07-22

This new style of re-recording/remastering has to be heard to be appreciated. Especially symphonic sytle arrangements, such as those produced on all the original Core 7 Moody Blues Albums. If you are set up with a really nice Quad audio system, you will be blown away by this album!

This album is the epitomy of that 'sound' that made this band the quintessential rock band of their day. Most notably, Justin Hayward and Mike Pinder influences are all over this disc, on tracks such as Are You Sitting Comfortably?, Never Comes the Day and Have You Heard?

The symphonic 'bridge' characteristic between tracks was patented by the Moodies, and it is in extreme evidence on this album.

Like all early Moody Blue's Core 7 albums, this album will take you to far away places with it's unique blend of visual imagery through orchestral stylings and lyrical inducements.

The GOLD recording technique crystalizies every sound from each of the instruments played by the band. The me! llotron (Mike Pinder's fire-breathing keyboard - made-to-sound-like an orchestra) is of such excellent clarity and quality, that you really believe there is an orchestra backing these guys on this disc! And this was in 1968!!!

Tracks:

Procession
The Story In Your Eyes
Our Guessing Game
Emily's Song
After You Came
One More Time To Live
Nice To Be Here
You Can Never Go Home
My Song

Customer Reviews:

Excellent! Great! Beautiful! Delightful! Fantastic! :).......2007-06-29

To start off, what a topnotch remastering job on this splendid release! :)

Back in the days when I was discovering the music of The Moody Blues (About the 6th grade, in the late 1980's, for me), my parents put together a Moody Blues mix tape from the songs off of the vinyl albums in their collection, for road trips in the car. The cassette included this really cool-sounding rock song with mellotrons and pianos featured in it, and the tune reminded me of "Question" and "Lovely To See You," which I already knew at the time ... Of course, the song turned out to be "The Story In Your Eyes," my favorite song on that mix tape, at the time, and I went through all of my parents' records to discover that the song came from "Every Good Boy Deserves Favour!" Sound-wise, the "church-like" choir of backing vocals on the choruses are outstanding, and sound similar to the background chanting on "Nights In White Satin." The "clanging" of the pianos, near the end of the track, really packs a punch too, and a nice job on the stereo separation of Justin Hayward's well-sung double-tracked vocals (Best experienced through headphones)!

Backing up a bit, I found "Procession" amusing, and wanted to dissect it piece by piece, by commenting on my favorite pieces ... The Moog synthesizer that opens up the album has such a futuristic quality to it that I don't think you could possibly reproduce such a sound effect for any video game or techno sound recording! Gotta love those "bubbling" sounds! You don't need an alarm clock when you first hear The Moodies shouting, "DESOLATION!" The group shout just comes out of nowhere and is one of the most startling moments on a Moody Blues recording (Next to the thunder effects heard on "Say What You Mean," from "Keys Of The Kingdom") ... The band executes their line to perfection, just as the listener is becoming comfortable with the "Pillow Of Winds" (To quote Pink Floyd from their "Meddle" album, also released in the same year!) sounds, previously heard ... It's like The Moody Blues summoned the bursts of thunder and rainfall that follow their opening shout! Notice that the "E.G.B.D.F." piano chords pan across the stereo field, beginning on the left stereo channel and ending out on the right channel (Another headphone treat!). Originally, I thought that Graeme Edge's electronic drum kit was a set of state-of-the art bongos! They are right on the beat and make for yet another stereophonic delight! The sitar excerpt reminds me of some of George Harrison's work on the late 1960's Beatles albums, mainly "Love You To," from "Revolver" and some of the incidental music on the "Help!" soundtrack ("Another Hard Day's Night"/"The Chase") ... The flute piece reminds me of some of the musical interludes in the "Monty Python" series ... Strange thought, I know, but it still sounds lovely. :) The harpsichord section makes me think of Colonial times, and the buildup at the end of the track sounds like something that would inspire Queen to create their musical style of "God Save The Queen," from "A Night At The Opera!" Gotta love the "Halloweenish" organ followed by the double-tracked electric guitar that leads into "Story!" A fantastic job on this opening piece to the album!

The piano in the intro to Ray Thomas' "Our Guessing Game" really grabbed me, right from the start ... You would have thought that Mike Pinder would begin singing the song, as he did following the piano piece that opened up "My Song," later on! Sounded like a symphonic piece to me ... What a marvelous melody! There is great continuity with the stereophonic sound of the double-tracked lead guitar between the solo that ends out "Procession" and the solo heard on the instrumental break of "Guessing Game," as well! The Moodies sound psyched as they all pitch in on the choruses, too. :)

Nice job with the xylophone effects on "Emily's Song," probably John Lodge's softest, most delicate tune ... The powerful cellos really bring the rest of the instrumentation together so well. Glad to find that this tune received recognition on the "Collected" best-of triple disc compilation, as it was not featured in the "E.G.B.D.F." portion of "Time Traveller." The live version of this song, on the "Red Rocks" set, is equally enjoyable, by me, I might add. :)

Both acoustic and electric guitars dominate Graeme Edge's "After You Came," and as any true Moody Blues fan can tell you about this song, it is a successful team effort from all of the vocalists ... John Lodge really sounds like he's getting into singing his parts of the song when he hums briefly during the final chorus on the track! While "Time Traveller" ignored this outstanding rocker, the song rightfully received recognition on both the "Voices In The Sky" and "The Universal Masters Collection: Classic Moody Blues" compilations. :)

John's "One More Time To Live" captures all kinds of moods, and starts off and ends out on a pleasant sounding note ... The intensity on the choruses is well delivered, in both the vocal and instrumental departments ... Sound wise, the choruses make me think of a thunder storm and the soft parts remind me of the calm before and after the storm! Nice job on the way the flutes that ended out this tune blended in with the flutes that open up the next tune, by Ray Thomas...

