The Moody Blues Albums (23)
What The Critics Say
This concert album contains several surprises, not the least of which is its existence -- it's the third issued by the Moody Blues since the late 1980s. But it's also unique, featuring the band by itself, unaccompanied; all of their concert recordings since the 1979 issue of Caught Live + 5 -- which contained a 1960s concert -- have offered the group backed up by orchestras of varying sizes, which made for impressive sonics but reduced the spontaneity and raw excitement that should be inherent in a rock concert. The group, now a core trio of guitarist/singer Justin Hayward, bassist/guitarist/singer John Lodge, and drummer/singer Graeme Edge, with second percussionist Gordon Marshall, keyboardist Paul Bliss, keyboard player/backing singer Bernie Barlow, and flautist Norda Mullen (replacing retired founding member Ray Thomas). It's nice to know that Hayward and Lodge still have powerful and expressive voices, and the band still has a good, cohesive pop/rock sound, which holds things together even when the newer material isn't quite as strong or as memorable as their older songs. So "Lean on Me (Tonight)" holds up, even in the company of pieces like "The Story in Your Eyes" and "Tuesday Afternoon." The other major treat for longtime fans will be the embrace of some songs going back as far as four decades which haven't been in their repertory in many years, including "The Actor" and "Are You Sitting Comfortably?"; Edge's "Higher and Higher" is nicely stretched out into something of a jam by the band, with some impressive guitar pyrotechnics, and "Ride My See-Saw" is also given a leaner, longer treatment than it has received in the past. The presence of this material makes up for the absence of "Legend of a Mind," which seems to have been dropped from their repertory with the departure of author Thomas -- indeed, "The Actor" is a highlight of this set, as one of the group's prettiest songs and one that Hayward embraces with a mix of passion and virtuosity, and gorgeous support from Mullen's flute; "Question" also gets a fresh and spirited treatment, though it's been a staple of their shows for so long that it's less notable. The leaner, punchier sound generated by the group also gives some freshness and a bracing immediacy of their harder rocking songs, such as "Steppin' in a Slide Zone"; Lodge's bass work on the latter is a treat, pushing the song hard and yet also subtly melodic beneath the more prominent guitar, keyboard, and flute parts. And "The Voice" gets a tense, spirited rendition as well, with a gorgeous solo by Hayward and the two drummers' work so closely interlocked that it's impossible to separate them. An additional new feature to their concerts is the rendition, by Hayward, Bliss, and Marshall, of Hayward's late-'70s hit "Forever Autumn" from Jeff Wayne's War of the Worlds concept album -- this is the first time that a solo number by any of the bandmembers has turned up on one of their concert albums, and it's even more impressive thanks to the pleasingly dramatic rendition that Hayward gives the piece. He also deserves credit for being able to bring immediacy and involvement to "Nights in White Satin," for what must be something like the three- or four-thousandth time he's sung it. The audio quality is exceptionally good as well, and the annotation is reasonably thorough, right down to identifying every instrument used by the musicians, including their amplifiers. ~ Bruce Eder, All Music Guide
What The Critics Say
One must give the Moody Blues credit for tenacity and a single-pointed focus. For 37 years they've put forth a startlingly consistent series of themes: optimism, a kind of blind-faith spirituality that the universe is in good hands and that people are by and large decent and kind, and love songs that can be a bit twee, but nonetheless connect when one is in the emotional space to hear them. Their music has always been intimate and pretentious in the best sense of the words. December is the Moodies' first Christmas album. The classic lineup has been whittled down to three: John Lodge, Justin Hayward, and Graeme Edge; Ray Thomas decided to call it quits after the band's 2003 tour ended. The band is augmented by unofficial member and producer Danilo Madonia in the studio. This is the most curious of Christmas recordings. December is an album about the spirit of Christmas but, with its lack of carols (though it does feature Irving Berlin's "White Christmas" near the end), it sounds more like another chapter in the Moody Blues' legend, and that's exactly what it is. Like many Moody Blues records since the 1980s, the original songs are nostalgic, pointing listeners back to memories of an idyllic past when things were simpler, and toward the hope that social and spiritual renewal are just around the corner. The set features a number of Hayward and Lodge originals, obscure and traditional Anglo folk songs, a transposed piece by Bach, and a cover of John Lennon and Yoko Ono's "Happy Xmas (War Is Over)" -- alas, if only that were true. If you're a fan or a detractor, you already know