The Moody Blues
are an English band originally from Erdington in the city of Birmingham. Founding members Michael Pinder and Ray Thomas performed an initially rhythm and blues-based sound in Birmingham in 1964 along with Graeme Edge and others, and were later joined by John Lodge and Justin Hayward as they inspired and evolved the progressive rock style. Among their innovations was a fusion with classical music, most notably in their seminal 1967 album Days of Future Passed
.
The band has had numerous hit albums in the UK, U.S., and worldwide. They remain active as of 2009.
The Moody Blues have sold in excess of 50 million albums worldwide and have been awarded 14 platinum and gold discs.
|
THE MOODY BLUES TICKETS
|
Founding and early history
The Moody Blues formed on
4 May 1964, in
Erdington,
Birmingham,
England.
Ray Thomas,
John Lodge, and
Michael Pinder had been members of
El Riot & the Rebels, a regionally-popular band. They disbanded when Lodge, the youngest member, went to technical college and Pinder joined the army. Pinder then rejoined Thomas to form the
Krew Cats and enjoyed moderate success. The pair recruited guitarist/vocalist
Denny Laine, band manager-turned drummer
Graeme Edge, and bassist
Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964. The name developed from a planned sponsorship from the
M&B Brewery and was also a subtle reference to the
Duke Ellington song, "Mood Indigo".
[1]
Soon, the band obtained a London-based management company, 'Ridgepride', formed by ex-Decca A&R man Alex Murray (
Alex Wharton), who helped them land a recording contract with
Decca Records in the spring of 1964. They released a single, "Steal Your Heart Away" that year which made it onto the charts. But it was their second single, "
Go Now" (released later that year), which really launched their career, being promoted on TV with one of the first purpose-made promotional films in the pop era, produced and directed by Wharton. The single became a hit in the
United Kingdom (where it remains their only Number 1 single to date) and in the
United States where it reached #10.
Their debut album
The Magnificent Moodies
, produced by
Denny Cordell with a strong
Merseybeat/
R&B flavour, was released on Decca in 1965. It contained the hit single together with one side of classic
R&B covers, and a second including four Laine/Pinder originals.
Wharton left the management firm and the group released a series of unsuccessful singles. In the summer of 1966, Warwick left the group. He was briefly replaced by
Rod Clark but by October, Laine and Clark had also departed the group. They were immediately replaced by John Lodge, their bassist from El Riot, and
Justin Hayward, formerly of
The Wilde Three. Pinder phoned Hayward after reading his application to
The Animals, and was impressed when Hayward played him his 45 rpm single "London Is Behind Me" during their car ride to meet the other members in Esher. After financial misfortune and a confrontation from an audience member, the band soon realised that their style of American blues covers and novelty tunes was not working for them, and they decided that they would only perform their own material. Their new style, featuring the symphonic sounds of Pinder's
mellotron and Ray Thomas'
flute, and incorporating distinct psychedelic influences, was to be developed in a concept album revolving around an archetypal day in the life of
everyman.
Deram Records contract and founding of signature style
The Moody Blues' contract with
Decca Records was set to expire and they owed the label several thousand pounds in advances. They had the support, however, of Decca A&R manager
Hugh Mendl, who had been instrumental in the recent establishment of London/Decca's new subsidiary imprint
Deram Records. With Mendl's backing, The Moody Blues were offered a deal to make a
rock and roll version of
Antonín Dvorák's
New World Symphony
that would promote the company's new
Deramic Stereo Sound (DSS) formatman
[2] in return for which the group would be forgiven its debt.
The Moody Blues agreed, but they insisted that they be given artistic control of the project, and Mendl (as executive producer) was able to provide this in the face of Decca's notoriously tight-fisted attitude to its artists.
[3]The group were unable to complete the assigned project, which was abandoned. They managed to convince
Peter Knight, who had been assigned to arrange and conduct the orchestral interludes, to collaborate on a recording that used the band's original material instead.
