Moody Blues John Lodge to release solo album in 2015

I consider Blue Jays to be more part of the classic 7 than DOFP. It has the same vibe and the same type of production, and the strings are used and arranged in a similar manner to how Mr Pinder did nice pad work on the mellotron.
Which baffles me, if they could do that with strings on Blue Jays, why couldn't they do it on later albums?

 

I don't think it's the production commonalities that make it the classic 7, it's the quality of the music. And I'm sure if it had been a band album it would've been considered the classic 8.

 

If it had been produced like LDV I'm not thinking it would have had that sound.

 

I like most of Justin's solo work, dating back to his Songwriter debut.What can you say, the man is a bonafide music machine. I rank him alongside giants like Paul McCartney, Brian Wilson, Pete Townsend and Buddy Holly as the best of the best of their generation. For ballads, with his English folk musical background, he rivals songwriters like Van Morrison, John Denver, Gordon Lightfoot and David Gates. Of course we all have our own personal favorites, but Hayward to me will always remain creme de la creme. As Graeme Edge once stated in regards to his hiring: "[We] put this big ad in the NME [New Musical Express]. And we got Justin out of that - pulled him out of a hat. Talent like Justin straight out of a hat - hoo-hoo!" And later: "Boy, did we pull out a plum!!

DOFP truly was a unique concept and endeavor for the group. I can see why some might segragate it from the six classics that were to follow. Peter Knight and Tony Clarke lent a big hand to that project. So did Michael Dacre-Barclay, Hugh Mendl and Derek Varnals - all in their own unique ways. Even the album sleeve art is different from what followed (re those great surreal dreamscapes by Phil Travers). But it was certainly the foundation for all that came later, and introduced the world to orchestral rock!

A deprecation of strings later on could just be a conforming of sorts with the sound and standards of the 80's. That was no doubt reinforced by the absence of the mellotron (and perhaps Mr. Clarke). I'm sure they could have been employed, however, had their been the will. Keep in mind that Justin has claimed many times that his most rewarding and pleasurable work career-wise came from working with Tony Visconti.

LDV was unique too in that it is clearly (and deliberately) an updated Moodies sound. They definitely were rewarded for keeping their record peeps happy by getting the promotional push they did, as I can recall hearing cuts from that release all over the radio back in the day (The Voice, Gemini Dream, Talking Out Of Turn, all of which charted, but also Meanwhile And Far Away and 22,000 Days to a lesser extent). Of course it didn't hurt that the material throughout was very strong, strong enough to give them their first, and only other, number 1 album chart topper since Seventh Sojourn. I find it to be a marvelous production, and was lucky to catch the LDV tour that followed.

 

I see that album as a romantic adventure. I rate it with other MB classics, but have always understood how others might not. Not quite as much range or diversity as the Moody Blues' albums that preceded it, but the songs are all first rate, and the sound is mega lush. Also Tony Clarke produced. When I hear the opening chords of This Morning, I'm immediately transported.

Ha. I should have known. I actually like the tune, but not its arrangement and progression. Good to see JH feels the same way. I feel validated

 

I like LDV a great deal, but I don't think of it as an "updated' Moodies sound.
I think of it as an entirely different sound. The songwriting on it was still interesting, which I think is where TOSOL fell flat, as well as most of the stuff after.
The songs started becoming less philosophical, literary, and abstract, and the overall layout of the lyrics started becoming more formatted sounding. The classic 7 albums up through LDV had one of the most interesting way of metering the lyrics to the music of any band ever.
22,000 Days is a real gem. Musically very interesting.

I wish, after MP had left the band, they had gotten a string section to replace him rather than Patrick Moraz. The Strings on BJs worked out great.
I am quite surprised that Justin Hayward didn't start using GR series Roland guitar synths to do the strings, I have a GR-09 that I programmed to simulate some of the classic 7 mellotron sounds and got something that is quite convincing, and recorded a couple of songs that sound very much like something from the classic 7.

 

Interesting you single out that song. Probably my least favorite song on the album. That or Painted Smile. I like both songs though. The album is packed with great songs.

