"Go Now" was an American Top 40 hit for Bessie Banks at the beginning of 1964. The Moody Blues covered it at the end of that year, taking it to the top of the British charts. As part of the "British Invasion" the song hit the American Top 10 (and apparently #2 in Canada) so the band toured the US. Nothing else they covered or wrote clicked so Laine and bassist Clint Warwick would leave by 1966. Note that the Moodies, with Justin Hayward and John Lodge on board in 1967, released a couple of singles ("Fly Me High" and "Cities") that didn't do much before embarking on the DAYS OF FUTURE PASSED project.
I consider this the first Moody Blues album as what came before is so different (RnB pop). After Denny Laine left, the band scouted out a folkie (Justin Hayward) and a bassist (John Lodge). Both were songwriters whose voices sounded great together. All the band were committed to experimentation (sonic and chemical) that created a tight creative bond. The Deram gig was supposed to be a classical-rock version of Dvorak's "New World Symphony". As already stated, the band and producer Tony Clarke had other ideas. They used Decca's classical recording studio and enlisted conductor Peter Knight to orchestrate their songs and fragments, quite bold for '67. (Deep Purple, Caravan and others also tried this out.) If it wasn't for the two hit singles, the album would probably have been an interesting footnote. Instead, the combination of songs and yearning style would propel the band to the forefront of the emerging progressive rock movement. As other, heavier bands emerged, the Moodies would rely more and more on their chart singles and tours but, first and foremost, they were an album band that capitalized on the growing hi-fi and rug-sitting audience. Some great music ahead, Shaggy!
After stumbling upon a winning formula with DAYS, the Moodies decided to dump the orchestra and provide the tonal colours themselves (exotic instruments, tape manipulation, multitracked voices and the mighty mellotron). Using another concept (the quest) to bind the album experience, the classic Moody Blues template was solidified. Drug journeys certainly contributed to the vibe. More significantly, it helped that they had four (later five) distinctive songwriters in the group ensuring each album would contain potential hits and deep cuts. Indulgent, somewhat dated but always entertaining. A true successor to SGT. PEPPER'S hi-fi experience.
I prefer Tull's acoustic side, actually. The heavier aspects aren't what I look for in the band, but I always appreciate their use of dynamics. I respect your opinion, and your videos are very interesting!
Thanks. I look forward to the disagreement when respectful…and am honestly surprised by the Seventh Sojourn pushback thus far. I am going to keep this one high in the rotation and see if I come around to it. Thanks for the comment.
As much as you do indeed like some of their songs,after watching a few of your moody blues vidoes,i honestly don't believe you actually GET the band,i don't agree with your overall view of "seventh sojourn" but i acknowledge its your personal view,but this is my personal opinion,now before you say i wont hear anything bad about the moodies,i'm not a fan of "the other side of life" album, and a lot of songs from other albums not keen!!!😊
I don’t think I get them either OR I get them and simply am not a fan of their softer, more symphonic side. IMO, they are a great upbeat psych pop band. Anytime they up the tempo, I am all in. But as far as their gentler acoustic stuff goes, not my vibe. Some of the stuff is growing on me and I have heard these albums only a handful of times in a short time span, but I do think I would like them more if they indulged in their “rock” tendencies a little more. Thanks for the comment. I definitely enjoying this journey regardless…..
I think you nailed it: it's a strong, consistent album throughout designed to take you on a journey of time, space and wonder. "Eyes of a Child" and "Watching & Waiting" are the biggish songs but the album is loaded with deep cuts (including the driving "Gypsy", which probably could have been a single). Apparently their last studio album with massive overdubs. As they were touring a lot and having trouble reproducing that full studio sound on stage, they moved towards simpler arrangement on the next album. CHILDREN'S was also the first release on the Moody's Threshold label.
New Horizons, For My Lady and Isn't Life Strange are all excellent songs. Atmospheric, deeply felt, haunting and subtly powerful. All three of these songs (along with "Singer", were in my vinyl two record set "This Is The Moody Blues". One of the best compilations i ever came across. I used to listen to it quite frequently when i was in my teens and early twenties.