Deram executives were initially skeptical about the hybrid style of the resulting concept album
[2].
Days of Future Passed
(released in November 1967) became one of the most successful pop/rock releases of the period, earning a gold record award and reaching #27 on the British album chart (five years later it was to reach #3 in the U.S./Billboard charts). The album was a
song cycle that (like
James Joyce's
Ulysses
) took place over the course of a single day. In production and arrangement, the album drew inspiration from the pioneering use of the classical instrumentation by
The Beatles, and took the form to new heights, using the
London Festival Orchestra to provide full orchestral backing throughout the album, combined with rock instrumentation centred on Pinder's Mellotron.
Decca staff producer
Tony Clarke was chosen to produce the album, and the band carried on a durable working relationship with Clarke (sometimes known to fans as "the sixth Moody") who went on to produce all of their albums and singles for the next eleven years. Engineer Derek Varnals would also contribute heavily to the creation of the early Moodies' studio sound.
The album plus two singles, "
Nights in White Satin" and "
Tuesday Afternoon" (as a medley with "Forever Afternoon," listed as "Forever Afternoon (Tuesday?)" on the album), became massively popular, as was the 1968 follow-up LP,
In Search of the Lost Chord
. Also included on this album is the song "
Legend of a Mind", a song written by Ray Thomas in tribute to
LSD guru
Timothy Leary which encompassed a masterful flute solo performed by Thomas. Justin Hayward began playing
sitar and incorporating it into Moody Blues music, having been inspired by
George Harrison. Graeme Edge found a significant secondary role in the band as a writer of poetry, and nearly all of their early albums from the late Sixties begin with
Mike Pinder reciting poems by Edge that were conceptually related to the lyrics of the songs that would follow. The band's music continued to become more complex and symphonic, with heavy amounts of
reverberation on the vocal tracks, resulting in 1969's
To Our Children's Children's Children
— a concept album based around the band's celebration of the first moon landing. The album closes with "
Watching and Waiting", composed by Ray Thomas and Justin Hayward.
Although the Moodies had by now defined a somewhat
psychedelic style and helped to define the
progressive rock (then also known as 'art rock') sound, the group decided to record an album that could be played in concert, losing some of their full-blown sound for
A Question of Balance
(1970). This album, reaching #3 in the American charts and #1 in the British charts, was indicative of the band's growing success in America. Justin Hayward began an artful exploration of guitar tone through the use of numerous effects pedals and fuzz-boxes, and developed for himself a very melodic buzzing guitar-solo sound. For their next two albums,
Every Good Boy Deserves Favour
(1971) and
Seventh Sojourn
(1972) (which reached #1 in the U.S.), the band returned to their signature orchestral sound which, while difficult to reproduce in concert, had become their trademark. Edge, the long standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken.
In late 1972, a re-issue of the five-year-old "Nights in White Satin" became the Moody Blues' biggest U.S. hit, soaring to number two on the
Billboard Hot 100 and becoming a certified million-seller; the song had "bubbled under" the Hot 100 charts on its original release. The song also returned to the UK charts, reaching #9, ten places higher than its original release in 1967.
The Moodies were also among the pioneers of the idea that a successful rock band could promote itself through its own label, following the
Beatles' creation of
Apple Records. After their
On the Threshold of a Dream
album (1969), they created
Threshold Records
, prompted in part by disputes with London/Deram over album design costs (their gatefold record jackets and expensive cover art were not popular with company executives). Threshold would produce new albums and deliver them to London/Decca who acted as distributor. The group attempted to build Threshold into a major label by developing new talent — most notably the UK
hard rock band
Trapeze and the
Portland, Oregon, classical-acoustic sextet
Providence — but these efforts proved unsuccessful and the Moodies eventually returned to more traditional recording contracts. They did lay the groundwork, however, for other major acts to set up similar personal labels and distribution deals including
The Rolling Stones' own label and
Led Zeppelin's
Swan Song, and all of the Moodies' studio releases from 1969 to 1999 would bear the
Threshold logo on at least one of their format versions.