I think TOSOL has some gems too, but it's not as consistent. It was definitely a change in direction though to a straight up 80s pop album. And for that release it worked out great because it allowed them a second chance at being popular so good for them. I know Justin has stated that was a fun time. I digress, one of the songs the other day came on shuffle, "I Just Don't Care" and I thought what a great love song by Justin. Obviously "Your Wildest Dreams" is a classic and other songs like "It May Be a Fire" and the title track are good stuff too. But then you have stuff like a definite skipper in "The Spirit" (the lone non-Hayward/Lodge song) and another lesser tune in "Slings and Arrows".

From that album though I think the quality ratio progressively decreased over the subsequent 2 albums with them returning a bit with Strange Times. Been waiting since then....since the same month as my 14th birthday....for them to release another album (non-seasonal...December is good for what it is though) and it just doesn't look like it'll happen...now approaching my 30th this year.... so I have to settle for solo albums, but I would rather them work together. I haven't heard any of John's album, but I bet if you took the best half of Justin's album (I like it a lot, but it's not all killer) and put it with the best half of John's you'd get a better album than either. And maybe the chance at a full reunion for one track. How cool would that be?

 

I like 22000 Days because of what the lyrics are actually saying as well as , and mostly, the interesting music scales they use in it and the way they use them. Those guys were really musically very knowledgeable.
I find myself not listening to TOSOL much. And I like Keys Of The Kingdom except that the damned drums by Mattel are annoying. I wish they would remix that album and retrack the drums with a real drummer.

At this point I would rather them do solo albums. In reality that is what MB albums are now, it is pretty much the two Js with backup musicians anyway.
The truly interesting thing is that Mr Edge is the only original member in the band now.

 

Yeah I would rather hear Justin's songs with Johns bass and vocals and especially Johns songs with Justin's guitar and vocals. Call it The Moody Blues, call it Blue Jays, I don't really care. but I think they're both better together.

 

We sort of hijacked the Lodge topic but what the hell. Once a Moodies fan, always a Moodies fan.

Some random thoughts and responses:

I like LDV a great deal, but I don't think of it as an "updated' Moodies sound.

I see it as "updated" since everything progresses in that mode from Seventh Sojourn and Bluejays - to Octave - to Long Distance Voyager, with each new effort reaching out incrementally more till it eventually smacks into - for better or worse - the eighties, and all that came with that new synthesized wavelength. As the 80's dragged on I felt their sound became more formulaic and thus staler (we probably all did), but I also realize they were growing older and more comfortable. Those good old fires of urgency tend not to burn as hard as when one is young.

TOSOL. The songs started becoming less philosophical, literary, and abstract, and the overall layout of the lyrics started becoming more formatted sounding.

So so effort, so so results = must agree. Absolutely love Hayward's The Other Side Of Life track however, one of my all time faves in fact. I always wish he would open up full bore in concert and do an extended guitar solo based on that motif towards its end. Would be so fitting!

22,000 Days in concert was a standout also. One of Edge's best chips.

Painted Smile > Reflective Smile > Veteran Cosmic Rocker -- trust me when I say, this was one of the unexpected highlights of the LDV tour. Ray Thomas absolutely ripped that set for all his Welsh heritage is worth! My jaw almost dropped.

Interesting little anecdote on LDV concert I saw. Justin and Ray seemed ticked off at each other for whatever reason (Justin in particular, wouldn't even look at him). Probably over a missing candy bar or something, you know life on the road. he he But John spent the whole of the concert trying to appease both with his subtle gestures and interactions, and eventually got 'em to do the traditional stage shuffle together. Smiles all around ensued. It was a crack up to witness.

SLM + KOTK = ouch. Spotty efforts at best. Like all MB albums, some choice cuts, but you know... where's the beef??

KOTK does however contain Justin's favorite self-penned song of his career: I Know You're Out There Somewhere. [Unless his assessment has changed over the last few years]

Patrick Moraz = the most controversial, least liked Moodie of them all it seems. Swiss Mix on steroids. LOL He may not have been a "full band member" but I'll be damned if he wasn't at least a "band member," for better or worse. That lawsuit and what went down, c'mon guys! gotta keep things real

Using GR Roland guitar synths to emulate the strings - interesting choice rockledge! We may need to hook you up with those boys and see what comes of this.