"Nice To Be Here" sounds like a mellow version of "Another Morning," from "Days Of Future Passed," and the melody reminds me a little bit of "Ob-La-Di, Ob-La-Da," by The Beatles, at a couple of points!. :) While Ray indicates that this song takes place during the day ("...Lying in the sun"), I can't help but feel that the tune has a "nighttime" feel to it (The mellow instrumentation), in which the animals in the woods get together to perform their tune while all humans are far away, and home, fast asleep. :)

Justin's "You Can Never Go Home" takes me back to "Never Comes The Day," from "On The Threshold Of A Dream," with the song starting off softly then rocking on the choruses ... On both occasions, Justin superbly showcases both the soft and powerful styles of his vocals. He also delivers a nice soft touch of his electric guitar on the "I lie awake for hours"/"Weep no more for treasures" parts of the song. Nice job on the cheerful harmonizing during these same sections of the tune, as well!

On Mike Pinder's closing track, "My Song," the tune starts off like a classical piece, featuring topnotch piano playing, then we hear Mike singing in his most dramatic style on the "Love can change the world" section of the song, in similar fashion to his singing style during the fadeout to "Melancholy Man," from "A Question Of Balance." The harp-like effects and marching drums that take the listener into the instrumental portion of the song blew me away, as did the variety of mellotron sounds that were featured! When the song becomes silent, we can hear the "smog" effects that were first heard throughout "On The Threshold Of A Dream," mainly from "In The Beginning." The heavily echoed breathing, in the background, sounded spooky ... Could it have represented the "life in other worlds?" The breathing did have an otherworldly sound to it! Pretty neat effect on the sound effects that ended out the song, as it was the opening sound effect in "Procession," played in reverse! This reminded me of how Pink Floyd's "The Wall" began and ended, featuring the same sounds! Thanks to the fadeout on Mike's track, we do get the impression that this is indeed "a song that never ends!" In addition, isn't it amusing that the very first song on the following album, "Seventh Sojourn," was written and sung by Mike? Imagine how "My Song" would have sounded if it morphed into "Lost In A Lost World," in the space between the fadeout of the former song and the fade-in of the latter song! This concept would have been further proof in carrying out "a song that never ends" ... Just an impression I had between the two Pinder tunes. :)

For me, this is a good album to listen to late in the evening, right before going to sleep ... It must also have something to do with the nighttime setting on the album cover, but much of the instrumentation creates a "dreamy" atmosphere on this recording, most notably the mellotrons, so it's a nice album to relax to. "Boy," I'm in "Favour" of "Every Good" (Or should I say "Great!") Moody Blues song on this "Deserving" of praise album! Thanks for reading. God Bless... :)

The Most Progressive Moody Blues Release.......2006-04-09

This CD is likely the least well-known of the classic 7 Moody Blues releases. This CD is also likely the most progressive and experimental of the classic 7, which is saying a lot considering how well regarded "Days of Future Passed" is as one of the first, if not the first, rock concept albums, and one of the first progressive rock albums.

As with most of The Moody Blues first 7 albums, this CD also has a concept, albeit a somewhat loose concept. In this case, the concept is the evolution of man and his society, and whether and how that society might survive. As you can imagine, the tone of the album is relatively downbeat and somber.

The opening track is perhaps the most progressive Moodies track of any Moodies album, "Procession." This song is nothing less than the encapsulation of the evolution of man from man's primate ancestors to today. This song is one of those that have earned The Moody Blues comments such as heavy-handed, pretentious and overblown. Certainly the song attempts to summarize our history with three words: desolation, creation and communication. The music that goes with these three little words is nothing less than art, simple, building in complexity as the piece progresses until the last moments in the song when the song becomes crescendos of guitars, organs and drums, underscoring the complexity of modern life, leading into the next number.

While the next song, "The Story in Your Eyes", seems to try to dispel the downbeat opening, the lyrics have the stanza:

But I'm frightened for your children
That the live that we are living is in vain
And the sunshine we've been waiting for
Will turn to rain

These lyrics add to the general gloom of the opening number, and furthering the theme of the album, which is whether mankind will yet survive. While the lyrics have their downbeat portions, the music is fast and is the song that is closest to mainstream rock on this album. This song was also the one chosen to be the single released from this CD.

The next song is one of Ray Thomas' mellow numbers, but again the lyrics include hints of a darker future:

Wonder why we try so hard
Wonder why we try at all
You wonder why the world is turning around
When in the end it won't matter at all

Before you get the feeling that you should just lie in bed for the rest of your life comes "Emily's Song," which was written about a baby girl. This song is again mellow, a fairy tale of song. There is chamberlain and percussion to give a vaguely cheery lullaby feeling to this song. The most charming theme is that by living through our children we gain a perspective on the world that we've lost as adults (so true!). The song suggests that we can regain what we've lost by being with our children, and letting them pull us into their world. Is it any wonder that grandparents like grandchildren?

"After You Came" is a fascinating song when viewed in the perspective of previous Moodies albums. The song seems to suggest that many of the otherworldly lyrics from the previous Moodies albums were unrealistic, and the Moodies, as well as their listeners, needed to regain their earthly perspective. This theme was even more explicitly captured in the lyrics of the next album, "Seventh Sojourn," as the Moodies worked harder to undo the sometimes cult following the achieved due to their intensely spiritual earlier albums.

Just when you think the album is heading somewhere upbeat comes "One More Time to Live", a reprise to the first song "Procession," detailing the host of man's sins and emotions, trying succinctly to express all the things that man could think, and perhaps should think, but also perhaps realizing that the solution requires philosophies and determination that can not be revealed in a simple song.

Before the album takes itself so seriously that you achieve a dire funk, "Nice to Be Here" gives us a fantasy to relieve the stress of thinking too deeply. Ray Thomas has a penchant for creating songs like this one, which are one part childhood fantasy, one part philosophy, and one part longing for escape, a cute and clever song that somehow fits.

The last two songs on the CD seem to relate to each other, and though they are sung in a mellow, almost downbeat, fashion, the lyrics suggest a way out for mankind. "You Can Never Go Home" by Justin Hayward is full of soaring instruments and vocals, and tells us that we are another step toward the future. The song is a love song, but it is a love song with dual meanings that fit into one person's love, and the meaning that love has for the future of man.