Hiatus, solo work
In the spring of 1974, after completing a tour of Asia, the group took an extended break — originally announced as a permanent break-up — Justin Hayward being the only one eager to go on. By this point the other band members were feeling exhausted and overshadowed (this said by Hayward himself in the final issue of Higher & Higher magazine 2006). Prior to the band's 1973-74 world tour, he wrote a song called "Island" with the intention of including it on a potential follow-up album, which the Moodies recorded in 1973 before ultimately going their separate ways. During 1974, the compilation album
This Is The Moody Blues
was released by Threshold Records.
Hayward and Lodge released a duo album, the very successful
Blue Jays
(1975), and the members each released solo albums. Pinder said he hoped to get the band back together that year. "Having moved to California in 1974, I returned to England for a visit in summer 1975. I was trying to get the band to do an album, but the response was so weak I returned to California with my two new MK5 mellotrons and began work on my solo album
The Promise."
[5]
Edge produced two albums with guitarist
Adrian Gurvitz,
Kick Off Your Muddy Boots
(1975) and
Paradise Ballroom
(1976); Hayward composed the acoustically textured
Songwriter
(1977), which would be followed up in later years by
Night Flight
(1980),
Moving Mountains
(1985),
Classic Blue
(1989),
The View From The Hill
(1996), and
Live In San Juan Capistrano
(1998); Lodge released
Natural Avenue
(1977); Pinder produced
The Promise
(1976); and Thomas collaborated on two projects with songwriter Nicky James, producing
From Mighty Oaks
(1975) and
Hopes, Wishes and Dreams
(1976).
Reunion, 1977–1990
In 1977, as the group made a decision to record together again,
London Records decided to release a somewhat poorly mixed then-eight year old recording of the band performing at the
Royal Albert Hall, against their artistic wishes. London did this in an attempt to re-energize a somewhat waning public interest in the Moody Blues prior to their anticipated new album, but the crude sound of the concert from 1969 titled
Caught Live + 5
would clash sharply with the lush and refined sound the modern Moodies were capable of producing in the studio. By this time Pinder had married and started a family in California, so for their reunion recording, the band decamped stateside with producer Clarke. The sessions were marked with tension and division (with Pinder dropping out before completion), but by the spring of 1978
Octave
was ready for release. Pinder, citing his young family, excused himself from the touring commitments that were to follow.
During this period, the prog-rock band
Yes had asked their keyboard player,
Patrick Moraz, to leave. Moraz's management had some contacts with the Moodies, and after a successful audition with the band in England in 1978, he was hired as keyboard player for the Octave World Tour that began in Germany in October. In spite of these difficulties, the album itself sold well and produced the hits "
Steppin' in a Slide Zone", written by Lodge and "
Driftwood", written by Hayward. The music video produced for "Driftwood" features Moraz, although Mike Pinder was the one who played on the actual recording; the video for "Steppin' in a Slide Zone" simply shows the other four members without Pinder.
The Moodies toured the U.S. and Europe during much of 1979. By 1980 they were ready to record again, this time bringing in producer
Pip Williams. Moraz was retained as the band's permanent keyboardist, though Pinder had originally understood that he would continue to record even if not tour with the band. Pinder attempted legal measures to prevent the new Moody Blues album from reaching the public without his contribution, but he was not successful, and ultimately, he never returned to the fold. Released in 1981,
Long Distance Voyager
was a colossal success, reaching #1 on
Billboard and top 5 in the UK. The album yielded two hits, "
The Voice", written by Hayward, and "
Gemini Dream", written by Hayward and Lodge. By now, the
mellotron had been set aside as their primary keyboard instrument and the band embraced a more modern, less symphonic approach. The marketing formula for the band demanded from this time forward that a Justin Hayward song would be used to lead off their studio albums, as his material was the most popular.