Call it The Moody Blues, call it Blue Jays, I don't really care. but I think they're both better together.

They were a match made in heaven. To think how they came in basically as a tandem to the existing team back in '66. What a score for the other three! Only differences being, Justin was already an experienced songwriter, John wasn't. He had to learn as they went along (just like Ray and Graeme), and did so by playing off riffs (whereas JH was more structured and formulated). Amazing how adept he became and how quickly too. Ride My See Saw on but their second release! And things only improved for him from there. Also John had been the Moodies first choice for bass all along, even back in the Denny Laine era, but he went off to finish school instead (and thus Warwick took his would-be position). Justin truly was the undiscovered newcomer to that Birmingham based collective. Yeehaw as out Texan friends say!

I think we all agree - even one last track where all 5 participate would be a nice rounding off of this group's amazing career.

 

Great post - agreed great career. Interestingly, can you think of another classic band formed in the early sixties who have all their members still living?

 

You know, that's a great trivia question at this point. The answer(s) may be obvious but I'd have to really think on that for a bit to come up with something that would be considered a dead ringer. A what? Er...

I'd actually suggest you post that as a new forum thread, but you may only get one or two replies << if even! >> before it dies on the vine. And not because of a lack of interest, but to lack of viable candidates.

Early sixties vs. mid-sixties, that's the hangup and hinge point. Maybe the Rascals? Creedence Clearwater Revival? The original James Gang? The Guess Who? [though Kurt Winter and Domenic Troiano from later incarnations are now gone]. Gerry & The Pacemakers, possibly? Frankie Valli & The Four Seasons? [no Crewe and Massi are now gone]. Everly Brothers - uh definitely no, not no more ... Crosby, Stills & Nash [they arrived too late I guess] ... The Animals [no, Chas Chandler has left the scene]. Hmmm....

My best guesses so far.

 

I'm very glad to see this post because I thought I was the only person to wince at the accolade that Seventh Sojourn gets. For me this is the very moment that the band lost "it" (not the whole of it obviously). This is where they stopped experimenting with the form of the song (so the songs stopped 'breathing'), plus they replaced the mellotron with the chamberlin, opting for that ultra-polished, ulimately "eighties", sound. Octave (and beyond) was a logical step in that direction and I don't think Patrick Moraz has anything to do with that. Excluding Blue Jays, which I don't think is fitting the pattern, I catch myself treating the post-Every Good Boy material as more or less substantial postscript (or, for a more poetical word, echo) to the glory which made and still makes the Moody Blues music unsurpassed.

That said, I would still pick Justin Hayward as my favourite songwriter ever, which is paradoxical as I believe he fully blossomed in this department in the post core-7 era, especially as a lyricist. And of course I do not dismiss the latter-day albums, in fact I like both The Present and Strange Times slightly more than Sojourn, so much for the core-7 mythology. But if you really pressed me, I'd say that it was not Mike Pinder, nor Justin Hayward, nor even Tony Clarke, who was the 'soul' of the band responsible for that "it". It was the Mellotron, it seems

 

I see it as the genesis of that inevitable progression; however I must say that I still enjoy Seventh Sojourn to the max just on the strength of its songs. But if you examine it closely, you can see the divergence from the projects that came prior. The changes are not overwhelming in every way, but they're there. As you mentioned, the use of the chamberlin alone foretells of changes in the air, and to come. Still, I love tracks like "You And Me," and the playoff between Mike's strings and Justin's guitar lines.

I include Blue Jays only in that it was the portent of things to come by way of the ongoing Hayward-Lodge partnership (which I think it's fair to say the Moodies eventually morphed into, at least in large part, as others here have alluded to also).