"My Song" by Mike Pinder is a fitting conclusion to this album, and makes you wish the album would have gone on for another disk. Mike sings:

Where did I find all these words
Something inside me is burning
There's life in other worlds
Maybe they'll come to earth,
Helping man to find a way.

Mike's other lyrics suggest that he is having a hard time telling us all his thoughts and concerns, and he's ready to take any help to sort it all out, even if it's those extraterrestrials that so many of us talked about in the late 60s and early 70s.

This album has never been considered a "great" album. Yet, the album tries to explain where mankind is, how we got here, and perhaps, where we might go. Only a group like The Moody Blues could tackle such an impossible subject in a mere 40 minutes. If you are feeling heavily introspective and mellow, and you are looking for mood music, spin this CD, and you'll find that 40 minutes just wasn't enough.

much ado about... what?.......2004-07-07

The Moody Blues have always intrigued me, but never hooked me. Since I'm not musically trained I'm really in no position to critique the musical attributes of their compositions, but I will say that the band can often sound much more compelling than what they are saying in their lyrics. Even the title and cover art, which give allusions to the mysteries of childhood, create more wonderment than tangible meaning, and you wander off wondering if THAT'S what the meaning of the album is. Certainly the Moody's are the Kings of the Concept Album. Perhaps if they had received less acclaim for 'Days of Future Passed' they could have broken out of that self-imposed box prior to 'Seventh Sojourn'.

'Every Good Boy Deserves Favor' starts out wonderfully, if you overlook 'Procession' as an actual song, and regard it as an experimental, Beatlesque mix of random sounds. The acual music breaks open with the classic 'The Story In Your Eyes', such an engaging, well-structured, empowered song that it simply does not give the rest of the album a chance. While there are other worthy songs on the disc, there is no question that it is 'downhill from here'. The next three songs are strong, with 'Guessing Game' offering a graceful melody and thoughtful lyrics, 'Emily's Song', which was released as a single in the United Kingdom could be mistaken for Simon and Garfunkle fare (that's a compliment), and 'After You Came', being the only legitimate rock song on the album save 'The Story...', features interesting lyrics and simply rocks real nice.

The remainder of the album may remind you of college basketball before the shot clock showed the grave to the slow-down game. 'One More Time To Live' starts out promising, but segues from relaxing images of an English garden, "look out in the hedgerow...", to a chorus of cacophonic pronouncements such as "desolation", "pollution", "revolution" and "starvation". I suppose there is a point in it, but it's not aurally appealing, and perhaps it wasn't meant to be.

Sometimes the faux depth of meaning is more deliberate and playful, as in the cheerful, even psychedelic imagery offered in 'Nice To Be Here', which plays on life scenes reminiscent of The Beatles 'Being For the Benefit Of Mr. Kite', such as "Jack Rabbit loudly drumming", "a mouse played a daffodil", and "the frog's guitar solo". It is playfully entertaining, and the music is a fit complement to the message.

'You Can Never Go Home' and 'My Song' drearily close out the album, with the former offering abstract lyrics such as "High above the forest lie the pastures of the Sun, where the two that learned the secret now are one". The latter, as with several other songs on 'EGBDF', is mired in hippie-think messages such as "love can change the world, love can change your life", and even reaches so far as "There's life in other worlds, maybe they'll come to Earth, helping man to find a way". Beam us up, Scotty.

It's a shame to have to tolerate the 'down-side' to 'EGBDF' in order to own 'The Story In Your Eyes', 'Emily's Song', and 'After You Came'. Perhaps a compilation CD or a good live disc of the band is the wiser choice... The liner notes are sparse and no lyrics are included, though they are available on-line and can help to make the listening experience more coherant.

An antidote to cynicism.......2000-04-20

To be a Moody Blues fan, world-weary, jaded eyes must be forgotten. The band's greatest strength, and the one thing that most sets them apart from their contemporaries, is the fact that they write from a childlike perspective--honest, hopeful, and free of cynicism.

"EGBDF" is a thematic album, very similar in construction to 1969's "To Our Children's Children's Children." But whereas "Children's Children" has the feel of "2001: A Space Odyssey," "EGBDF" has more the feel of an English garden. "The story in your eyes" is the only hit off the album, but all the songs are wonderful, and the album was meant to be enjoyed as a whole. "Emily's Song" is a charming love song from a parent to a young child. "One more time to live" is the only political song on the album, yet is more poetry than protest. "Nice to be here" by Ray Thomas is a rollicking, colorful children's song, a good companion piece to "Floating" from the Children's Children album.

The best treat on this album, though, is Justin Hayward's "You can never go home," which contains some of the best lyrics he's ever written, perfectly accented by his plaintive vocals. Finally, Michael Pinder's "My song" serves as a satisfying epilogue to the rest of this lovely album.

Anybody who likes the Moody Blues, or just desires a change of pace from the heavy beats and angry cynicism of today's music, would be well-advised to buy this album.

As a footnote: Young people today will never know one of the greatest pleasures that came from owning vinyl albums: Cover Art! And the Moodies' were the best. The cover for "EGBDF" was adapted (I'm pretty sure) from a watercolor painting called "Der Krystal" by the German artist Sulamith Wulfing.

This is a great CD!.......2000-03-13

Can't say much except that this is a great CD! I doubt that this review would even be helpful to anyone but all I can say besides getting it is that it comes highly recommended! Some may not like it but it hardly deserves only 1 star and if you do rate it as 1 star, you are either very pretentious or just ignorant to good music. Maybe one should start getting britney spears instead?

Average customer rating:

The Moody Blues start playing around with their Mellotron
Progressive and Artistic
One of the best rock/pop experiments ever made
Why This Is A Classic And Gold CD.