what the album sounds like. Unpredictability left the band's vocabulary in the 1970s, but that doesn't mean that this collection is without merit. For starters, it is one of the most original Christmas albums you'll hear all year. There is no new age drivel here; its topics and themes are indeed Christian, but weigh on the side of those that are universally held: brotherhood, compassion, hope, goodwill, and generosity. In addition, it's beautifully orchestrated and produced. Its sound is pristine, and Hayward and Lodge with their trademark elegance sound as if they mean every word they write and sing. And it's easy to believe that. It most certainly is sentimental and lush, and has nothing whatsoever to do with rock & roll, but that hardly matters. As the latest Moody Blues album, it likely lives up to fans' expectations; as a holiday recording, it's unlike anything else out there. ~ Thom Jurek, All Music Guide
'Journey into Amazing Caves'
Release Date 3/20/2001
Tracks 10
Label Ark 21
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What The Critics Say
This mystical, electronic-orchestral new age-flavored soundtrack is probably most effective when enjoyed as accompaniment to the IMAX film about two determined women exploring caverns on the Yucatan Peninsula, Greenland, and the Grand Canyon. As its own listening experience, it has its peaks and valleys as it mixes tribal voices and percussion with a score designed to conjure the notion of a sweeping adventure into ancient secrets. The participation of Justin Hayward and the promise of "songs and performances by the Moody Blues" is a great marketing twist, but it's a bit misleading in that there are no single tracks by them. Instead, elements, motifs, and melodic passages of some of their best-loved songs are incorporated into the regular score by Steve Wood and Daniel May. The best of these is the blend of solo piano and edgy guitar doing "Nights in White Satin" on a track called "Horizons Turned Inward." Otherwise, you have to search harder to catch the motifs. The liner notes will definitely pique some interest in seeing the actual film, but Moody Blues fans should be warned about the unique inclusion of their heroes' music. ~ Jonathan Widran, All Music Guide
What The Critics Say
This is the second live album by the Moody Blues to appear in just five years, and it is somewhat different from their concert recording with the Colorado Symphony Orchestra. The most obvious difference is the presence of songs from the group's 1999 album, which aren't bad; "English Sunset," in particular, holds up extremely well as a decent, rousing rocker with a great beat. The band appears to be putting more into their playing here, with a pounding introduction to "The Story in Your Eyes," which gets a jagged, very edgy performance emphasizing the beat and some heavy guitar sounds over the original's lyricism. The rest is what you've come to expect from the group, polished, competent renditions of some of their bigger hits, with the rhythm section pushed perhaps a little farther forward in the mix than you're used to from the group. The sound is very good, also a major surprise given that Royal Albert Hall, where it was recorded, is notorious as a poor venue for rock concerts. ~ Bruce Eder, All Music Guide
What The Critics Say
A lot of people will laugh at the idea of a new Moody Blues album, eight years after their last new release and 35 years after the original band started in the business. The fact is, though, that this is about the liveliest and leanest that the group has sounded in more than 20 years. Among this collection of 14 songs, ten have very pleasing melodies, unpretentious lyrics, and generally attractive performances. That puts Strange Times several steps above the last few of the group's albums. In contrast to their previous album, Keys of the Kingdom, the vast majority of songs here are steeped in romance rather than pop mysticism -- nothing here is quite as catchy as "In Your Wildest Dreams," but several come close. Moreover, the group has built its sound on Strange Times around acoustic and electric guitars. The electronic keyboards are embellishment, nothing more, making for an unexpectedly lean and melodic album, less symphonic than anything they've done in decades. There are a few unfortunate digressions into the mystical side of the band's persona, but most of what's here are unpretentious love songs. Strange Times is still their most attractive album since Octave, and boasts their best album opener ("English Sunset") since "You and Me" from Seventh Sojourn. Not everything works that well, but even some of the heavy-handed work here, such as "The One," has some pretty vocal flourishes. "The Swallow" is one of Hayward's prettier slow numbers and worth its five-minute running time. There are still some mistakes, to be sure, including the pretentious title song and Graeme Edge's album-closing recital, "Nothing Changes," but Strange Times is still about as good an album as the Moody Blues have cut since the '70s. ~ Bruce Eder, All Music Guide
'A Night at Red Rocks with the Colorado...'