This is also part of the reason I sometimes find myself defending Moraz and his rightful place in the MB orbit. He was simply part of that logical progression, not the instigator or molder of the changes. He was playing his role as were the others, and not necessarily forcing his stamp on the proceedings. Octave shows that Mike himself was looking to stretch things out from where things left off prior, only he couldn't get himself to commit to whatever new demands he felt they were facing going forward. Such a shame.

But the good news is, even if the classic 7 (or C6 sans SS??, or C5 sans DOTFP?? Whaaa?? We're entering blasphemy territory now) were hard to beat or surpass, the Moody Blues have delivered their fans plenty of select material since those releases to keep things interesting enough. You know, in step with the earthly aging process of diminishing returns and expectations. As I stated earlier, I really like Long Distance Voyager and also The Present (even if they tossed Pip Williams on his head after those two bookend projects). Sur La Mer and Keys To The Kingdom for me get a little thinner in context to successful results based on the whole. Strange Times would bring some welcomed relief, at least in part.

Interesting assessment. I'll have to think on that a bit, but you may have a point in regards to his lyrical growth. As for his compositional talent, it has always been out of this world. He's also a very good human being, if that weren't enough.

Both nice projects indeed. I myself fancy Long Distance Voyager strongly since I find no weak tracks throughout, and was so pleased they had successfully staked a claim in the 80's. Their reunion was solidified and completed in my mind at that point. As for Seventh Sojourn, I simply accept it as a necessary stepping stone in the band's progression, and overall enjoy it a lot.

Great point. And to think of the trouble they went through to maintain that magical contraption. Pinder alone should have obtained sainthood for his efforts and troubles thru the years if there's any true justice in this world. Plus the darn thing was uber-sensitive and temperamental to the touch by its very tape-based nature. Also heavier than a Tiger tank to haul around! Mike further enhanced and customized his model for it to become the super sound system it was. I'm not sure how many here ever heard him play it live, but it was every bit as amazing in that environment as it sounds on record. Arguably better. It simply left one's mouth to drop. I remember quite vividly transfixing on it the couple of times I saw them in concert back then and wondering "How the heck do they get the sounds they do from that thing!?" It was like having an orchestral ensemble in a box.

Btw I am a very fortuitous soul in that I saw them in concert for one of their last "classic 7" shows ever back in 1974. It was at the HIC arena in Honolulu, and they would only perform 3 or 4 times after that in California (finishing up the same tour) before shutting things down and disbanding. It makes that event all the more special in my mind (even if a lot of my memories of it have been lost in the haze of aging). I've also seen the Moraz era Moodies at the same place, and as good as that was, nothing beats the mellotron!

 

That's incredible. The guy waits till he's 70 and creates a solo album, (judging by the sample). Sounds like it could have been a great Moodies album. Which one did Ray Thomas help on. I wish the backing was more organic... but it's very Moodies sounding. Let this be a lesson to anyone who says Justin "is" the Moody Blues. Even the title Ten thousand light years ago , sounds like one of the original 7 album titles. I'm ecstatic,,,,, is that one bit a total unexpected bridge, or did they splice a piece of other song in there. I gotta listen five more times.

 

There's one sample that includes flute and mellotron. I'm assuming that's the one with Ray and Mike.

 

Sample where? I believe they both play on track four. But I forgot the title. Where is this sample can you post a link.

 

The video I posted is a bunch of samples all put together, one of which includes flute and mellotron.

 

The samples sounded good/intriguing.
Besides, if it's a stunning album, I gotta buy it.

 

Are samples of the whole album available on amazon or anywhere

 

Don't know of any

 

I saw them in concert at Salford University when they were promoting To Our Children's Children's Children. Part way through the concert the Mellotron gave up the ghost, and Mike, screw driver in hand, removed the back off the instrument and fiddled around for a few of minutes while the rest of the band attempted to jam their way through (they gave up after a while and stood staring at Mike with his head stuck in the back of the Mellotron). All fixed , they got back into it. There was no seating as such, we just sat on the floor, it was one of the best concerts I've attended, and this one was also my first concert! I have to give kudos to my dear friend Tony Niles for taking me.

 

This song was actually on Sur La Mer, not Keys of the Kingdom. His main single from KOTK was "Say It With Love".