In Search of the Lost Chord
The Moody Blues
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Classic Rock | Styles | Music
Similar Items:

On The Threshold Of A Dream
Every Good Boy Deserves Favour
Seventh Sojourn
Days of Future Passed
Question of Balance

ASIN: B000000ISI
Release Date: 1993-04-06

Tracks:

Departure
Ride My See-Saw
Dr. Livingstone, I Presume
House Of Four Doors
Legend Of A Mind
House Of Four Doors (Part 2)
Voices In The Sky
The Best Way To Travel
Visions Of Paradise
The Actor
The Word
OM

Customer Reviews:

The Moody Blues start playing around with their Mellotron.......2005-05-31

After "Days of Future Passed," with its fusion of progressive rock and the London Festival Orchestra the Moody Blues provided more of the same, only different (i.e., a Mellotron instead of the full symphonic orchestra since Decca did not want to pay for another one despite the success of the aforementioned previous album). On their 1968 release "In Search of the Lost Chord," the songs are shorter and manage to involve both pop and Eastern influences. "Ride My See-Saw" could be one of the best Hollies song never done by the Hollies. However, the exception that proves the rule here would be "Legend of a Mind," the song that causal listeners think is called "Timothy Leary" or "Timothy Leary's dead," or something along those lines:

Timothy Leary's dead.
No, no, no, no,
He's outside looking in

Now that Timothy Leary is not only dead but really, most sincerely dead listening to "Legend of a Mind" from is a different experience. Leary died in 1996 and his remains were cremated and lauched into the final frontier along with those of "Star Trek" creator Gene Roddenberry. The song is associated with the psychadelic period of the Sixties, although it is hard to imagine why given that the lyrics are full of unqualified praise for Timothy Leary and his astral plane:

He'll take you up, he'll bring you down,
He'll plant your feet back firmly on the ground.
He flies so high, he swoops so low,
He knows exactly which way he's gonna go.

Ray Thomas wrote "Legend of a Mind" and also "Dr. Livingston I Presume," the other song on the album that makes acid trips sound like a good idea, in that delightfully eccentric way that make the British so endearing. You keep wanting to suspect that there is something tongue-in-cheek going on here, but, no the group seems to be earnest in its adoration as the CD's new notes by the band members. No wonder the Moody Blues were so popular with the counter-culture. Add to this the Eastern influences that pop up at the end of the album in "Visions of Paradise" and "Om." Things get a little self-indulgent on this album, but the experimentation pays off big time with their next effort, "On the Threshold of a Dream."

In 1968 the Moody Blues, which is a much better name than El Riot & the Rebels, consisted of Justin Hayward (vocals, acoustic & electric guitars, 12-string guitar, sitar, harpsichord, piano, Mellotron, bass, percussion, tablas); Mike Pinder (acoustic guitar, cello, autoharp, harpsichord, Mellotron, piano, bass); John Lodge (acoustic guitar, cello, bass, tambourine, snare drum, background vocals); Ray Thomas (C flute, alto flute, soprano saxophone, background vocals); and Graeme Edge (piano, drums, timpani, tambourine, tablas). The point of detailing all this instrumentation is to evidence that the level of experimentation here was at least the equal of what the Beatles were doing during their legendary "Sgt. Pepper" period (and Jethro Tull only had one flute). The result was that "In Search of the Lost Chord" made it to #23 on the Billboard chart. There were two singles released, "Ride My See-Saw" made it to #61 and "Never Comes the Day" only got to #91 (A pair of Justin Hawyard songs, "Voices in the Sky" and "The Actor," were both released in the U.K. as singles), and to make sure everything is dotted and crossed, the cover art was by Phil Travers.

Progressive and Artistic.......2005-04-03

Many rock groups have been described as "progressive" during various times in their careers. To truly understand the definition of progressive rock, put yourself in 1968 listening to this album for the first time. The Moody Blues surpassed the Beatles with exquisitely complex orchestrations, using instruments that often were (and are) played only in obscure classical presentations. The lyrics are often incredibly spiritual without being denominational and without offending any specific denomination, a difficult feat in any era.

This album was a follow up to the ground-breaking "Days of Future Passed" album, and set the expectations for all future Moodies albums. So many groups get into a groove, and keep playing that groove endlessly and monotonously. The Moodies made seven concept albums in a row, none of which was identical. Most were only similar in that they had elements of fantasy, science fiction, and hope for a better world and a better life. The expectations for each Moodies album was (and continues to be): what unusual thing are they going to try to do this time?

In this album they played with using instruments to achieve various effects, such as the doors opening on the "House of Four Doors", and the combination of instruments on "Om" that evokes a feel of India without being Indian. The use of the sitar on this album is one of the best in a rock album.

This album ranks as one of my all time favorites. There is no need to evaluate individual songs because they are all very good. This album deserves to be ranked with albums such as "Sgt. Pepper's Lonely Hearts Club Band" and Led Zeppelin's Runes or ZOSO album.

In some ways you may consider this album as a peak for the Moodies; their subsequent albums are continually compared to "Days" and to "The Lost Chord." Fortunately the Moodies have never been disheartened by the unexpected success of their first two albums, and have kept on making more music.

If you are new to the Moodies, you will find this album to be one of their best. However, you will find that even an "average" Moodies album is better than the "best" of many other groups. Typical criticism of a Moodies' album comes from comparison to other Moodies' albums, because it is difficult to compare the Moodies to other groups.

If you like this album, you may also enjoy "To All Our Children's Children's Children," "On the Threshold of a Dream" and "Every Good Boy Deserves Favour." Each of these is similarly experimental, with varying degrees of success.

Regardless of your feelings toward this album, it helped defined progressive rock as a genre with the few other progressive rock groups of the late 60s and early 70s, and will always hold a special place for those who looked for the next evolution of rock music beyond the Beatles.

One of the best rock/pop experiments ever made.......2002-01-29

Being from my favorite group from all time, I can't be objective with this record. But anyway to listen to it is to understand how far they got in making incredible modern music mixed with classic and traditional influences from many places and times in the world and mixing as well a very moving and dinamic, young nature with a vital and deep sense of spirituality.