The Present
(1983), again produced by Williams, proved less successful than its predecessor, though it did spawn a UK top 40 hit in "
Blue World" (#62 in the U.S.) and a U.S. top 40 hit in "
Sitting at the Wheel" (which failed to chart in the UK). Videos were also produced for both singles. "
The Present" was released in conjunction with Talencora Ltd. Records shortly before Decca was bought out by
Polydor Records.
In 1986 they enjoyed renewed success with their album
The Other Side of Life
and in particular with the track, "
Your Wildest Dreams" - a U.S. Top 10 hit (and #1 on Billboard's Adult Contemporary singles chart for two weeks) which garnered a
Billboard Video of the Year award after being frequently featured on
MTV. Newly-hired producer
Tony Visconti, and Barry Radman, a synth programmer formerly hired by Moraz, delivered a modern sound the Moodies had been after in order to remain competitive with their pop contemporaries. The album's title song also charted in the U.S., at #58.
The Moody Blues performed live at the
Birmingham Heart Beat Charity Concert 1986 which raised money for the Birmingham Children's Hospital. The band played four songs, and later provided backup with
Electric Light Orchestra for
George Harrison.
The Moodies continued their early video-generation success with
Sur La Mer
(1988) and its video/single, "
I Know You're Out There Somewhere", a sequel to "Your Wildest Dreams". Their sound took on an ever- increasingly synthetic and technical quality as Moraz and Visconti began utilising modern sequencers, samplers, and drum machines. During this time, Justin Hayward and John Lodge wrote and sang on most of the songs as the band came under pressure from the new record company,
PolyGram Records, to promote those it deemed to be the two more commercial looking and sounding members. Ray Thomas was playing a diminished role in the studio. The band were temporarily evolving into a
synthpop act, with music not at all fit for a flute, and he was relegated to the status of a backup singer. He provided some backing vocals for both
The Other Side of Life
and
Sur La Mer
; however, multiple production considerations led Visconti to leave Thomas' vocals off of the latter of these two albums.
1990s to present
Thomas' high value remained on stage primarily from his continued ability to sing out his 60's and 70's Moodies classics, and also in flute and keyboard duets he composed with Moraz which were only performed by the two during Moodies' concerts. The band had begun to reinforce their concert sound in the mid-to-late 1980s with the addition of a second keyboardist (initially Guy Allison, who was soon replaced by
Bias Boshell), as well as female backing singers.
In 1991, halfway through the production of their new studio album, Patrick Moraz made some comments in an article in
Keyboard Magazine that suggested dissatisfaction with his role in the Moodies. His complaints ranged from the Moodies' music becoming too simple in structure, to the other members' reluctance to allow him to make significant contributions to the songwriting on their albums. He also was spending long amounts of time planning a music concert to celebrate his native Switzerland's 700th anniversary, instead of rehearsing with the Moodies. He was dismissed from further participation in the group before the project was completed. Boshell, as well as new keyboardist Paul Bliss, were brought in to finish the new album's keyboard tracks.
Keys of the Kingdom
(1991) had modest commercial success. Once again, Hayward's songs led off the album, with the new singles "Say It With Love" and "Bless the Wings (That Bring You Back)." Also included was a new ambient flute piece by Ray Thomas entitled "Celtic Sonant." John Lodge would make a defining shift in his songwriting on this album, leaving his trademark high-energy rock music, and instead gravitating towards slow love ballads. This trend would continue on the two successive Moodies albums. Instead, Hayward wrote the driving two-part piece "Say What You Mean." Tony Visconti produced some of the tracks on "Keys", as did Christopher Neil and Alan Tarney. The ensuing tour saw them invited to play at the
Montreux Jazz Festival.