Interesting perspective (and surprising ranking) for an album I could never warm up to. "Story in Your Eyes" was one of my favourite singles of 1971 (an amazing year) and I even liked the cover. The rest of the album, though, is 'meh'. Though it's really well arranged and played, the writers just didn't have the songs this time around. Other that "... Story...", nothing from this album made their double-comp THIS IS THE MOODY BLUES and that's not a surprise to me. I think the lyrics are mostly uninspired ("I'm going to sing my song and sing it all day long"; "Leave the wise to write for they write worldly rhymes"). The attempted concept (the history or progression of music) peters out after the opening track. Trying to parachute the "desolation..." bit into "One More Time to Live" doesn't really make sense. There are lots of good moments here but, as an album, I'd put it at the bottom of the classic run (from DAYS to SOJOURN). Nice to see some love for it, nonetheless.
SEVENTH SOJOURN is one of my favourite of their classic run albums. It's not dependent upon an over-riding concept but it seems to be reflective of the world around each of the members. (Some, like Justin Hayward, Ray Thomas and Mike Pinder, were going through challenging times emotionally. That's probably why the tour promoting the album cued a break for the band.) It's a songwriter's album with four tracks (2, 3, 4 & 8) being released as singles and a couple of others that were hook-filled (6 & 7). Pinder's two ruminative tracks give the album some needed weight. Overall, a well-played, well-produced collection and, in my opinion, a great way to finish an era. During their sabbatical, each member would release solo albums of varying quality though Hayward & Lodge would score big as the duo Blue Jays. When they reconvened, they would be a very different band.
Only listened to once and haven’t touched it since. Not a big fan. But pre 72 isn’t my cup of tea anymore. Hell pre 78 isn’t really my cup of tea. But I do listen to shows from then still. But I really barely listen to pre 72. I just want More 80-84 and 87-90
You have to realize how stoned these guys were, except for John. If you think they were derivative sometimes it’s almost impossible to. Too much Acid & weed. 😂 The instrument you’re wondering about is called a Mellotron. sp? They used it to replicate strings & other effects.
@@theopinionatedhippie470 Keyboardist Mike Pinder used a mellotron for the six of seven classic run albums. For SEVENTH SOJOURN, he acquired a chamberlin, which gave a wider range of instrumental sounds as well tones that were smoother and truer than the mellotron.
Fans thought the Moodies could change the world. John Lodge the bassist, had fans show up at his home worshipping him and the band as the world’s, society’s saviors. John wrote this song as a reaction. Dudes. I’m just a singer.
Does that mean you're going to Baris Manco, he's a Turkish musician who made records between 1962-1999 (he died at 56 from a heart attack) He gifted one of his albums to FZ during a 76 Brussels concert and Zappa thanked him from the stage, the interaction is on this recording I shared ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1ssOAPXjIyc.html
don't forget Do You Really Want To Hurt Me (at the end of he's so gay - stage vol 6) Don't know if you mentioned it on the video as I only watched the intro Zappa part.
Wow ! Didn’t see this coming You still have to finish at least 2 artist left from Turning Again Barry McGuire ( Eve of Destruction ) he is also on the Freak Out List Bonzo’s Dog Doo Dah Band ( Canyons of Your Mind ) this deep dive I would love to see Death Cab for Cutie !!! Culture Club ok voice but i haven’t thought of them in years
The sound quality is not up to the usual standard because Zappa was not allowed to record this show (who knows maybe union regulations??) So he had a concealed Nagra mono tape machine using one microphone record the show from the front of the stage apparently. I think considering this the sound is excellent
When I was 21 years old (40 years ago) I was in a bit of an awkward situation and someones dad played Cardiacs at me. It was a life changing experience. Enjoy the ride
Thanks Shaggy. What’s coming through loud and clear as you take this journey is how uniquely different they were. Great series. Hope you find other artists to do this with but you seem well versed in most! Appreciate the content.
I did not mean to imply that Bungle inspired Cardiacs....I know who came first. Oops if I did that...I was just trying to point out who the Cardiacs sound like. And interested to see how I change my mind....
Thanks for another helpful video ... am enjoying the series / seeing your journey through time ... still some interesting tunes ahead ... and, yes, you'll hear more tunes that you did not realise you were familiar with ... Question - are you aware of another UK band once dubbed the poor man's Moody Blues by a journalist? ... Barclay James Harvest (massive following) have been / still are around (albeit currently in 2 offshoot versions led by the principle songwrites) ... since 1968 ... latest album by John Lees' version (Philharmonic! recorded live in 2023 with orchestra) has just been released with some epic tracks on it ... I think you might enjoy their catalogue - especially the longer epics from early 1970's... They are still a biggish band in Europe (especially Germany) and, in actual fact, the track they made in 1977 actually called "Poor Man's Moody Blues" became very popular ... for me, like the Moodies, BJH are one of my "go to" bands ... just a suggestion ... Cheers again, CMcG, Aberdeen, Scotland
I am familiar with Barclay's first several albums and really enjoy them. I have not followed their career past those handful of great early albums- the first 7 or so, up through Gone To Earth- and honestly rarely pull them out and listen to them anymore so thanks for the reminder. I would probably rank them higher than the Moody's at this point....probably do not see that changing.