After the grand experiment with a symphonic orchestra of 'Days of Future Passed' the Moody Blues and the producer Tony Clarke lock themselves in the studio in 1968 to create a magnificent musical expedition across the mind. 'Legend of a Mind' is maybe the highest point flute player Ray Thomas has ever reached as a songwriter. The part with of the flute solo leaves you standing naked in the middle of a field embracing nature with your open arms, and the intense ending leads you through a speed-of-light journey across your dreams and feelings.

'Visions of Paradise' is the song that maybe has put in the highest point the intention George Harrison founded of mixing psychodelic 60's rock with Indian traditional music. The voice harmonies really make you see paradise in front of you as you ever dreamed it was. 'Voices in the Sky' is a splendid, fresh and delicious chant to nature and simple joy. 'Om' is one of the superb tunes full of universal spirituality keyboardist Mike Pinder created, ending the album with perpetual choir voices ascending to the sky.

Every song in this album has a life in its own and is a world in itself, and they're also a standard for all pop/rock music created later. So, it's five starts without a doubt. A masterpiece of symphonic rock.

Why This Is A Classic And Gold CD........2001-07-09

This is one of the groups finest pop-psychodelia recordings. Incorporating sound effects like creaking doors, explosions and everything a 1960's mellotron could do, this experience is as close to an acid trip one could have (if one ever did).

"Ride My See-Saw" is a standard concert encore and "Dr. Livingstone..." soars from simple pop rock to fast paced rock 'n roll with enough bridges and changes to satisfy any mind. "Voices In The Sky" is Justin Hayward's beautiful ballad contribution and "The Actor" is nothing short of plaintive, soul-searching love angst. The harmonies are incredible.

Tracks:

Higher And Higher
Eyes Of A Child, Part 1
Floating
Eyes Of A Child, Part 2
I Never Thought I'd Live To Be A Hundred
Beyond (Instrumental)
Out And In
Gypsy
Eternity Road
Candle Of Life
Sun Is Still Shining
I Never Thought I'd Live To Be A Million
Watching And Waiting

Customer Reviews:

You don't have to be a Moody fanatic to love this album.......2004-05-10

One of my personal criteria in doing reviews is that an album isn't a five-star album if you have to already be a huge fan of the band to think the album's great. I'm not a "huge" Moody Blues fan. There are dozens of their songs I like, but this is the only one of their albums that I love all the way through. I didn't know until reading the liner notes on the remastered version that the album is meant to have space travel as its connecting theme. But it makes sense--the band weaves songs about the wonder of the universe in with songs that contrast the infinity of space and human mortality, and Mike Pinder's songs are about the inner space of the mind.

"Eyes of a Child I" wasn't a single, but is as good as any of the classic Moody hits. I don't usually care for Ray Thomas' songs, but "Eternity Road" is among his best, and he also co-wrote the single "Watching and Waiting". "Sun Is Still Shining" is my favorite song by Pinder, with its unison Mellotron and sitar. Drummer Graeme Edge contributes a couple of lively songs: "Higher and Higher" is very good despite his poetry, and "Beyond" is the closest thing you'll ever hear to a Moody jam session. The soothing "Watching and Waiting" closes the album with a lyric about a lonely planet beckoning space travelers to settle on it.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

Magnificent Moods.......1999-10-22

This album (and it's prequils) were the basis of a whole Fantasy RPG campaign I ran a while back. I'm sure the titles of these albums (from "The Days of Future Past" to "Every Good Boy") have some meaning. Tis was the last MB album I bought as it was the one which I least liked out of the whole series up to Seventh Sojourn, but now it is my definate favourite of the lot (although all the others are really good). This single album encompases for me a view of how life should be - unrestricted but bound by the "Candle of Life" and "Eternity Road". "'Cos here there's lots of room for doing the things you've always been denied , so look and gather all you want to, there's no one here to stop you trying" - powerful words indeed. STOP, LOOK and LISTEN as most modern record vocals won't allow you that pleasure.

One Of A Kind CD.......1999-10-20

This is my favorite Moody Blues album. I am only 16 years old and I am the only one my age, that I know, who knows who this band is. The first time I listened to this album, I was thinking. I had never in my life heard anything like this before (and I'm not that old). "Gypsy", "Candle of Life", "Higher and Higher", "Eyes of a Child P2", "Watching and Waiting", and "Eternity Road" are awesome. Also, their voices on this album are incredible. I believe they'll be frozen in my mind for the rest of my life, and probably for others who heard them for hundreds of years. Although this doesn't fit in with the youth of today, I don't think it matters. This rap and alternative crap cannot survive much longer. The Moody Blues' music is timeless to me. I believe it should be put into a time capsal and sent into space to represent what great compositions were all about is the Twentieth Century on Earth. That's including every other album they made during the seventies through to 'Strange Times'. You will never again hear or see an album like this ever again.

A great concept album!.......1999-09-22

This entry into the Moody Blue's catalogue follows the line of three earlier great Lp's by the band during the 60's.This album sings and speaks of Space oriented type of things, its goal to have a record to lsiten through generations(Hence the Album title) Great production and of course classic Moody Blue's instrumentation make this album an unlikely classic in my eyes. If you do not own this album and are a Moody Blue's fan, get it now, it shall not leave you (nor your children) cold.

Not completely recognized.......1999-09-12

Is for sure an important piece of art which was recorded perhaps 40 years before its time.

Tracks:

The Voice
Talking Out Of Turn
Gemini Dream
In My World
Meanwhile
22,000 Days
Nervous
Painted Smile
Reflective Smile
Veteran Cosmic Rocker

Amazon.com

A regular fixture on the pop charts throughout the '70s, the Moody Blues roared into the '80s with this tremendously successful record. In fact, the album sounds only slightly different than its predecessors; the synthesizer textures are heavier (thanks to former Yes keyboardist Patrick Moraz), but the band's flair for catchy, melodic compositions is still very much in evidence. In retrospect, songs like "The Voice," "Talking Out of Turn" and "In My World," while solid, don't exactly measure up to such all-time Moodies classics like "Ride My See-Saw" or "Tuesday Afternoon." Still, this is probably the last truly consistent album the band ever made. --Dan Epstein

Customer Reviews:

My intro to the Magical Moodies.......2007-06-07

This really isn't a review, just me wanting to briefly share my sentimental feelings about the Moodies and this particular album.

