Favorite Moody Blues Songs - Addendum to The Moody Blues Album Ranking List

Favorite Moody Blues Songs - Addendum to The Moody Blues Album Ranking List 

As  a follow-up to my ranking of all The Moody Blues Albums, here is a listing of my favorite Moody Blues songs. Since they have so many great songs, I couldn't just do a Top 20. I was plaaning on doing a Top 30, but then had to expand it to a Top 40, and still there are so many other great songs that couldn't make the list. Anyway, here are my top 40 favorite songs by the Moody Blues (followed by the album it comes from), based solely on my own opinion and reaction to them. Not surprisingly, the bulk of them come from the 'core 7' albums and weighted towards those albums I ranked the highest, but there are a few from the later albums (although not all albums are represented), as they made great music throughout their career.

40. Nothing Changes (ST)
39. Meanwhile (LDV)
38. Eyes of a Child (TOCCC)
37. Dawning is the Day (AQOB)
36. So Deep Within You (OTTOAD)
35. Lost in a Lost World (SS)
34. And the Tide Rushes In (AQOB)
33. Higher and Higher/Beyond (TOCCC)
32. The Actor (AQOB)
31. After You Came (EGBDF)
30. To Share Your Love (OTTOAD)
29. Your Wildest Dreams (TOSOL)
28. English Sunset (ST)
27. The Voice (LDV)
26. Best Way to Travel (ISOTLC)
25. Land of Make Believe (SS)
24. It's Up to You (AQOB)
23. Our Guessing Game (EGBDF)
22. Out and In (TOCCC)
21. The Other Side of Life (TOSOL)
20. Blue World (TP)
19. Are You Sitting Comfortably? (OTTOAD)
18. Voices in the Sky (ISOTLC)
17. My Song (EGBDF)
16. The Balance (AQOB)
15. Gypsy (TOCCC)
14. Nights in White Satin (DOFP)
13. New Horizons (SS)
12. Never Comes the Day (OTTOAD)
11. You Can Never Go Home (EGBDF)
10. House of Four Doors/Legend of a Mind (ISOTLC)
9. One More Time to Live (EGBDF)
8. Lovely to See You (OTTOAD)
7. You and Me (SS)
6. Watching and Waiting (TOCCC)
5. Tuesday Afternoon (DOFP)
4. Ride My See-Saw (ISOTLC)
3. Have You Heard?/The Voyage (OTTOAD)
2. Question (AQOB)
1. The Story in Your Eyes (EGBDF)

Album legend:

(DOFP) - Days of Future Passed (1967)

(ISOTLC) - In Search of the Lost Chord (1968)

(OTTOAD) - On the Threshold of a Dream (1969)

(TOCCC) - To Our Children's Children's Children (1969)

(AQOB) - A Question of Balance (1970)

(EGBDF) - Every Good Boy Deserves Favour (1971)

(SS) - Seventh Sojourn (1972)

(LDV) - Long Distance Voyager (1981)

(TP) - The Present - (1983)

(TOSOL) - The Other Side of Life (1986)

(ST) - Strange Times (1999)

What are your favorites? What great songs did I miss?

BB's Album Rankings - The Moody Blues

 

The Moody Blues - Album ranking - Least Favorite to Most Favorite

Today, I delve into the recordings of the magnificent Moody Blues, innovators and prog rock pioneers, who brought classically-influenced rock and symphonic rock into the mainstream with glorious melodies, sumptuous soundscapes, stunning vocals, grand and literary themes, and emotional and inspiring lyrics. As early originators of imaginative concept albums and use of the Mellotron, they forged new directions in rock and transitioned the psychedelic era into progressive rock. Unfortunately, the sonic delights of the Moody Blues seem to be largely forgotten these days, as they rarely are afforded their rightful place among the giants of progressive rock. Darlings of the late 60's and early 70's, their reputation has been somewhat tarnished by their transition to more simplistic synthpop hits in the 80's and 90's, as they struggled to survive in a changing musical landscape. But at their peak, throughout what is known as the 'core seven' albums from 1967 to 1972, and a bit beyond that, there was no other band quite like the Moody Blues, mixing classical, rock, pop, and theater, delivering grand and majestic themes, emotionally powerful performances, and sophisticated intricately arranged musical spectacles. Part of their strength was that all five members were singers and songwriters, as well as versatile musicians, each with their own particular style, which enabled combining many different musical influences, with lush instrumentation and powerful vocals and harmonies, to create a unique sound that explored new directions in rock and pop music, and songs with soaring melodies that embraced emotional intensity, sentimentality, and thought-provoking expansiveness.   
     