I am loving this journey Another totally solid album The only Zappa connection I can come up with is Guitar Magazine Article from 83 called Not The Moody Blues The Title I’m sure not by Frank is an insult to them as if they are sub par Basically when talking to FZ about orchestra work he is asked “ So not the Moody Blues ? “ What a lousy question
Love Cardiacs and I am the on land and in the sea side of the fanbase, though really splitting hairs they are just all works of genius, plus the seaside and songs for ships and irons also deserve everyone's full attention...to Tim our leader in the starry skies
I struggled a little with the last couple albums, this one got me more or less on first listen. Conversion to me being the stand out track. Look forward to hear that live in London. Oh wow is about Anita lane who passed recently I believe. And that is her voice at the end on a recorded phone call.s
It's like rating your children. On Land and in the Sea is the early masterpiece with all of Tim's crazy and complex compositions delivered with fizzing energy. Sing to God is an awe-inspiring masterpiece, but is dare I say it, a bit uneven over its length. Guns has great consistency and Jitterbug is one of their very finest. ALMAHATWWW is the summation of their sound from when they started as children, up to that date and is another masterpiece. All great, all equal. By the way, I see you like microtonal guitars. Check out 'Obur Dünya' by Cem Karaca and Moğollar and 'Yaz Gazeteci , Yaz' by Selda Bağcan, a couple of Turkish artists with amazing vocal talent, too. I would also recommend Oriental Wind's jazz fusion version of Turkish folk tune 'Dere Geliyor, Dere'.
This album has a special place in my heart, as it was the first gizz album had come out since I started listening to King Gizzard (I started right after infest the rats nest came out). Since it was released during peak COVID when I was desperate for live music, I played the shit out of this. The movie isn't that much different (though I haven't watched it since 2020), besides getting footage of the songs on here. Most notably, brief history is much more entertaining with the video. Parking (the drum solo) I think is longer on the video and has them struggling to park their bus. I actually really like parking. I do agree its a little clumsy having the infest the rats nest songs split like that though, in the movie there's a larger gap between them with backstage stuff. If you're unaware, the "bootleg gizzard" stuff is a program King Gizzard are doing that's an extension of polygondwanaland's "free release" stuff. During covid they released all these shows + demos + teenage gizzard for free and also allowed any record label to release versions of it physically, on CD, on vinyl, on cassette, you could do highlights from shows, you could do compilations, alternate artwork etc. Only catch is you just had to send the band a few copies to sell on their own website. I would say It'd be cool for you to review all the bootleg gizzard stuff but they just announced that they're adding EVERY SOUNDBOARD FROM THIS CURRENT TOUR to that a few days after they happen so I think it's going to be impossible to keep up with.
You should check out The Seaside. It’s kinda like their first proper album. It has a few songs that’d appear on A Little Man and “nurses whispering voices” later on Sing To God plus tons of great songs that appear nowhere else. HIGHLY RECOMMEND
If you're looking for more of the psychedelic prog pop stuff similar to Guns, you should check out Tim's side project Spratleys Japs. Their one album was recorded around the same time as Guns, and is sort of like a more chilled out sister album. Also, Tim did one solo album, Tim Smith's Extra Special Oceanland World. Also, more psychedelic pop and calm than Cardiacs. Then you have three albums of music of a group called Sea Nymphs, Tim, Sara, and Bill of Cardiacs. It's more acoustic and folky, but equally interesting.
These three are all brilliant, fantastic LPs. And it's nearly impossible for me to rank them, although they are disparate. 1. DIAMOND DOGS 1. YOUNG AMERICANS 1. STATION TO STATION First off though, you are out of your mind re: YOUNG AMERICANS. The album, the songs that killer LP cover all go together so exquisitely. It's all powerful, mature and awesome! This is the problem with people who did not know (or understand) this great music in the 70s doing a half assed review now. I was just a young kid when this album was released. And like most other things within the 1970s, it gave to me, a mature, adult-minded, way cool experience of an album. You're just not a real fan, and you're certainly not listening to it the right way. If you just gave me WIN, RIGHT and FAME, I'd take it over most other full LPs. M ⚡
Maybe the problem is that music taste is subjective and as someone who grew up in the 70s listening to this music, I find this music less interesting than other artists doing the same thing??? Gatekeeping who is and who is not a real fan is something I hope you grow out of….it is just not a good look and will never help people discover new music. Good luck though. Thanks for the comment.
