The Moody Blues are an English rock band. Among their innovations was a fusion with classical music, most notably in their 1967 album Days of Future Passed.
The Moody Blues have sold in excess of 50 million albums worldwide and have been awarded 14 platinum and gold discs. As of 2010 they remain active.
Founding and early history
Early years
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. They disbanded when Lodge, the youngest member, went to technical college and Michael Pinder joined the army. Michael Pinder then rejoined Thomas to form the Krew Cats. 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 hoped-for sponsorship from the M&B Brewery which failed to materialise, the band calling themselves both "The M B's" and "The M B Five" and was also a subtle reference to the Duke Ellington song, "Mood Indigo".
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. Initially they were signed to a management company who then leased their recordings to Decca. They released a single, "Steal Your Heart Away", that year which failed to chart. The Moody Blues appeared on the cult UK series "Ready Steady Go!" singing the uptempo 'B' side "Lose Your Money (But Don't Lose your Mind)". 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 Alex 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. The band encountered management problems after the chart-topping hit and subsequently signed to Decca Records in the UK (London records in the USA) as actual recording artists. A four track Extended Play release titled: "The Moody Blues" featuring both sides of their first two Decca singles was issued in a colour picture sleeve in early 1965.
Their debut album The Magnificent Moodies, produced by Denny Cordell with a strong Merseybeat/R&B flavour, was released on Decca in Mono only in 1965. It contained the hit single together with one side of classic R&B covers, and a second including four Laine/Pinder originals."Bye Bye Bird" (Decca AT 15048) was lifted from the album in December 1965 as an overseas single charting in France (no.3).
Alex Wharton left the management firm and the group released a series of relatively unsuccessful singles. They enjoyed a minor UK hit with a cover of "I Don't Want To Go On Without You" (no.33) in February 1965, while the Pinder-Laine original "From The Bottom of My Heart (I Love You)" (no.22) produced by Denny Cordell (with a vocal choral sound towards the conclusion that anticipated their later more famous vocal sound on "Nights in White Satin") was issued as a UK single in May 1965. Further UK singles were: "Everyday"(no.44) in October 1965, another Pinder-Laine song, plus their later "This is My House (But Nobody Calls)" (Decca F 12498,1966) and "Boulevard De La Madelene" also issued in late 1966. A final 'Mark one' Moodies single Pinder-Laine's "Life's Not Life" was scheduled for release in January 1967 (Decca F 12543) c/w"He Can Win", however this single's release was cancelled, probably due to major group personnel changes 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.
Arrival of Hayward and Lodge
Hayward was recommended to Pinder by Eric Burdon of The Animals and was endorsed by famed UK singer Marty Wilde, the leader of The Wilde Three. Pinder phoned Hayward after reading his application, 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. The band were introduced to Decca staff producer Tony Clarke who produced a recording session which saw Justin Hayward's "Fly Me High" & Mike Pinder's older-styled "Really Haven't Got the Time" (Decca F12607) as the 'Mark Two' Moodies first single released in May 1967. This picked up both radio airplay and favourable reviews, and failed to chart in the UK, but the sound gave clues to the direction their music would evolve. Their new style, featuring the symphonic sounds of Pinder's Mellotron, was first introduced on Pinder's song "Love And Beauty" (Decca F 12670) which was issued as a single c/w along with Hayward's rocker "Leave This Man Alone" in September 1967. This too was not a UK hit, but further established their 'new' Moodies identity. Ray Thomas' flute had been in evidence earlier ("I've Got A Dream") on their debut album, however it became a far more featured instrument from this point onwards as they started incorporating distinct psychedelic influences, which was later developed in a concept album revolving around an archetypal day in the life of everyman.
Deram Records, 1967-1972
Days Of Future Passed
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 Dvořák's New World Symphony that would promote the company's new Deramic Stereo Sound (DSS) audio format 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 Hugh Mendl (as executive producer) was able to provide this in the face of Decca's notoriously tight-fisted attitude to its artists. The group were unable to complete the assigned project,which was abandoned. However, 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.