Originally formed in Birmingham, UK, way back in 1964, by keyboardist Mike Pinder and vocalist-flautist-harmonica player Ray Thomas, bringing in Graeme Edge (drums), Clint Warwick (bass), and Denny Laine (vocals-guitar) to round out the original line-up. This early version of the band followed the wave of other bands at the time, playing British beat and R&B covers, with a few originals from Pinder and Laine (but following similar styles). They had success with their second single, "Go Now", a moody R&B number with strong vocals that went to #1 in the UK. However, they struggled to follow that success, with a string of subsequent singles failing to climb the charts. They released their first album, The Magnificent Moodies in 1965, and was a fairly standard mix of pop and R&B songs of the time, but the record company they were on went out of business shortly after. The Moodies signed with Decca Records and The Beatles Brian Epstein as manager, but saw little success through 1966. By October, Denny Laine and Clint Warwick left the band, and Epstein dropped them shortly after. Just as it appeared the band was falling apart, guitarist-vocalist-composer Justin Hayward and vocalist-bassist-songwriter John Lodge were brought in, and was the beginning of the great classic period for the band. As it turned out, those were just the pieces needed to forge a new and exciting direction in musical adventures.
    With this influx of new voices and songwriting, the band re-grouped and changed direction, emphasizing their own compositions and strengths as singers and songwriters. They were interested in incorporating more classical themes and instrumentation. And Mike Pinder brought the Mellotron, a new keyboard device that mimicked strings, horns, winds, etc. through the use of tape segments, into the band, being one of the very first to utilize the instrument. Mike had worked for the company that developed the instrument prior to joining the band, and was one of the few people that actually knew how to use it effectively, and it became a hallmark of their sound. As it happened, around this time, an opportunity came up to work with a symphony orchestra, as Decca wanted to combine rock and classical in a new version of Dvorak's New World Symphony to show off their new stereo recording process and label. But once the band started working with classical composer-conductor Peter Knight on the project, they mutually decided (without letting the label brass know) that they preferred using their own original concept and songs for the project. The result was Days of Future Passed (1967), a ground-breaking concept album that followed a musical day from morning to night, with songs from the Moody Blues mixed with orchestral interludes and connecting tracks forming a more or less seamless album of rock and classical music, culminating with the magnificent Nights in White Satin and Late Lament recitation. This essentially marked the beginning of the progressive rock movement, the opening salvo or starting gun, if you will, for what what would follow over the next few years. And the band just took off from there, creating a sensational sequence of amazing albums, In Search of the Lost Chord (1968), On The Threshold of a Dream (1969), To Our Children's Children's Children (1970), Every Good Boy Deserves Favour (1971), and Seventh Sojourn (1972), most of them concept albums with connecting songs and themes and featuring music, vocals, and lyrics unlike any other band. They produced some big hits along the way, but each album contained gems far beyond the hits and needed to be heard in their entirety. Each member contributed something wonderful to the band. Justin Hayward, with his songwriting knack for beautiful melodies and hooks, and his velvety smooth voice, as well as his guitar-playing. John Lodge, great songwriter and vocalist, and exquisite bassist who used his bass as a melodic instrument, adding stunning bass lines and melodic counterpoint throughout their songs. Mike Pinder brought a progressive mysticism and existential outlook in addition to his wondrous custom Mellotron and keyboard stylings. Ray Thomas, with a more music hall/theatrical voice and style, brought a lighter touch and whimsy, in addition to his marvelous flute playing. And Graeme Edge, a steady drumming presence, created all of the prose and recitation pieces, forming many of the themes, concepts, and inspirational words. Their producer, Tony Clarke, should also be noted, as he was also instrumental in developing the sound, style, and themes of the band throughout this period. Also of note is Phil Travers, who did the impressive artwork for all of these albums.   
    However, after this amazing string of albums, and an extensive tour throughout 1973 and 1974, the band took an extended break, with each band member doing some solo work or other collaborations outside the band for a few years. But when they got back together and released a new album, Octave, in 1978, with disappointing results, they found that much of their audience had moved on. It seemed other bands, specifically the Electric Light Orchestra (ELO), had taken their place as the premier classically-influenced rock band, and with a much peppier and poppier sound had changed the dynamics of the marketplace. The Moodies decided to adapt with the times and go with a more pop-influenced sound, while still maintaining their lush melodies and complex arrangements. However, moving forward, they would be without Mike Pinder, as he bowed out from touring the Octave album. And after the band hired Patrick Moraz to fill in on the tour, went ahead and kept Moraz (and dumped Pinder) for the next album (which led to a series of lawsuits, but Pinder never returned). The next album was Long Distance Voyager (1981), which became a hit and a return to having hit singles, prompting an even greater shift in the direction of a more commercial pop sound, which then led to an embrace of a much more simplistic synthpop sound throughout the 1980's (no more lush orchestration, grand soundscapes and themes) and slick 80's production. But as the decade wore on and moved into the '90's, and with diminishing returns, the band again took an extended break, before coming back in 1999 with Strange Times, with a refined sound and style once again. Their final album was a Christmas album, December, in 2003, featuring a mix of traditional and original Christmas songs in The Moody Blues style. Overall, the band continued to be a concert draw throughout their history, and continued to tour right up through 2017. The band was inducted into the Rock and Roll Hall of Fame in 2018, but Ray Thomas died shortly before they were to be inducted. Graeme Edge, the only member to have been with the band from its very beginning to its end, died in 2021. Just last year (2023), original member Denny Laine died. And most recently, as I was preparing this, we learned of the passing of the last original member of this great band, Mike Pinder, keyboardist-vocalist-composer, who died on April 24 at the age of 84. Continuing on is Justin Hayward and John Lodge, who both still perform songs from the Moody Blues catalog, although separately now, as the Moody Blues as a band ceased to exist when Graeme Edge retired in 2018.
    So, in their discography, the band has 16 studio albums, released between 1967 and 2003. They also have about 8 live albums and dozens of compilation albums of varying quality. Ranked here are just the 16 studio albums. These rankings are based solely on my own opinions and analyses of of their music, and how much it means to me. The 'core 7' are all so remarkably good that it is quite difficult to separate and rank them, but these are my impressions, and all 7 are great classics that deserve to be recognized and appreciated, as they are unlike any other band. The rest of the catalog also has some real gems, however, and is also worth seeking out. Anyway, here is my ranking and comments.
 

16. Sur La Mer (1988)

This album marked the culmination of their cheesy '80's synthpop period. It represented the lowpoint of the band and this music has not aged well. Still, there are a few good pop-rock songs here, such as the follow-up single to Your Wildest Dreams, I Know You're Out There Somewhere, as well as No More Lies and Vintage Wine. But the rest are mostly forgettable or regrettable simplistic synthpop ditties or limp ballads, and the few highpoints are not enougn to compensate for the rest of the album. Really sappy pop production and synthpop arrangements remove any potential these songs or melodies could have had. Ray Thomas does not appear on this album, as singer, songwriter, or vocalist, and Graeme Edge has a reduced presence, as most of the percussion are programmed drum machines, and their input did not fit in with the synthpop vibe of the time. Rating: 2.5ó

 

15. The Magnificent Moodies (1965)  

Their very first album, but this early version of the band was very different from what they would become. Their only album with Denny Laine (guitar/vocals) and Clint Warwick (Bass/vocals), and before Justin Hayward and John Lodge joined the band. This is generally well-done, but mostly standard blues-rock beat music and ballads of the day similar to what many other bands were doing at the time. The standout track is their hit single Go Now, with it's piano-driven beat and strong vocal performance. But strong vocals throughout aren't enough to lift the album above many other similar albums of the day Rating: 2.5ó 

 