@@theopinionatedhippie470 first off, I'm not gatekeeping who is and who isn't a real fan. You make that relatively clear within your reviews. i.e. a person who is a true fan of David Bowie doesn't make those kinds of mistakes AND doesn't completely misunderstand one of their pivotal albums. That said, I was going to come back on at the end, and compliment what you said, in general, about Station To Station and Diamond Dogs, but I ran out of time. DIAMOND DOGS might be my all time favorite Bowie record (it is perfect!), but man, when you put out so many fantastic albums, and with different interesting styles, wholly unique lyrics and grand approach, it can be hard to do. Anyway, I apologize for saying that you weren't a real fan. I do think you are, maybe just not a deeply connected one. And btw, you're hated "Golden Years" is, for me, a top, brilliant track. It's catchy as all get out (Slick's brilliant riff matched to Bowie's powerful vocal and infectious lyrics), but hey, if you don't like it, that's your thing. But back to the top, what kind of true 'Bowie fan' would not like, "get" or understand that "Wah, Wah, Wah" refrain? So catchy and so David Bowie! M
LOL….thanks for the response. Not trying to be a jerk but any definition of what is and what is not a fan irks me….i can’t bite me tongue when I should. Am I a Bowie fan who loves everything he does? No. Heck, I started a RU-vid channel specifically b/c of Zappa and there is a lot of his stuff I do not care for. I “get” it….i just don’t like it. Anyway, thanks for the start of what I hope is an ongoing conversation. Peace.
@@theopinionatedhippie470 No problem. I think it's good when people can have an exchange, whether agreeing or disagreeing, in a healthy decent way and without feeling a need to apologize and massage it all, etc. You know, people can have an argument and still be friends, right? And I do agree on that fan issue as well. Anyway, I'm a big-time Zappa fan as well. Bowie is my all time #1, but Frank Zappa is up there, and I've loved him ever since I picked up my older sister's Apostrophe (') album in 1974.
Great to see solo rankings First off I love Orange County Lumber Truck Found it interesting to hear your thoughts on the rhythm section A year almost to the day Frank as jamming with Ansley in Belgium and by 71 he was in the band And Rhythm Section is what makes Hot Rats band and Funky Nothingness so interesting So my question which came first netter soloing of better support Last How about a rhythm section ranking ? Would be intersting Bozzio and Hearns vs Vinnie and Barrow or Fowler and Humphrey s or Chester
I always wonder: would FZ have released this? Talking about some "FZ approved quality" sense, because Ahmet doesn't have a clue. Who decides about the quality, is there some kind of audio enhancement or balancing before release or is it just "roll the tapes"?
I just listened to a quick run of all the tracks, and it's not for me. The only track I like is Rollo, but I knew that already. The rest is quite boring I have to say. Nice album cover though
Solid??if "question" is a solid song,then i'm a 6foot blond model😮,maybe American version of solid is different from british version of solid🤔,the moodies purposely made this album which was going to be easier to reproduce on stage,compared to past other tracks on various albums,thay included a lot of overdubs, the technology of keyboards just wasn't quite there yet at that time😊
I am not sure I get the gist of your comment. Are you arguing that Question is Great and that solid is too weak a description or are you arguing that Question is not a good song and solid is too generous? Would love clarification. Thanks.
@@theopinionatedhippie470 ah yes,i see where you are comin' from,looked again at my comment! I honestly believe "question' is a lot more than a solid song,like i said,it's possible our british interpretation is slightly different than American? Solid to me is, " yeah that's good ,nothing particularly special,but good,'Solid'!! "Question" is anything,but 'Solid' it was a unique song even for 1970,it got my attention,even as a 10 year old, i thought your comments on album was honest,but i can't go along with "Question" being solid!! And like yours i guess,it's simply my opinion👍
its interesting that you liken billy the mountain to inca roads, because it is the same chord progression through the whole thing. also, the way that sleep dirt just makes its way into this setlist having not been recorded anywhere prior and it being the night frank almost died really changes how i think about the song. its almost like some sort of angel of death was present and just compelled him to play these notes. then again, he probably wrote it beforehand