The group remained a steady concert draw, and a series of video and audio versions of their 1992
Night at Red Rocks
concert enjoyed great success, particularly as a fund-raiser for American
public television where it had been first broadcast. The concert was conducted and arranged by Larry Baird, who has participated in many other bands' orchestral live concerts, such as Kansas, Michael Bolton, Three Dog Night, Al Jarreau, and Alan Parsons. The group also continued their use of additional musicians on stage and in the studio. After legal suits from both Pinder in 1981 and Moraz in 1992, the band were careful not to recognize future keyboard players as official members. Following on from his contributions as keyboardist on the 'Keys Of The Kingdom' album, Paul Bliss has played keyboards for the band live since 1991, being promoted to first keyboardist in 2001. Thomas and Bliss continued the tradition of a flute/keyboard duet for many tours. After Edge injured himself in 1990, second drummer Gordon Marshall was brought in to back him up; he stayed with the group after Edge recovered and has remained in the position since.
From 1991 to 1998, the group took a hiatus from recording, instead trying to perfect the art of performing live with an orchestra. The hiatus ended in 1999, with the album
Strange Times
, which proved to be the group's first album in almost two decades to be more than moderately received by UK critics. It was recorded in Recco, Italy, at Hayward's suggestion, and was the band's first self-produced effort. The album also featured keyboards and arrangements from Italian musician Danilo Madonia, who has worked in-studio with the band since. The album opened with "English Sunset", a pop song featuring a modern, nearly techno arrangement.
Strange Times
was also the first album since 1970 to include a new poem by Graeme Edge. Also in 1999, The Moody Blues appeared in one episode of "The Simpsons" called "
Viva Ned Flanders".
In 2000, the band released "
Hall of Fame", a new live concert from Royal Albert Hall, with a concurrent DVD release. This was taken from the last tour on which Boshell played. He left the live lineup in 2001; Bliss took over first keyboard duties, with his former second keyboard role filled by Bernie Barlow, and Julie Ragins when Barlow took maternity leave from 2006 to 2009.
In 2001, an IMAX film was released, entitled
Journey into Amazing Caves
, which featured two new songs written and performed by the Moody Blues. The soundtrack also featured Justin Hayward performing vocals and playing guitar throughout. One of these songs, entitled "Water", is the Moody Blues' first instrumental studio recording since their 1983 piece "Hole in the World" from
The Present
LP.
The new millennium saw the Moody Blues reducing their touring schedule. At the end of 2002, founding member Ray Thomas retired from the group, reducing The Moody Blues to the trio of Hayward, Lodge, and Edge. Flautist Norda Mullen was recruited early the following year for their North America tour, and has worked with the band live and in the studio since. Toward the end of 2003, they released a Christmas-themed album entitled
December
. The songs included originals and covers such as
John Lennon's "Happy Xmas (War Is Over)"; this makes it the group's first album to include covers since their
The Magnificent Moodies.
In March 2006, the first five of the band's 'Core 7' albums (the seven albums from
Days of Future Passed
to
Seventh Sojourn
) were re-released in
Super Audio CD format with Deluxe Editions, featuring bonus songs and some rare previously unreleased tracks by the group. In April 2007, the last two of these classic albums were re-released by Universal/Threshold. These deluxe editions were unique for an art rock group like the Moodies in that one of their members, Justin Hayward, was the one hired to do the work, instead of a professional masters technician. Hayward stated that he listened to virgin vinyl copies of these albums and used them as reference points for the new compact discs. In September 2008, Hayward announced the impending release of remastered versions of
Octave
,
Long Distance Voyager
and
The Present
. will be released on Universal records in the months to come. On
May 21,
2007 the Moodies released a forty one track, two-disc compilation of sessions recorded at BBC Studios, various television appearances, and a previously 'lost' performance done on the Tom Jones show titled
Live at the BBC: 1967-1970.
[6] [7]
In 2007, the now defunct
Hard Rock Park theme park in
Myrtle Beach, South Carolina, announced the building of a
dark ride entitled "Nights in White Satin - The Trip".
[8] The ride incorporated multi-sensory experiences as well as a re-orchestrated version of the song by Justin Hayward. A re-recorded version of Graeme Edge's "Late Lament" again followed, which had each group member reading a verse of the poem.
