Songs You May Have Missed #800

The Moody Blues: “Candle of Life” (1969)

It’s hard to articulate what the Moody Blues have meant to me for the great majority of my life.

But on the occasion of the loss of singer/songwriter/bassist John Lodge, it seems like a good time to try.

Basically, since the day my older brother gave me a copy of the band’s 1971 album Every Good Boy Deserves Favour, no band or artist has been more important in my life.

So many things about the Moodies were different from anything I’d heard before.

The conceptual albums with each song fading into the next. The arty opening track, always a thing of musical ambition and lyrical profundity. The five songwriters, each capable of taking the lead vocals on his own material, giving each album a breadth of songwriting and vocals unmatched in rock.

That gorgeous, otherworldly vocal blend, with John Lodge’s falsetto on top:

To my young ears it was a revelation. The kind of music perfectly suited for the experience vinyl records allowed, and the best vinyl records demanded. I absorbed Moody Blues albums, one after another, total immersion style–often lying on my bedroom floor with headphones on, gatefold album cover spread in front of me, reading the lyric sheet, pondering the album cover art. Doing all the things that made it a richer experience than a kid today can get from a download or a stream.

This was a stream of another kind, on which I was swept away to “far away forgotten lands, where empires have turned back to sand”.

And always John Lodge’s stratospheric falsetto was on top. And always his bass was on the bottom. He supplied both the band’s angelic corona and its rock and roll bona fides.

Each writer in the band brought his own style. Flutist Ray Thomas was the most fanciful. Justin Hayward was the band’s lead romantic and also a songwriter’s songwriter. Graeme Edge was the poet. Mike Pinder represented the band’s social consciousness.

And Lodge? Lodge was somewhat enigmatic. To a greater degree than the others he had the heart of a rocker. On the other hand, he could compose songs of such beauty they rivaled even those of Hayward.

The song he wrote on the occasion of the birth of his daughter is as gorgeous and understated a lullaby as you’ll ever hear from (just) a singer in a rock and roll band. And John the rocker had the instinct to let cello and glockenspiel accompany his tender lyric:

My daughter Emily has her name because this song–“Emily’s Song”–conveys the tender feelings of a father for a daughter better than any I know.

It was appropriate that my introduction to my favorite band was Every Good Boy Deserves Favour, because the album cover conveys the essence of my relationship with that eldest brother, who not only turned me on to the Moody Blues but to many of my favorite artists and authors. Of course, at about 9 years old your senses are keen and your emotions come in a deluge.

Nevertheless nothing has affected me as powerfully in the fifty years since than the Moody Blues and J.R.R. Tolkien–both passed along to me by that brother, the one I lost too soon. The band and the fantasy author always seemed to link in my mind. In my imagination, one was a soundtrack for the other.

So when I read years later that the Moodies themselves were heavily influenced by the author of The Lord of the Rings it all made sense. Those “far away, forgotten lands” I imagined as I listened may have been the same ones they and I envisioned when reading Tolkien.

And oh by the way, my Emily’s middle name is Arwen.

With few exceptions, each songwriter in the Moody Blues sang lead vocals on his own songs. It’s always been a point of curiosity to me that Lodge handed “Candle of Life” over to Justin Hayward to sing. But in this case I think it was the right choice. And John’s voice is still–as always–discernable, especially in the plaintive bridge.

RIP John Lodge. You and your four mates provided–still provide–the most powerful, inspiring, awe-inducing listening experience this listener has ever known.

There’s so much more that should be said about the magic in the music, and I wish I had time to write more at length. We all wish we could take your advice to “burn slowly the candle of life”.

But it’s not that kind of world these days. The world is spinning faster, and the days spent lying on my bedroom floor, lost in the flood of beauty from the headphones, are a memory. I have to work in the morning.

But as long as we’re around, the music will be too.

You won’t be forgotten.