Having been born in 1964 into a household that did not allow rock music, I didn't discover The Moody Blues until the Summer of 1981. I can remember so very clearly lying on the floor on a hot day and hearing 'Gemini Dream' on the radio. I was instantly in love with the sounds of the music, lyrics, and what I was to later learn, John Lodge's unique voice. I was ecstatic when a few months later I got another delicious taste of the Moodies with 'The Voice'. I have been smitten by them ever since. Before LDV, I had never even heard of the Moodies and had certainly never heard anything sounding remotely like them. Since that time I have discovered the earlier works of this great band. They never cease to amaze, enthrall and delight me. Every time I listen to a Moodies song, they take up a little bit more space in my heart, where this album holds a very, very special place.

Now that I know them, I cannot imagine a world without the beautiful music and words of these talented and wonderful men who call themselves The Moody Blues.

Cover art trivia.......2007-03-30

Something I noticed years ago was the satellite passing through the sky on the album cover, an interesting anachronism made all the more poignant in its subtlety. Also, it's not just any satellite, but a "Voyager" that was launched in the 70s and is currently speeding out of our solar system. Indeed, a "Long Distance Voyager." It's a nice reminder of the Moodies cosmic roots and harkens back to "To Our Children's Children's Children."

The Moody Blues' second, and to date last, US chart topper is still excellent 25 years on.......2007-03-18

The Moody Blues' tenth studio album entitled Long Distance Voyager was released in May of 1981.
The Moody Blues, by 1981, had not put out any studio work since 1978's Platinum selling Octave (which was the last album with founding keyboard player Mike Pinder). Then in the spring of 1981 saw the return of The Moody Blues, which now consisted of guitarist/singer/songwriter Justin Hayward, bass player/singer/songwriter John Lodge (bass, vocals), flute player/singer/songwriter Ray Thomas, drummer Graeme Edge and one time Yes keyboard player Patrick Moraz (whom Yes fans remember for his stellar work on their 1974 album Relayer). Many people were disappointed with Octave and called it disjointed but Long Distance Voyager saw The Moody Blues return in a MAJOR WAY!
First, the band jettisoned producer Tony Clarke and replaced him with Pip Williams. Then the band recorded in England for the first time since 1972's Seventh Sojourn at Threshold Studios in Northamptonshire, England in late 1980/early 1981. Finally, the mellotrons were gone and synthesizers were now here in its place.
The album opend with the Top 20 hit "The Voice" which its synthesizer intro showcaed Moraz' synthesizer work. The track, penned by Hayward, is a great song and worthy of hit status. Next is "Talking Out of Turn", a ballad penned and sung by Lodge. A great song. Next was the album's other big hit, the Top 20 charting "Gemini Dream", which was penned and sung by by Lodge and Hayward and proclaiming they were back, and they were. In My World is next and was the last song on the first side. The Hayward penned number is almost country-ish in sound but a beautiful track and featured excellent steel guitar work by B.J. Cole.
"Meanwhile" starts the second half of the album and was penned and sung by Hayward and is a fantastic number about love slipping through the character's fingers. Next is the Graeme Edge penned number "22,000 Days" which is about life and making the most of it and a stellar track. we follow with another Lodge penned number called "Nervous" and is another classic number. The album's last 3 tracks is a mini-suite penned and sung by Ray Thomas. The three tracks in question are "Painted Smile", "Reflective Smile" and "Veteran Cosmic Rocker" compares the music and entertainment world to the circus. This mini-suite of three songs is a great way to close a classic album.
Long Distance Voyager upon its release became The Moody Blues' second, and to date, last US chart-topper hitting #1 in July of 1981 and staying there for three weeks and was the second Moody Blues album to hit the Platinum mark in the US (meaning it sold a million or more in copies) and rightfully so because the album is flawless and saw The Moody Blues come back from a clunker to bring one of the best albums of their career.
HIGHLY RECOMMENDED!

Welcome Back, Moody Blues.......2006-11-16

Forget the plodding, Octave. THIS is the Mooody Blues comeback album.

Most of the songs here are fantastic. The band is re-energized by the arrival of Patrick Moraz. "Talking Out Of Turn." is the best John Lodge solo vocal on any Moody Blues album from any era. "In My World" is a worthy addition to the Justin Hayward ballad catalogue. The only criticism is the Ray Thomas songs are not on par with his classic work, and, consequently, are the weakest songs on the album.

The Moody Blues' best album of the 80's.......2006-11-10

THE BAND: Justin Hayward (guitars, vocals), John Lodge (bass, vocals), Patrick Moraz (keyboards), Ray Thomas (flute, harmonica, vocals), Graeme Edge (drums & percussion).

THE DISC: (1981) 10 tracks clocking in approximately 47 minutes. Included with the disc is a 14-page booklet containing song titles/time/credits, song lyrics, and misc info. Recorded at Threshold Studios in Northamptonshire, England. A hard-to-find gold/remastered edition released in 1997. Label - Decca Records / Threshold.

COMMENTS: I was too young to be 'into' the Moody Blues when they were big for the 1st time (late 1960's into the early 70's). "Long Distance Voyager" (LDV) was my first album of theirs... it hooked me in and eventually made me go backwards to buy much of their earlier material. Where it's debatable what album might be the best of the 60's and again in the 70's, I feel "LDV" is clearly their best album of the 80's. The thrust of their musical direction had changed since their first 7-8 albums. Leaning now toward main stream rock/pop, with less orchestration and space rock feel. "LDV" became the band's 2nd #1 album on the Billboard chart (with 2 huge hits - #15 "The Voice" and #12 "Gemini Dream"). This album also saw the departure of long time keyboardist Mike Pinder, and the entrance of ex-Yes keyboardist Patrick Moraz. "The Voice" is a great song and worthy of hit status. I was never a huge fan of the very pop-oriented "Gemini Dream"... to me, outside of the vocals, it really doesn't even sound like the band. The gems on the album though are the non-hits. "Meanwhile" is a great melody about love slipping through the character's fingers; "22,000 Days" (my all-time favorite Graeme Edge song) is a great song about life and making the most of it; and the last 3 tracks pertaining to the entertainers of the world... "Painted Smile" through "Veteran Cosmic Rocker". The album really closes with a bang. If you want to own any of the Moody Blues' many studio albums, "Long Distance Voyager" should be one of them (5 stars).