14. The Other Side of Life (1986)   

Too much disposable 80's synthpop here, but also a couple really good songs in Your Wildest Dreams and the great title track, which showed a different side of the band. At this point, it seems that they are trying to go for a sound more in the style of ELO pop than the Moody Blues, and have lost quite a bit of what made them the great band that they were. But the songwriting and vocals from Justin Hayward still yields some real gems. Ray Thomas was relegated to mostly just a background singer during this period, as his songs and flute were not utilized in this synthpop period. Best Songs: Your Wildest Dreams, The Other Side of Life, I Just Dont Care, Slings and Arrows. Rating: 3ó

 

13. December (2003) 

Yes, OK, this is primarily a collection of EZ listening/adult contemporary style Christmas music, but dang if it still isn't pretty darn good. The Moodies sentimental style just fits very well with the overall Christmas music vibe, where sentimental is a big plus, and the vocals from Justin Hayward and company are still magical throughout. And most of the tracks here are new original Christmas songs, with some traditional covers also included, making for a wonderful Christmas album. Best songs: Don't Need a Reindeer, December Snow, A Winter's Tale, Yes I Believe, White Christmas. Rating:3ó
 

 

12. Octave (1978) 

This album marked the band's return from an extended break (1973-1977) when the members did various solo projects. Unfortunately, by the time The Moodies returned in 1978, their place as the premier classically-influenced progressive pop-rock band had been taken over by other bands (particularly ELO) which featured a poppier, peppier sound. When the Moodies returned with this album, which did not have their best songs, and which didn't live up to their earlier classics, their sound and style just seemed somewhat quaint and old-fashioned, and just didn't have much of an impact. There are several quite good songs on here, but overall, not a very triumphant return. Best Songs: Top Rank Suite, Driftwood, One Step Into the Light, I'll Be Level With You, The Day We Meet Again. Rating: 3ó
 

11. Strange Times (1999)  

Moodies return after 8 year absence with this final full album of original songs, and it is quite strong, but with a bit different sound. They've thankfully fully left behind the synthpop, and feature a more stripped-down, acoustic style, with more of a singer-songwriter feel. There are still strings and keyboard orchestration, but overall, songs are based more on acoustic guitar and piano, and arrangements built around that. English Sunset is a standout track, but several other really good songs. Justin's vocals are wonderful, and both Ray Thomas and Graeme Edge have greater presence here than on other recent albums, as Ray gets his own song again (and co-write of another song), and this album also brings back the album closing recitation from Edge with orchestral backing. A few too many soft ballads, but a very enjoyable album, with beautiful melodies and vocals throughout. A strong, but neglected album. Best Tracks: English Sunset, Sooner or Later, Foolish Love, My Little Lovely, The Swallow, Nothing Changes. Rating: 3.5ó

10. Keys to the Kingdom (1991) 

Better songs than the previous two 80's albums, and have mostly dropped the 80's synthpop sound by this time (but still a few holdover synthpop tracks and arrangements), although still geared toward commercial production. Multiple songs here still sound exactly like ELO (especially Say What You Mean and Lean on Me), and although that is not necessarily a bad thing, it is not what I want from the Moody Blues. Overall, a much better variety of tracks and return of fuller production and more complex arrangements. And the return of Ray Thomas as singer, songwriter, and flautist with his lovely Celtic Sonant. Certainly a step in the right direction, but the relative lack of success of this album lead to another long gap before the next studio album. Keyboardist Patrick Moraz was fired during the making of this album after he publicly complained about the band and his role in it (and lawsuits ensued). Best Songs: Say It With Love, Is This Heaven, Hope and Pray, Once is Enough, Never Blame the Rainbows for the Rain. Rating: 3.5ó

9. The Present (1983) 

Solid follow-up to Long Distance Voyager, as it attempts to replicate its style and success, with mostly positive results. It has many similar strengths and a nice variety of songs and styles, just not quite as strong as LDV, but still really good. A great single in Blue World, but continues to move more toward radio-friendly songs and production (and that synthpop creeping in). Ray Thomas was still a strong presence on this album, but his contributions would be greatly diminished in the upcoming synthpop period. Best Songs: Blue World, Going Nowhere, Hole in the World, It's Cold Outside of Your Heart, Sorry. Rating: 3.5ó

8. Long Distance Voyager (1981)

Great return to form, where they correct some of the mistakes of the previous (Octave) album, and deliver an album that is nearly as good as those from their heyday. albeit with an eye towards commercial appeal. Several classic tracks here, however, the hit pop single Gemini Dream also marked the beginning of their synthpop period, and the success of this song resulted in the band moving further in this direction over the next several albums, and would lead to the deterioration of that wonderful lush Moody Blues style. Thus, some signs of trouble ahead, but still a first rate album in itself. First album with Patrick Moraz on keyboards replacing Mike Pinder (and his presence would be missed). Basically the last of the great albums from the band, despite not being in the 'classic period'. Best Songs: The Voice, Painted Smile, In My World, Meanwhile, Nervous, Veteran Cosmic Rocker. Rating: 4ó

7. Seventh Sojourn (1972) 

The last album from the 'core seven' classic period, but my least favorite of those fantastic seven albums. This was the only album without a concept, theme, or association among the songs, being just a collection of songs, and this album also did not contain any recitation element, just 8 unrelated songs, but still a great album. Lead by the great You and Me and New Horizons, contains several wonderful songs. However, I just have never cared for what became one of their biggest hits, 'I'm just a Singer in a Rock and Roll Band'. That and the overall sound of the album just doesn't strike me the same way as the rest of the core 7 albums in that magical string of success. Best Songs: You and Me, New Horizons, Lost in Lost World, Isn't Life Strange, Land of Make Believe, For My Lady. Rating: 4ó