[9] In March 2009, the ride closed due to the conversion of the park to the
Freestyle Music Park, with the new owners desiring to make the park more "family friendly."
The group continues to tour; they toured the U.S., Canada and the UK in 2006, 2007 and 2008 and are currently touring North America in the summer of 2009. In addition, Hayward took part in the UK tour of
Jeff Wayne's Musical Version of The War of the Worlds in April 2006, and a second tour in November 2007, also with dates in 2009. The Moody Blues also toured Australia in 2006.
Personnel
Although the general line-up of the Moody Blues has been relatively stable since 1966, there have been some important replacements of members with new members and/or hired musicians from their inception in 1964 to the present day:
1964 - 1966
|
- Denny Laine - guitar, vocals
- Clint Warwick - bass, vocals
- Ray Thomas - vocals, flute, percussion
- Mike Pinder - keyboards, vocals
- Graeme Edge - drums, percussion
- Rodney Clark - bass, vocals [10]
|
1966 - 1978
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Ray Thomas - vocals, flute, percussion, harmonica
- Mike Pinder - keyboards, vocals
- Graeme Edge - drums, percussion, vocals
|
1978 - 1987
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Ray Thomas - vocals, flute, percussion, harmonica
- Patrick Moraz - keyboards
- Graeme Edge - drums, percussion
|
1987 - 1990
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Ray Thomas - vocals, flute, percussion, harmonica
- Patrick Moraz - keyboards, vocals
- Graeme Edge - drums, percussion
with
|
1990 - 2001
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Ray Thomas - vocals, flute, percussion, harmonica
- Graeme Edge - drums, percussion
with
- Bias Boshell - keyboards
- Paul Bliss - keyboards, guitar
- Gordon Marshall - drums, percussion
|
|
2001 - 2002
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Ray Thomas - vocals, flute, percussion, harmonica
- Graeme Edge - drums, percussion
with
- Paul Bliss - keyboards, guitar
- Bernie Barlow - keyboards, percussion, vocals
- Gordon Marshall - drums, percussion
|
2002 - 2006
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Graeme Edge - drums, percussion
with
- Norda Mullen - flute, guitar, percussion, vocals
- Paul Bliss - keyboards, guitar
- Bernie Barlow - keyboards, percussion, vocals
- Gordon Marshall - drums, percussion
|
2006 - 2009
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar vocals
- Graeme Edge - drums, percussion
with
- Norda Mullen - flute, guitar, percussion, harmonica, vocals
- Paul Bliss - keyboards
- Julie Ragins - keyboards, percussion, vocals [11]
- Gordon Marshall - drums, percussion
|
2009 - present
|
- Justin Hayward - guitar, vocals
- John Lodge - bass, guitar, vocals
- Graeme Edge - drums, percussion
with
- Norda Mullen - flute, guitar, percussion, harmonica, vocals
- Paul Bliss - keyboards, guitar
- Bernie Barlow - keyboards, percussion, vocals
- Gordon Marshall - drums, percussion
|
|
Discography
References
- Gary James' interview with Mike Pinder of The Moody Blues; Classicbands.com
- The Moody Blues: Biography
- Obituaries - Hugh Mendl: Producer at Decca Records; The Independent, 25 July 2008
- The Moody Blues: Biography
- History of the Mellotron
- The Moody Blues official website
- The Moody Blues - Live at the BBC 1967-1970
- Moody Blues Nights in White Satin: The Trip
- Hard Rock Park; News & Rumours, 24 January 2009
- "Clint's position was briefly filled by Rod Clark who can be seen on some film footage from the period performing Bye Bye Bird and I Really Haven't Got the Time" (Tony Brown's Moody Blues Gallery, see External links). R.C. joined in June, 1966, when Clint had quit. He (Rod) was later in the Rockin´ Berries and Storyteller, among others. His picture is on the sleeve of Storyteller's same-titled first album.
- Barlow has rejoined the touring band in July 2009 replacing Ragins