Average customer rating:

SEVENTH SOJOURN!!!
still going strong--the last Moodies album before an extended hiatus
The Primer...
Thanks for this album
This is a great album to listen to from beginning to end.

Seventh Sojourn
The Moody Blues
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Soft Rock | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Classic Rock | Styles | Music
Similar Items:

Days of Future Passed
Every Good Boy Deserves Favour
Question of Balance
In Search of the Lost Chord
To Our Children's Children's Children

ASIN: B000000IWE
Release Date: 1998-02-17

Tracks:

Lost In A Lost World
New Horizons
For My Lady
Isn't Life Strange
You And Me
The Land Of Make-Believe
When You're A Free Man
I'm Just A Singer (In A Rock And Roll Band)

Customer Reviews:

SEVENTH SOJOURN!!!.......2007-05-28

THIS IS MY ALL-TIME FAVORITE FROM THE MOODIES. I LOVE THE MOFI VERSION.

still going strong--the last Moodies album before an extended hiatus.......2005-09-17

Originally released in November of 1972, "Seventh Sojourn" is the last of what is known as the Moody Blues' "Core 7", i.e. their 1967-1972 era albums. Although it's fair to say that the band had undergone a certain evolution over the course of this period, it's also fair to say that by this time they had settled into a formula and were no longer breaking new ground, and at times it sounds like the group would have rather been elsewhere.

One interesting thing about the album that does set it apart is the presence of the Chamberlain which is used in place of the Mellotron in certain places, providing the album with some extrodinarily lush sounds. Granted, keyboardist Mike Pinder was a master of the Mellotron, and the previous 6 albums were all lush in their own right, but the Chamberlain provides a bit of a different and unique feel.

There are some great songs here. The album opens with Pinder's pleading, arrestingly dramatic epic "Lost In A Lost World" which has a winding, expansive feel. It's followed by Justin Hayward's moving ballad "New Horizons" which is one of his most tender compositions--excellent layered vocals and layered guitar work from Justin on this track. Pinder's ultra-atmospheric ballad "When You're A Free Man" has an arresting spiritual quality to it and has a note-perfect double-tracked Hayward guitar solo, a snippet of which sounds almost exactly like what he'd later play in the intro of "Steppin' In A Slide Zone". John Lodge's uptempo album-closer "I'm Just A Singer (In A Rock And Roll Band)" is extremely catchy and energetic, with another great Hayward solo, and the synthesized brass gives the song a strangely primitive and profound quality.

Absolutely none of the remaining tracks are weak, although they occasionally sound tired an uninspired. Ray Thomas' folky, medieval-sounding "For My Lady" is nicely melodic, but the dorky accordian on the chorus is ultra-hokey. Lodge's "Isn't Life Strange" is quite strong, with moving verses, but the chorus is overly-bombastic, with lead guitar work that's crafty but feels out of place. "You And Me" has great layered guitar licks from Hayward, and the verses and chorus are catchy, but it's attempt to be anthemic feels a little forced. "The Land Of Make-Believe" is a characteristic Hayward epic along the lines of the previous album's "You Can Never Go Home", starting off mellow and folky before quickly building--unfortunately, it's way too melodramatic and bloated to really take off, although it's still reasonably pleasant.

In closing, "Seventh Sojourn", despite the flaws, is solidly recommended--it's a strong ending to this era in Moodies' musical career, and if you're a fan of the band, it's inconceivable that you'll dislike it.

The Primer..........2004-12-06

Here is the single BEST intro to the Moody Blues that any non-fan could ever pick up. It is more solid and less expansive than any of the so-called 'Core 7'(ie: Days Of Future Passed, Lost Chord, Threshold, Children's Children, EGBDF, Question, and Sojourn). This album is simply an 8-song set of stand-alone tunes that won't confuse the listener who may or may not be accustomed to the Blues' style of organic album-writing which has been tagged with the title "rock symphonies".

"Lost World" is a straight-ahead, middle-of-the-road groove rocker, while "Isn't Life Strange?" sounds like something that KISS might have covered(believe it or not...just listen to "Great Expectations" on 'Destroyer'), and "Singer In A Rock & Roll Band" is the closest that the Blues ever came to 70's funk(ironically enough, considering its title) and is one of the greatest "goodbye kisses" that a band ever gave to its audience(right behind the Beatles' Abbey Road medley with "The End" and Cream's farewell concert).

In all, recommend this to someone who doesn't have a Moody Blues collection and tell them to start their "7 Shades Of Blue" here, in reference to the "Core 7" albums at the heart of the Moody Blues collection.

Thanks for this album.......2003-11-20

I just wanted some other Moody Blues fans to know how much this album meant to me. I was born an only child to a single mom back in 1965. My mother passed away in 1998. I was pretty strong at the time, I barely cried during the whole funeral. A few days after the funeral I was playing some of my old records, and Seventh Sojurn was one of the records I was listening to. When I got to Living In a Land of Make Believe, I just started to cry. I couldn,t stop. I must have played the song 10 times that night. But I really listened to the lyrics, It made me feel very good because I knew that eventually I would see my mother again and I know that she,s watching me every day.
It,s a great album all around but the 5 stars are mainly for that song alone. Thank you Moody Blues and thank you Justin for the emotional release you gave me that night....