6. Days of Future Passed (1967)

Monumentally important album merging classical and rock, and basically serving as the starting point to the whole 'progressive rock' thing. Took the concept album to the next step with this musical presentation of the day in the life of an everyday person from morning through to the end of the day, with songs by the Moody Blues interspersed with interludes and connecting pieces of orchestral music from the London Festival Orchestra and composed by Peter Knight. It also was the first extensive use of the Mellotron in rock music. Nights in White Satin and Tuesday Afternoon are all-time classics, but I do have a couple issues with much of the rest of the album. First, despite its reputation for integrating the classical orchestra with a rock band, the orchestra is only fully integrated with the Moody Blues on 'Nights", whereas all the other tracks are either just the band (with 'orchestra' sounds provided by Pinder's fabulous Mellotron) or just the orchestatra providing connecting pieces or interludes. It doesn't really fully integrate the two together. Second, the arrangements of the orchestral pieces don't have a very contemporary style or sound (the arrangements seem in a style more out of movie soundtracks from the 1940's and '50's, rather than contemporary to the 60's and beyond). This lack of integration, at least for me, keeps this amazing project from being fully realized. It is still a major breakthrough and undisputed classic, but I don't listen to this as much as the others, and it is just not quite among my top 5 favorites from them. Best Songs: Nights in White Satin, Forever Afternoon (Tuesday?), Peak Hour, Dawn is a Feeling. Rating: 4ó

5. A Question of Balance (1970) 

This album takes on the theme of asking questions and trying to find meaning in the world. Several undisputed classics here, but not quite as grand an experience as some of the previous albums. At this point, they were purposely trying to do songs that were stripped back a bit from the elaborate lushness and complexity of previous albums, so that the songs would translate and work better in concert.  And the songs are wonderful, even if stripped back a bit. Opens with the iconic Question and closes with the moving, inspirational The Balance, with numerous highlights in between. Overall, the production and sound quality on these early 70's albums exceeds that of 60's albums, for a great sonic experience. The band really hitting their stride in this period. Best Songs: Question, The Balance, And the Tide Rushes In, It's Up To You, Dawning Is The Day, How Is It We Are Here. Rating: 4.5ó

4. Every Good Boy Deserves Favour (1971) 

This albums more or less continues the concept from the previous album (A Question of Balance) of looking for meaning in the world, as well as following up on concepts from previous albums. Overall, fantastic concept and execution, the album opens with the instrumental Procession that chronicles the development of music over time (and somewhat follows from the House of Four Doors from ISOTLC), as well as foreshadows a song from later in the album, and which then triumphantly leads directly into my favorite Moody Blues song, The Story in Your Eyes, a rousing, fantastic song with killer guitar riffs, insane counterpoint bass line, and the catchiest melody and chorus. This was the first Moody Blues album I bought myself, and remains a personal favorite. Although ranked a bit lower by some due to a couple of lighter or more whimsical songs, this is a true powerhouse album, containing some of the band's biggest, fullest, and most elaborate and powerful arrangements, on songs such as One More Time to Live, After You Came, You Can Never Go Home, and My Song. An underrated classic. Best Songs: The Story in Your Eyes, Our Guessing Game, After You Came, One More Time to Live, You Can Never Go Home, My Song. Rating: 4.5ó

3. To Our Children's Children's Children (1969) 

The theme of this album centers around space travel and the legacy we leave for future generations. A masterful, fully immersive album, probably their most cohesive, with all the songs just flowing and working together so well to form this masterwork. The album opens with Higher and Higher, a musical simulation of a rocket blasting off and a rocking instrumental backing to Pinder's recitation of Edge's prose, before going into Eyes of a Child, which ponders the wonderment of space travel. The album flows from one highlight to another with a lushly comforting sound and style, wonderful vocals, enveloping sound, and compelling lyrics.  Songs such as Gypsy and Beyond provide the more upbeat rockin' elements, while the more beautifully laconic Out and In and magnificent Watching and Waiting serve up emotional and inspirational high points. A stunning achievement that has to be experienced in total. Best Songs: Gypsy, Watching and Waiting, Higher and Higher, Eyes of a Child, Beyond, Eternity Road, Out and In. Rating: 5ó

2. On the Threshold of a Dream (1969)

First Moodies album I ever heard (and way back in 1969, too), loved it immediately. The theme here has to do with living in a time where we were on the cusp of a new era, a new enlightenment. The album kicks off with a dramatization of Edge's prose dealing with modernization and fear of being replaced by computers (still quite relevant today), then goes into the wonderful uplifting Lovely to See You. Filled with Moodies classics such as To Share Our Love, So Deep Within You, Never Comes The Day, and Are You Sitting Comfortably, and then closes with a sequence that may be the band's most progressive of all; starting with Edge's inspirational The Dream recitation (perhaps his very best), then the beautiful Have You Heard? going into Pinder's instrumental musical adventure of The Voyage, before coming back to conclude with a final section of Have You Heard. Just magical, inspirational, and masterful vintage prog. Note: This album, released in April 1969, was the Moody Blues 3rd album of the core 7, all 3 of which came out well before King Crimson's In The Court of the Crimson King (which many consider the 1st progressive rock album?). Best songs: Lovely to See You, To Share Our Love, Never Comes the Day, The Dream/Have You Heard/Voyage Suite, Are Sitting Comfortably. Rating: 5ó

1. In Search of the Lost Chord (1968) 

Certainly one of the very first true prog albums, and absolutely brilliant from start to finish. Almost singlehandedly takes psychedelic-inspired music and morphs it into progressive rock. A superb concept album with a theme of quest and discovery, from physical exploration to personal self-realization (a general theme they would revisit multiple times). In this album, they expand their influences from classical (as observed in DOFP) to include many other sounds and musical styles, and a variety of nontraditional instrumentation. And on this album (there is no orchestra), they create all the varied sounds and styles themselves, showing their versatility and creativity, adding (in addition to their usual guitars, keyboards, bass, flute, and drums) such things as sitar, tablas, harpsichord, cello, auto-harp, saxophone, timpani, etc. (as well as heavy doses of Pinder's Mellotron-drenched orchestral sounds), all by the band members themselves(no outside musicians). The album opens with a recitation from Graeme Edge (in what would set the precedent for the structure of most their subsequent concept albums), then launches into the rocking 'Ride My See-Saw' and flows from song to song on its journey of search and discovery, through Dr. Livingston, the House of Four Doors and Legend of a Mind. Side 2 deals with more directly with personal discovery with Voices in the Sky and Best Way to Travel, culminating with The Actor and the transcendental meditation mantra of Om. A fabulous journey that shows the creativity, innovation, emotional heart, inspirational motivation, melodic themes, and musical diversity of this remarkable band. A stunning tour-de-force way ahead of its time. Best Songs: Ride My See-Saw, The Best Way to Travel, House of Four Doors/Legend of a Mind, Voices in the Sky. Rating: 5 ó