Although Deram executives were initially skeptical about the hybrid style of the resulting concept album.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 or concept album 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 to whom Pinder had introduced the Mellotron that year. It took the form to new heights using the London Festival Orchestra, a loose affiliation of Decca's classical musicians given a fictitious name adding the term "London" to sound impressive, to provide an orchestral linking framework to the Moodies already written and performed songs, plus overture & conclusion sections on the album including backing up Graeme Edge's opening & closing poems recited by Pinder. Strings were added to the latter portion of the album version of Hayward's "Nights in White Satin" (absent on the single hit version) as was Pinder's "The Sun Set". The orchestra and group never actually perform together on the recording with the band's rock instrumentation centred on Pinder's Mellotron. The album, despite being a lush concept album, was in fact cut in a very workmanlike manner, with the band recording a particular song, then the track being presented to Peter Knight who quickly composed a suitable "linking" orchestral portion which the Decca musicians ('London Festival Orchestral') then recorded. The album was as much an original work by Knight himself as the group. The composing credits were listed on the sleeve as: "Redwave-Knight", when in fact Hayward wrote "Nights..." and "Tuesday Afternoon", Thomas provided "Another Morning" and "Twilight Time", Lodge penned "Peak Hour" and "Evening (Time To Get Away)", and Edge contributed the opening and closing poems (the latter titled "Late Lament") read by Mike Pinder who composed both "The Sun Set" and "Dawn is a Feeling" (sung by Hayward, with Pinder himself singing the bridge section).
Decca staff producer Tony Clarke produced the album, and afterwards continued working with the band. Sometimes known to fans as "The Sixth Moodie" he 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, working with Pinder & Clarke to create a more symphonic overlapping sound on the Mellotron as opposed to the sharp 'cut off' the instrument would normally give, partly achieved by removing all the "sound effects" tapes (trains, whistles, cockerel crowing, etc.) and then 'doubling up' the tapes of orchestral instruments' sounds, which combined with Pinder's ability and sensitivity at playing (Pinder having earlier worked for the company that manufactured the Mellotron) and Varnals' recording skills at creating an orchestral 'wave' sound that characterised their non-orchestra accompanied sound thereafter.
In Search of the Lost Chord and On the Threshold of a Dream
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 - four members of the group had taken LSD together at the start of 1967. Lodge provided a two part song "House of Four Doors" set either side of this Thomas epic piece. Justin Hayward began playing sitar and incorporating it into Moody Blues music ("Voices...", "Visions of Paradise" etc.) , having been inspired by George Harrison. Hayward's "Voices in The Sky" charted as a single in the UK (no.27), as did Lodge's "Ride my See Saw" (no.42, No.15 in France) - still their concert finale number today - which featured Pinder's non album song "A Simple Game" as 'B' side. Pinder's "The Best Way To Travel" was another highpoint, as was his closing song "Om" (sung by Pinder and Thomas, again featuring Hayward on sitar). Graeme Edge found a significant secondary role in the band as a writer of poetry, and some of their early albums from the late Sixties begin with various band members reciting poems by Edge that were conceptually related to the lyrics of the songs that would follow. Edge himself narrating his brief "Departure" poem on "Lost Chord", while Hayward, Edge, & Pinder shared the opening narration on Edge's "In The Beginning" on "Threshold". Hayward's "Lovely To See You" was a strong lead off track on "On the Threshold of A Dream" , his "Never Comes The Day" was issued as a UK single , while Thomas wry observations of life in "Dear Diary" and "Lazy Day" were striking features, Mike Pinder's "So Deep Within You" and a notable closing piece "Have You Heard" (including a central classically themed instrumental piece "The Voyage") were standout tracks.
To Our Children's Children's Children
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 inspired by the first moon landing. The opening track "Higher And Higher" saw Pinder simulate a rocket blast-off on keyboards, then narrate Edge's lyrics. Thomas' "Floating" and "Eternity Road" stood out, as did Hayward's "Gypsy" and a rare Pinder-Lodge collaboration "Out And In". Lodge provided his two part "Eyes of A Child" and "Candle of Life" while Pinder contributed "Sun is Still Shining". The album closes with "Watching and Waiting", composed by Ray Thomas and Justin Hayward and sung by Hayward. This song was issued as a single on the Threshold label but failed to chart.