This is a great album to listen to from beginning to end........1999-08-04

As with many of the earlier Moody's albums (Days of Future Passed, On the Threshold of a Dream, Lost Chord, etc.), Seventh Sojourn will transport you off into an interesting world if you listen to it cover to cover. A world of love, hope, religion, and, of course, harmony. Check out how the Moodys puncuated their songs with just the right amount of added instruments. It's like a recipe: a cup of electric guitar (isn't life strange (refrain)), a pinch of flute (for my lady), and a hundred pounds of kettle drums (lost in a lost world). It's another masterpiece from a band that made music that was more than the sum of its parts.

Average customer rating:

Sampler Gold

Manufacturer: Universal
ProductGroup: Music
Binding: Audio CD
ASIN: B000CP036O

Product Description

A sampler CD from Universal's "Gold" collections series.

Average customer rating:

An Example of the Moody Blues at their peak
Reply to bill
Their best ever album
'MUDDY BLUES', NOT 'MOODY BLUES'

Question of Balance
The Moody Blues
Manufacturer: Mobile Fidelity
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Psychedelic Rock | Classic Rock | Styles | Music

Album-Oriented Rock (AOR) | Classic Rock | Styles | Music

General | Classic Rock | Styles | Music
ASIN: B00000G2OW
Release Date: 1998-11-17

Tracks:

Question
How Is It (We Are Here)
And The Tide Rushes In
Don't You Feel Small
Tortoise And The Hare
It's Up To You
Minstrel's Song
Dawning Is The Day
Melancholy Man
The Balance

Customer Reviews:

An Example of the Moody Blues at their peak.......1999-10-22

I'm trying to figure out what album Bill listened to. I might agree with him if he was talking about Octave.....but certainly not a A Question of Balance, which is one of the best Moody Blues Albums of all. Granted it was not an official 'CONCEPT' album as were the 4 prior to that....but it still turned out that way...I remember still the day the album came out and I heard it for the first time back in 1970....As a total Moody Blues freak at the time (and still to this day)....I was certainly not dissappointed...and it was probably the last album that they released that I felt that way...although I have enjoyed them all. Their latest Strange Times...recaptures some of that great energy of their first 7.....I Believe that Question is one of thier very best albums...EVERY song on it is classic Moody.

Reply to bill.......1999-06-27

Yes Bill this album wasn't planned. The Moodies went into the studio and constructed this album in 5 weeks. If yo had gottewn Time traveler you would know this. but the range of music IS tied together...even though it wasn't planned. Even though Question was the HIT of the album there were a few songs that should have recieved airplay. Songs such as Don't You Feel Small?; Its Up to You; and How is It We are Here? If a song moves you in an emotional sort of way....and that was the arttists intent...then they have been successful. I LOVE this ALBUM. The Best album the Moody Blues recorded in the 70's

Their best ever album.......1999-03-21

First of all I would like to correct the bad impression given by the previous reviewer. Question is only one of many fine songs; from And The Tide Rushes In and Melancholy Man to more up-tempo numbers like It's Up To You and Minstrel's Song, the standard never slips. The fact that I own 2 vinyl versions & 2 cd versions speaks for itself. After 28 years this is still one of my favourite albums.

'MUDDY BLUES', NOT 'MOODY BLUES'.......1999-01-21

I AM NOT GOING TO TAKE ANYTHING AWAY FROM THE TITLE TRACK; IT IS INDEED A POWERFUL STATEMENT. BUT, THE REST OF THE ALBUM HAS ALL THE APPEARANCES OF SOMETHING THAT WAS ASSEMBLED WITH ABSOLUTELY NO PLANNING OR DIRECTION. FOR A GROUP WITH THE LONGEVITY AND (USUAL) QUALITY OF THE "MOODY BLUES," THE "QUESTION OF BALANCE" ALBUM IS A TOTAL SHAME! NO TWO SONGS ON THE ENTIRE ALBUM ARE SIMILAR, AND THEREIN LIES AT LEAST PART OF THE PROBLEM. IT SOUNDS FOR ALL THE WORLD AS IF THE BAND MEMBERS WERE AVOIDING EACH OTHER, ADDING THEIR OWN CONTRIBUTIONS WHEN NO ONE ELSE WAS AROUND! WHAT COULD HAVE BEEN A LANDMARK ALBUM INSTEAD BECAME SOMETHING TO BE AVOIDED, SUCH AS A MUSICAL DETOUR!!! THE GROUP WAS FAR MORE TALENTED AND PURPOSEFUL THAN WAS DEMONSTRATED BY 'BALANCE,'AND, OVER THE YEARS, THIS ALBUM HAS LOST MUCH OF THE INITIALLY HIGH HOPES THAT THE PUBLIC HAD FOR IT. THE MOODY BLUES WERE CAPABLE OF MUCH MORE, AND, THANKFULLY, THEY SHOWED IT, IN THEIR FOLLOWING WORKS. WITH THE EXCEPTION OF THE TITLE TRACK, 'QUESTION OF BALANCE' IS AN ALBUM THAT SHOULD NOT BE TAKEN SERIOUSLY BY ANY REAL FAN OF THE GROUP. IT'S JUST THE RESULT OF A SEEMINGLY VERY LONG AND VERY BAD DAY IN THE CAREER OF THE 'MOODY BLUES'.

Music Review:

Music Review

Music Review

1. Tuesday Afternoon (Forever Afternoon)
2. Nights in White Satin
3. Ride My See-Saw
4. Legend of a Mind
5. Voices in the Sky
6. Lovely to See You
7. Never Comes the Day
8. Gypsy (Of a Strange and Distant Time)
9. Candle of Life
10. Watching and Waiting

1. Remember Me My Friend [Single Edit] - Graham Deakin, Kirk Duncan, Tim Tompkins, Tom Tompkins
2. Blue Guitar - Lol Creme, Kevin Godley, Graham Gouldman, Eric Stewart, 10cc
3. Steppin' in a Slide Zone
4. Had to Fall in Love
5. Driftwood
6. Forever Autumn - Herbie Flowers, Ken Freeman, Justin Hayward, Barry Morgan, Jo Partridge, Chris Spedding, Jeff Wayne
7. Voice
8. Talking Out of Turn
9. Gemini Dream
10. Blue World