BB’s Rating scale:
1ó – Terrible, torturous to have to listen to
1.5ó - Poor, not worth your time
2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall
2.5ó– Average, OK, meh, not bad but not that good either
3ó– Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often
3.5ó – Very good album. Some stellar tracks, very enjoyable overall
4ó – Great album, filled with great songs, one that you will want to come back to over and over again
4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece
5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

So, that's my own personal assessment. What about yours? What are your favorite Moody Blues albums (or not so favorite) and why? Again, just a phenomenal catalog, even with the lesser later albums. Certainly one of the all-time great and totally unique rock bands.

Lifesigns - 2024-03-11 - Cruise to the Edge - Aboard the Norwegian Pearl, Stardust Theater

Lifesigns

2024-03-11
Cruise to the Edge 2024
Aboard the Norwegian Pearl, Stardust Theater
Audience recording, very good quality
Mp3 @ 320 kbps

Here's another show from the recent Cruise to the Edge prog festival on a Cruise ship. This is Lifesigns, a really good lesser-known melodic prog band from UK, composed of veteran musicians John Young (Strawbs, Scorpions, Quango, Greenslade) on vocals and keyboards, John Bainbridge (Strawbs, Iona, Celestial Fire), Jon Poole (Cardiacs, Wildhearts, Lotus Eaters) on bass, and Zoltan Csorsz on drums. They played and were well-received at the 2022 Cruise to the Edge and were invited back for the current trip. They play a modern melodic prog rock with pop influences. This one hour set features a mix of songs from their 3rd and most recent album, Altitude (2021) and their previous album, Cardington (2018). Apparently, their regular drummer was not available for this event, so the band got legendary drummer Simon Phillips to sit in with them here (Phillips current band, Protocol , was also on the Cruise). So here is a very nice set from this impressive band. Check them out.  Note: Video of both this show and the previously posted Steve Hackett show are available on Youtube, and was made3 available by Greg Chance on his Youtube channel. 

Tracklist:
1. Altitude
2. Different
3. Introductions-comments
4. Impossible
5. comments-Happy Birthday
6. Shoreline
7. Fortitude
8. Last One Home

John Young - vocals, keyboards
Dave Bainbridge - guitar, keyboards, backing vocals
Jon Poole - bass, backing vocals
Guest artist (filling in for absent drummer)
Simon Phillips - drums

Lifesigns_2024-03-11_CTTE_2024.zip

 

Steve Hackett - 2024-03-11 - Cruise to the Edge 2024: Awakening, Norwegian Pearl, Stardust Theater

Steve Hackett

2024-03-11
Cruise to the Edge 2024: Awakening
Aboard the Norwegian Pearl, Stardust Theater
Audience recording, very good quality
mp3 @ 320 kbps

Last month was the Cruise to the Edge 2024, a unique Prog rock festival held aboard a Cruise Ship, and this year's talent lineup may have been their very best. The Cruise went from Miami to Jamaica and the Cayman Islands, with dozens of prog acts and concerts along the way and back. Featured on this year's cruise was such Prog mainstays as Marillion, Steve Hackett, Big Big Train, Riverside, Flying Colors, The Flower Kings, Haken, Symphony X, Queensryche, Lifesigns, Airbag, Adrian Belew, Jordan Rudess, Steve Morse, and several others. Some recordings from those shows have started to emerge, mainly on Youtube, and mostly just a few selected songs, but a couple of audience recording of full shows have also come forward. Here is a show from master guitarist Steve Hackett. This is a scaled-down (about 1 hour 15 min) festival version of his current Foxtrot at Fifty show, but features his magnificent full band. He starts off with a few songs from his new album The Circus and the Nightwhale and one from his previous solo album, then goes into the primary trio of songs from Genesis' Foxtrot (including the epic Supper's Ready) before closing with Los Endos (from Trick of the Tail). A wonderful festival-length show, albeit abbreviated from his full-length show. Check it out. 

Tracklist:
1. People of the Smoke
2. Circo Inferno
3. Steve's Introductory comments
4. These Passing Clouds
5. Devil's Cathedral
6. Foxtrot comments
7. Watcher of the Skies
8. Can-Utility and the Coastliners
9. Supper's Ready
10. Los Endos

https://www.upload.ee/files/16555292/Steve_Hackett_2024-03-11_CTTE.zip.html

 

Semi-Sweet Sixteen: 16 Years of BB Chronicles

 

A Semi-Sweet 16 Years

Well, here we are, it's April once again, which means it's another anniversary for the blog. That's right, it was 16 years ago this week that I started this fateful internet outpost, and throughout its ups and downs, highs and lows, I am still here sporadically putting out my musical musings and commentary, and trying to help make some great lesser known music heard by more people. And hey, there's been quite a bit of great stuff posted here over the years, if I do say so myself. Hopefully, there have been things of interest for you to read and listen to here. But yes, the commentary is all my own opinions on music, so take note that your mileage may very much vary. But I always try to present positive info and commentary and really only present and talk about artists I really love and hope others will enjoy as well, without trashing other artists that I may not be such a big fan of, as I know that others may very well be big fans of them (and all music has value). I try to present a variety of music that may be hard to find or not readily available elsewhere. I also try to provide some background and context to the music and artists, as well as my own commentary, reviews and rankings, to give those new to these artists some perspective and history, to explore the music further. Previously, I've been able to say that most everything I posted here was still available, but unfortunately, that is no longer the case, as with the demise of various filesharing services, a large proportion of my music posts are not currently available. All the Ulozto.net links (which are most of the FLAC files) are dead now, since ULOZto stopped allowing any sharing, and I have yet to find a reliable replacement for those larger than 200MB files. And there are still quite few of the old solidfiles links that have not been updated and replaced (although there are quite alot that have been fixed!). And even those that were fixed by using upload.eea have some problems, since that file service has now started putting in misleading and deceptive ads when the download link is clicked [Note:be sure to only click on the original green download button at the uploa.ee site and not any subsequent links or pages that may pop up. The download should start right away. If you get some other page come up that asks you to click on another button or anything else, delete that page, go back to the original dowmnload page and try again. It may take 2 or 3 tries to get it to download, but just don't click on any of the other pages or sites that come up. The lnks work, they just are a bit of pain now (which is a change from when I first started using the site). Anyway, we've weathered the demise or closure of several other filesharing sites previously, and we'll survive this one as well. It just may take awhile to get everything up and running again. But if you have a pressing need for something that is not currently available, let me know and I'll see what I can do about re-upping it.