A Question of Balance
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. Hayward's "Question" (in a differing version) was issued as a single hitting No.2 in the UK (only kept from top spot by The England World Cup football team's novelty record "Back Home"). 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. The Moody Blues had by now become a Bill topping act in their own right, they appeared twice at the famous "Isle of Wight Festivals" (A DVD of their 1970 performance has now been released). Pinder's "Melancholy Man" (a no. 1 single in France) stood out besides Hayward's "Question" on the 1970 album.
Every Good Boy Deserves Favour and Seventh Sojourn
For their next two albums, Every Good Boy Deserves Favour (1971) - from which Hayward's "The Story in Your Eyes" was taken as a USA Charting single (no.23), 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. On "Every Good Boy..." the opening track "Procession" was the only item composed by all five band members, a fascinating track depicting the "evolution" of music, leading into Hayward's "Story in Your Eyes". Thomas reflective "Our Guessing Game" and whimsical "Nice To Be Here" offset the deeper drama of Hayward's "You Can Never Go Home", Lodge's "One More Time To Live" and Pinder's "My Song". Edge, the long standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken - his "After You Came" (1971) featured each of the four Lead singers taking a vocal section. Then in 1972 Lodge's songs "Isn't Life Strange ?" (no.13) and "I'm Just A Singer (in A Rock 'n' Roll Band)" (no.36) were lifted from "Seventh Sojourn" as charting UK singles. "Sojourn" also saw Pinder using the new Chamberlain instrument in place of Mellotron & Edge use an Electronic Drumkit. Pinder's stirring lament "Lost in A Lost World" opened this last "Core Seven" outing, while his sympathetic ode to Timothy Leary "When You're A Free Man", Thomas' romantic "For My Lady", and Hayward's serene "New Horizons" all stood out. They each provided well known songs during this period,in addition to the singles, Pinder's songs "A Simple Game" (1968) & "So Deep Within You" (1969) were successfully covered by The Four Tops, Pinder winning an Ivor Novello Award for "A Simple Game", Elkie Brooks later covered Hayward's "Nights in White Satin". Pinder also appeared on John Lennon's "Imagine" album in 1971, providing additional percussion on "I Don't Wanna Be A Soldier (I Don't Want To Die)". The 1968 to 1972 album sleeves, plus several solo sets up to Ray Thomas' "Hopes, Wishes & Dreams" in 1976, were characterised by striking surreal scenic sleeve artwork (mostly gatefold sleeves) by artist Phil Travers.
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.
Threshold Records
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 and solo work, 1974-1976
In the spring of 1974, after completing a vast world tour that culminated with a tour of Asia, the group took an extended break, due to the other band members feeling exhausted and overshadowed (this said by Hayward himself in the final issue of Higher & Higher magazine 2006). Although the band had typically featured four lead vocalists (with Edge also contributing vocally), with Hayward the principal guitarist/vocalist, Pinder was considered to be the person most responsible for their symphonic sound, arrangements, and overall conceptual direction. Pinder and Thomas handled much of the Moodies onstage audience liaison work (as the 1969 "Caught Live" album displays).
Prior to the band's 1973-74 world tour, Hayward 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. Major reasons for the hiatus was their standing had become almost frightening by this time with so many employees the band members could not recognise and misguided fans seeking some kind of Papal blessings & cures for illness; etc.. This overblown adoration deeply disturbed the band members who were also feeling the strain of trying to run their own record label (as The Beatles had earlier) -- Ray Thomas remarked that he found himself on the tube with a stack of legal papers. An additional cause of the hiatus was the long tours had by this time strained Mike Pinder who needed a rest. In 1974 the band oversaw preparation of the compilation album This Is The Moody Blues which was released that year.
Hayward and Lodge released a duo album, the very successful Blue Jays (1975), and a UK chart single, "Blue Guitar" (no. 8), which was credited to Hayward & Lodge even though it was actually just Hayward with 10cc backing him. The album had originally been a projected liaison between Hayward & Pinder, but after Pinder dropped out, John Lodge stepped in. (Tony Clarke produced.) The members then 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." 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), (which Hayward dedicated to Peter Knight) 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).
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