Release Date 1/1/1993
Tracks 15
Label Polydor
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What The Critics Say
Having succeeded in the '80s by drawing on '60s nostalgia with a song ("Your Wildest Dreams") and video, the Moody Blues in the '90s began tailoring entire shows to recapture their '60s glory days -- and they succeeded. Performing on tour with a series of regional orchestras, they brought the majesty of their old studio sound onto the stage for the first time on songs like "Nights in White Satin" and "Tuesday Afternoon," and audiences responded by turning them into one of the top concert draws of the decade. This album and the accompanying video are beautifully recorded (and the video looks gorgeous, too) and performed, and the group -- caught amid the splendor of one of the prettiest outdoor concert venues in the West (Stevie Nicks has also done a video there) and with the orchestra backing them up on half the numbers, rise to the occasion with a drive and eloquence that they hadn't shown on-stage in many years. An essential recording and video for any fan of the group. ~ Bruce Eder, All Music Guide
What The Critics Say
As much as The Moody Blues have earned the right to make a mediocre album, they shouldn't have been given the keys to the studio without a better batch of ideas than what ended up on Keys of the Kingdom. Like Sur La Mer three years earlier, many of the songs on here feel like prefabricated studio pop: programmed drum beats, sterile keyboards and soulless guitars pop up in the speakers seemingly untouched by human hands, compounded by brass arrangements and backing singers that were never a part of the Moodies' original vision. Perhaps "Once Is Enough" says it best; most listeners will quickly put this aside as an underinspired exercise and seek refuge in the band's glory days. Yet fans will strain to find that familiar glint of gold in Keys of the Kingdom, and they'll hear it in several pleasant tracks from John Lodge--including the tuneful "Lean On Me (Tonight)," which was wisely the only track from here salvaged for the subsequent Night At Red Rocks release--and the Ray Thomas track "Celtic Sonant." Justin Hayward retains his ear for pleasant love songs, best heard in "Bless The Wings (That Bring You Back)," but they succumb to pedestrian arrangements. Perhaps most alarming is the track "Is This Heaven?," which unconsciously borrows the melody from a well-known Beach Boys song (and you should be very worried, baby, when that happens). Part of the problem no doubt stems from using three different producers, which never bodes well for a project. The loss of Patrick Moraz (he does appear on three tracks) likely had little impact on the end result, since they don't really use his talents when they have him. In fairness, Hayward and Lodge don't fare any worse than Paul McCartney or Eric Stewart and Graham Gouldman have when they were focused on simply putting a product into the market, but since a bad album costs the same as a good one, why spend your cash sailing sur la mer de la mediocrite. ~ Dave Connolly, All Music Guide
'Journey Through Time'
Release Date 1/1/1990
Tracks 12
Label Threshold
See Album Tracklist and Review
What The Critics Say
A European-only compilation of the group's work, mixing the hits and the popular concert numbers from 1967-1987. Not surprisingly, Justin Hayward and John Lodge's work dominates on this collection, which has long-since been supplanted by better (and better-sounding) collections of their work. ~ Bruce Eder, All Music Guide
What The Critics Say
Though this 1988 recording starts out with a song that rightfully stands with their best work, the rest of the album doesn't live up to that high standard. "I Know You're out There Somewhere" (a thematic extension of the 1986 hit "Your Wildest Dreams") is lyrically and musically superior in all aspects; fine textured keyboards from Patrick Moraz are featured in the middle of the song. However, the rest of the album is mostly inconsequential material that simply doesn't grab the listener. Part of the problem lies in the fact that Justin Hayward and John Lodge wrote all of the material. Ray Thomas is totally absent, and while he contributed less songs in the 1980s, his absence is sorely missed, especially in the vocal harmonies. Thomas' songs often bring a more whimsical point of view, which certainly would have helped diversify the mood of this release. Also, there is a "techno" feel to many of the arrangements, bringing a "manufactured" feel to the proceedings. In all fairness, none of the songs are total failures, and Sur La Mer is a bit more consistent overall than the Moodies last effort, The Other Side of Life. "Vintage Wine" is a catchy, if slight, look back at the '60s. "Deep" is as overtly sexual as any piece in the Moody Blues songbook. "Breaking Point" is much darker than most material in the group's catalog, as it looks at someone who is seemingly at the brink of losing sanity. Though the Moody Blues have been unjustly criticized over their career for being pompous or bombastic, their unique gift to the world of popular music is as archetypal art-rockers who sincerely write of the quest for finding meaning in life. Unfortunately, on Sur La Mer, most of the songs are of the light and laid-back variety; the group could have used more bombast and self-importance. ~ Michael Ofjord, All Music Guide