Anyway, once again, as I have each year at this time, I also want to take this time to thank and celebrate all the others out there who have made so much of this great music, and those that have made it freely available for others. I am only able to offer these downloads because others before me have made them available. So, to all the other bloggers, tapers, forum posters, and music fans that have collected these recordings and made them available over the internet, and most importantly, to all the great artists and musicians out there that have created and performed this wonderful music and allow these recordings to be freely exchanged, I offer a huge and heartfelt Thank You. And again, I implore everyone to purchase all the official releases of your favorite artists, as well as, wherever possible, go see them live in concert. The music and commentary here serves to supplement, not replace, all of their officially released music. They are supported by fans like us. 

As for the blog itself, I have enjoyed varying the types of posts I've made, doing more of the album reviews, rankings and ratings, and special features, and I hope to do more of those in the coming months. Next up, I will be doing a ranking of the albums by the great classic progressive rock pioneers, The Moody Blues, as well as a few other special posts, and I hope to be doing more regular reviews of new albums, as well as older and classic albums, and then we'll see where it goes from there.

So, I will continue to carry on here, pretty much as I have, and I hope there are things here that are of interest that will keep you coming back for more, and to always be excited about all the great music all around us. As always, thanks for your interest and support. Take care.

New Album Roundup - Capsule Reviews and Comments - Early 2024

New Album Reviews - Early 2024

Hey, it's time to through some of the best albums of the year so far. I usually spend the first month or so of a new year catching up on recommended albums from the previous year that I missed or had not yet heard, and that was certainly true for this year, as there were several albums that came out right near the end of the year, as well as several interesting albums I heard about in various year-end lists that I was not familiar with. So, I had been listening to dozens of 2023 albums through the early weeks of 2024, as I waited for the new crop of 2024 albums to start coming out. So, before highlighting the best of the new 2024 albums, Here are a few of the best of those 2023 albums that I did not hear until 2024.

2023 late arrivals:

Regna - Cinema (2023) 

Regna is a relatively new progressive rock band, from Barcelona, Spain. This is their first full-length album, following an EP, Meridian (2015). And this band certainly bases its sound on the classic Prog of the early 1970's, harkening back to the style of Yes, Genesis, Camel, and others of the time, but also adding some modern elements as well. Their strength is their musicianship and instrumental prowess, with dazzling displays of proggy goodness, as exemplified on their 20-min epic, Accolade. However, the vocals are a bit of a weak spot, as they are just OK, functional but nothing special, and with a single vocalist, there is little in the way of harmony or backing vocals throughout. But overall, the strength of the songs and playing provide a very good album of classic-style prog. Best Tracks: Tangent, Accolade, Spyglass. Rating: 3.5ó

Lalu - The Fish Who Wanted to be King (2023)

Lalu is a prog band formed and lead by French keybordist-composer Vivien Lalu. This is their 4th album, following closely after 2022's Paint the Sky, and their 2nd album to feature premier vocalist Damian Wilson (Ayreon, Star One, Headspace, Threshold) and he shines throughout the album. Although this band has been designated as progressive metal, this most recent album is really not that at all, fortunately, as it is more melodic and contains more elements of AOR style rock. I would call it more of a mixture of melodic rock, Neo prog, and classic symphonic prog, with some more modern, heavier, and jazzy elements as well. And it is quite wonderful, a delight from start to finish. There is certainly more than enough great classic proggy instrumental flourishes throughout to satisfy the prog fans, but also maintains solid melodic lines and themes (to not scare away the non-prog rock fans), as well as a diversity of styles, creating a fun, entertaining and unique blend of driving, rockin' prog songs, from the shorter, jazzy instrumental, Reversal of Fortune, to the many highlights of the more epic length Amnesia 1916 and title track. Best Tracks: Amnesia 1916, The Fish Who Wanted to Be King, Deoxyribonucleic Acid, Digital Fear, Reversal of Fortune. Rating: 4ó .

David Longdon -  Wild River (2023 Remastered Reissue, originally released 2004)

David Longdon was the wonderful lead vocalist, songwriter and multi-instrumentalist from the prog band Big Big Train who died in a tragic accident in late 2021. This is the rerelease of an earlier solo album he made prior to his joining Big Big Train. David was one of the best vocalists around, with a pure, heartfelt, majestic quality, but was also a fine instrumentalist, playing guitar, keyboards, harmonica and flute. On this early album, from 2004, his vocals, songwriting, and playing are all in fine form, as he moves through songs of varying styles. Although overall, it might be classified as light rock or pop, he mixes in various styles and influences, including folk, pop, blues, classical, and rock, and all the songs have interesting arrangements and strong melodies. Although this is not quite in the prog style of Big Big Train, the qualities that David brought to the band are clear throughout, from his songwriting and melodic sense, to the intricate arrangements that bring out the best of each song, to of course, his fantastic vocals. This is a great album from a great artist in the early stages of his career. Best Tracks: This House, Vertigo, Mandy, Falling Down to Earth, Honey Trap. Rating: 4ó

2024
It is still early in 2024, but there have already been many great new albums released in these first few months. Here are some of my favorites so far:

Neal Morse - The Restoration: Joseph Part 2 

A solid, and improved follow-up to last years's The Dreamer: Joseph Part 1. Once again, Neal has brought in many guest vocalists (Ted Leonard, Matt Smith, Jake Livgren, Nick D'Virgilio, Ross Jennings) to round out the cast of characters in his biblical prog rock opera telling of the story of Joseph, along with his Neal Morse band cohorts guitarist Eric Gillette and keyboardist Bill Hubauer to enhance Neal's own multi-instrumental musicianship. Although a long album (16 tracks, 75 min), and certainly dramatic and theatrical in nature, Neal tries to keep things interesting by varying the tempo and musical styles from song to song. That and the different vocalists, keep things moving through the various stylistic choices of Morse and Co. Mixing in familar prog elements (reminiscent of Spock's Beard, Gentle Giant, ELP, etc) with hard rock, choirs, vocal harmonies, orchestration, jazz, and even a bit of latin swing, as only Neal Morse could.  Although much of this may seem quite familiar to other projects from Morse, he still manages to surprise occasionally, and entertains quite consistently, as it builds to a rousing and satisfying conclusion, and saves the best songs for the last sequence. Better than expected. Best Tracks: My Dream, the Argument, Make Like a Breeze, The Brothers Repent, Restoration, Everlasting, Dawning of a New Day. Rating: 3.5ó

Ellesmere - Stranger Skies

This is the 4th album from Ellesmere, lead by Italian progger Roberto Vitelli, and is firmly in the style of classic symphonic prog ala Genesis and Yes. Vitelli has assembled an accomplished band of musicians  perfectly suited to the prog workout displayed here, with all the intricate instrumental passages and soloing to make successful prog, and are joined on this album by vocalist John Wilkinson, who sings in a voice and style suspiciously similar to Phil Collins. Thus, all the pieces are there, the vocals are fine and the instrumental sections do achieve a grandness and virtuosic satisfaction. However, to me, it just seems a bit too ordinary and run of the mill, and just going through the motions. What is missing here are great songs, as the songs and melodies here are just ok, nothing special. They just are not very engaging or compelling. Great playing all around, but the songs themselves just don't do much for me. Still enjoyable to listen to, but I can't get too excited about it, even with some great musicianship on display. Rating: 3ó   

Kyros - Mannequin
Kyros, a UK progressive pop band, lead by the vocals and keyboards of Shelby Logan Warner, has embraced 80's style synth-pop on this, their 5th album. But this is synthpop re-imagined from a decidedly bold progressive rock perspective, for a style that sounds new, but is also quite familiar as well. Very catchy beats and melodies collide with edgy vocals and prog flourishes throughout. Starting off with a more gentle acoustic pop song (Taste the Day), the album moves to an energetic synthpop instrumental (Showtime) before the main features and core of the album take hold, an impressive display of progressive synthpop brilliance for the next 6 songs. Unfortunately, the album falters on the final 2 tracks, when the band goes much darker and heavier (more prog metal) on Technology Killed the Kids IV, which apparently is a continuing series from previous albums, but which does not fit or work at all here, and completely ruins the vibe and feel of the album. The final track, Have Hope, is hyperactive and disjointed, and although has some nice moments, is too much of a chaotic mess. Up until those final 2 tracks, this is a really great album, but have to downgrade it due to the poor finish. Best Tracks: Esoterica, Illusions Inside, The End in Mind, Ghosts of You, Liminal Space, Digital Fear. Rating: 3.5ó

The Pineapple Thief - It Leads To This

Another great album from veteran prog band The Pineapple Thief lead by composer-gutarist-vocalist Bruce Soord, who have really been on a roll since the addition of drummer extraordaire Gavin Harrison (Porcupine Tree) in 2016. This new album is even stronger than their quite good previous couple albums, Giving it Back (2022) and Versions of the Truth (2020), but doesn't quite reach the pinnacle of Dissolution (2018), which I consider to be their masterwork. This album saw a closer working relationship between Bruce Soord and Gavin Harrison in crafting the songs for the album, actually writing together in the same studio for the first time. The album starts with Put it Right which sets the mood and atmosphere for the album with a soft understated cool, but dark vibe and develops into a slow boil throughout the song. But the album really takes off with the middle series of songs, starting with the title track and its blend of atmosphere, melody, and rhythms. The intensity builds with The Frost amid heavier riffs. Throughout, the understated vocals and melodies of Soord mixed with the dynamic drumming of Harrison, and the rhythms and riffs of the rest of the band create rich and satisfying soundscapes, even with the undercurrents of darkness and unease. This album is a real grower, in that it may not knock you out on first listen, but its subtleties and intricacies develop and is richly rewarding with repeated listens. The band seems even more of a cohesive coordinated unit than on previous albums creating a wonderful listening experience. My only mild criticisms would be that 1) it doesn't stray very far from what they've done previously, similar in style and substance (but so very well done), and 2) It just seems a bit too short (8 tracks, 40 min). It ends rather abruptly, and it just seems it could use one more song to round it out. All in all though, Another gem of an album. Best Tracks: It Leads to This, Every Trace of Us, All That's Left, The Frost, To Forget. Rating: 4ó

Steve Hackett - The Circus and the Nightwhale

The latest from guitarist extraordinaire Steve Hackett (and something like his 30th album), this one is a concept album with a story based on Steve's own life experiences, and is something special, his best album in many years. At 74, and a career spanning more than 55 years, Hackett seems to be stronger than ever, with his Genesis Revisited tours and regular releases of live and new solo albums. This album mixes together songs of many different styles, ranging from classical guitar stylings to dark and ominous heavy prog metal riffs, as well as lighter more melodic pop and rock, with international stylistic flourishes, strong harmony vocals, and yes, even some Genesis-reminiscent passages. Steve has his powerhouse backing band (same as his touring band) as well as some guest artists to bring these songs to life, and the result is a tour de force album of delights, 13 tracks comprising a compact 45 minutes, telling his story in one of the prog highlights of the year.   Best tracks: Enter the Ring, Wherever You Are, Ghost Moon and Living Love, Get Me Out, Into the Nightwhale. Rating: 4ó

Dirt Poor Robins - Firebird

Dirt Poor Robins are a totally unique band from Louisville, KY, and are essentially the married couple of Neil and Kate DeGraide writing and performing all the songs. They bill themselves as a Theatrical/Cinematic/Singer-Songwriting Rock Band and make genre-defying music, incorporating pop, rock, jazz, prog, musical theater, and nostalgia (music of the 1920's, 30's, 40's, and 50's), usually in elaborate concept albums. Very theatrical, cinematic, but also quite accessible, they weave compelling story songs of varying styles. With this latest album, The Robins create a futuristic sci-fi scenario rooted in pop styles from the 1980's, yet again, encompassing many different styles and genres, but with a bright and exuberant sound throughout. This album may be their most entertaining and accomplished work yet. From the pop gem opener, Political, through to the majestic closer Firebird (based on Stravinsky's Firebird theme), this is a wonderful album, even with a couple of overwrought ballads I did not care for, it is all part of the experience. The only other band I can compare them to is The Dear Hunter, as they both feature that musical diversity and theatricality aspects, yet are so compelling and accessible.  Best Tracks: Political, Holy Roller, So Long to Yesterday, Firebird, You'll Never Hear it Coming. Rating: 4ó

Albion - Lakesongs of the Elbid

Another somewhat new band releasing their first full-length album. Originally formed in 2019, released an EP, Pryderi in 2021. And what a fantastic album this is, with a unique and exciting sound that the band calls folk metal, which mixes Old English-style folk music with classical, hard rock, and prog metal for a rousing sonic journey. But it is much more than that, with a wide range of styles and influences, featuring songs ranging from traditional folk with acoustic guitar and vocal harmonies to a rockin' Sea Shanty all the way to full-on progressive metal, but on most songs creating an exhilarating blend of multiple styles in a bold symphonic prog. This band features guitarist-flutist-vocalist Joe Parrish-James, who has been guitarist for Jethro Tull for their 2 most recent albums, but recently announced he was leaving Tull to concentrate on his other band, Albion. Although there are several similarities with Tull, in that both bands feature a mix of acoustic folk and hard rock, with prominent flute and symphonic arrangements, Albion's sound is uniquely its own, with only occasional similarities with Tull. Actually, the modern band that they are a bit more reminiscent of is the Von Hertzen Brothers. Several songs start out in a mostly folky mode, but then build or explode into full-on symphonic prog powerhouses, while still retaining folk elements. A stunningly good album. Fresh, invigorating, exciting, and exemplifies what Progressive rock is all about. Best Tracks: Pagan Spirit, The Dream of Rhonabwy, Lyn y Fan Fawr (Sister Lake), Arthurian Overture, Camlann, Canens (Maya). Rating: 4.5ó

Big Big Train - The Likes of Us

Big Big Train, one of the premier prog bands of the 2000s, has been through a lot over the past few years. In 2019, half the band (including guitarist Dave Gregory, Andy Poole, Danny Manners, and string player Rachel Hall) quit, leaving the remaining core members (David Longdon, Greg Spawton, Rikard Sjoblom, and Nick D'Virgilio) to regroup and refocus. They did so brilliantly, coming back with the great album Common Ground in 2021, and showing some new directions. However, in late 2021, the band was devastated by the tragic accidental death of lead vocalist-multi-instrumentalis-composer David Longdon, and put the future of the band in doubt. But they have regrouped once again, adding vocalist and multi-instrumentalist Alberto Bravin, as well as Dave Foster on guitar, Oskar Holdorff on keyboards, and Claire Lindley on violin, and released this latest album, and it is another triumphant return for the band. Alerto Bravin brings a different presence to the band, as he doesn't try to sound like Longdon, but has his own style and commanding voice that all his own. He also has added substantially in the songwriting, playing, and arrangements of many of the songs on the album. Although forging on in some new directions, the album maintains the the essence of what makes Big Big Train great, with beautiful melodies, soaring instrumental passages, evocative narratives, and sweeping majestic themes, maintaining effective use of strings and horns, as well occasional bursts of heavier prog instrumental sections. From the shorter more rock-oriented Oblivion, to the beautiful ballads like Love is the Light, to the pastoral splendor and symphonic grandness of Light Left in the Day, to the magnificent epic Beneath the Masts, which has everything one could want in an epic-length BBT song (and will take its place among their greats), the album delivers another astounding chapter in the musical adventures of BBT, and continues their reign, at least for me, at the top of modern progressive rock.  Best Tracks: Beneath the Masts, Miramare, Light Left in the Day, Oblivion, Last Eleven. Rating: 4.5ó

Quick Hits:
Here are some more new albums worth checking out, but ones that I didn't have time to review in full, didn't like as much, or just didn't have much to say about. So here, are just the briefest of comments on these still quite worthy albums.

Caligula's Horse - Charcoal Grace (Inventive, dynamic prog metal album, but too much metal for me) 3ó 

ALMO - Reconciliation (Heavy Prog Metal, mostly heavy metal, not enough prog) 2ó

The Smile - Wall of Eyes (another set of half-baked, underdeveloped 'art rock' songs, more like demos or rehearsal sessions, but marginally better than 1st album) 2.5ó

Everything Everything - Mountainhead (Bright, bouncy, modern synthpop, just not that memorable or compelling) 3ó

The Last Dinner Party - Prelude to Ecstasy (Well-done drama pop, just not something I can connect with) 3ó

Emerald City Council - Motion Carries (fun, pop-oriented, accessible, melodic prog rock. Recommended) 3.5ó

Karfagen - Mesages From Afar: Second Nature (More well-crafted and engaging keyboard-led prog from Anthony Kalugin) 3.5ó

The Bardic Depths - What We Like in Stories (gentle melodic prog, nice vocals and arrangements, literate lyrics) 3.5ó

Monkey3 - Welcome to the Machine (Well-done instrumental psychedelic/space-rock inspired by Pink Floyd) 3.5ó

Drfting Sun - Veil (musically impressive prog songs, marred by creepy, distracting vocal performance) 3ó

Professor Caffeine and The Insecurities - Self-Titled (Invigorating, inspired indie rock, with elements of Prog) 3.5ó 

Mesa Verde - All is Well (Pleasant, mostly gentle, laid-back, but complex and quirky, indie pop, gets better as it goes on) 3.5ó

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

So, that's it for now. A lot of really good stuff already this year, with more on the way. What have you been listening to this year? What are some of your favorites thus far?