See also: https://edcyphers.com/2015/02/17/songs-you-may-have-missed-523/

See also: https://edcyphers.com/2012/11/21/songs-you-may-have-missed-253/

See also: https://edcyphers.com/2012/09/16/songs-you-may-have-missed-173/

See also: https://edcyphers.com/2013/11/06/songs-you-may-have-missed-500/

The Moody Blues Album Covers by Phil Travers

(via The Music Aficionado)

The golden age of progressive rock music in the early 1970s saw a number of collaborations between adventurous musical acts and visual artists who complimented the music with striking and imaginative album covers. Many of the major acts had a go-to artist or design firm that supplied them with creative imagery. For many record buyers the appeal of the album sleeve was a major factor in a decision to buy a record. The 12-inch square size of an LP album cover quickly doubled as gate folds became the norm. Artists started to take advantage of the newly found extra real estate and expanded their canvas. Yes, Genesis, Pink Floyd and others had their Roger Dean, Paul Whitehead and Hipgnosis. This article focuses on The Moody Blues and the six albums featuring the artwork of Phil Travers. We shall talk about those covers and play a favorite piece of music from each album…

The story of these albums begins after the Moody Blues released their breakthrough album Days of Future Passed at the end of 1967. On that album the band quickly abandoned the original idea of a rock realization of Dvorak’s 9th Symphony and wrote their own music. The album, a milestone symphonic rock production that utilized a full orchestra, produced the hit Nights in White Satin. Its success gave the band a new freedom in making artistic decisions about their music and how it is packaged. Enter artist Phil Travers…

Read more: https://musicaficionado.blog/2020/11/18/the-moody-blues-album-covers-by-phil-travers/?fbclid=IwAR1Yac8h-Vj3pRnuQXvNBKMmTM-QHysaewpV2h7BjGCEsU_rHb8OXNmzXtU

Video of the Week: Classical Composer Reacts to The Moody Blues’ “One More Time To Live”

Remembering The Moody Blues’ Graeme Edge in 10 Songs

The Moody Blues’ drummer Graeme Edge died on Nov. 11. His poetic contributions to rock music are eternal. Kevin Winter/Getty

(via the Dallas Observer) by Vincent Arrieta

Of all the bands in the 1960s that cracked open the colors of new musical possibilities, few are as underappreciated as The Moody Blues. The Moodies are widely beloved but taken for granted. They’ve had a crop of hit singles that still receive rotation on classic rock radio, but the band is seldom mentioned in the same breath as some of their less theatrical and more acclaimed peers.

Sure, The Beatles technically did it first, and bands such as Pink Floyd, Electric Light Orchestra and Deep Purple took it further, but The Moody Blues will always be able to lay claim to the fact that they were the first rock ‘n’ roll band to record an entire album piece with a full orchestra.

In many ways, it was all because of Graeme Edge…

Read more: https://www.dallasobserver.com/music/remembering-moody-blues-drummer-graeme-edge-in-10-songs-12824249

A History of the Moody Blues

A Musical Tribute to Moody Blues Flutist Ray Thomas

Just a couple weeks ago this blog celebrated the upcoming induction of the Moody Blues into the Rock and Roll Hall of Fame. Now the full band reunion we and active band members hoped for on that day can’t come to pass; their long time flutist, songwriter and vocalist Ray Thomas passed away January 4th at age 76.

Ray was the man who played what is certainly one of rock’s most iconic flute solos on the classic “Nights in White Satin”.

But as a founding member of the Moodies (only drummer Graeme Edge now remains from the original Denny Laine-fronted lineup) he predated even acclaimed writer, singer and face of the band Justin Hayward, and was also a respected writer and singer in his own right.

Thomas, who released two solo albums in the 70’s during a hiatus by the band, retired from the Moody Blues in 2002 due to health issue and had revealed a prostate cancer diagnosis in 2013.

In their heyday of 1967-72 the Moody Blues benefitted from having five bona fide contributing songwriters within the band, and Thomas’ writing output and flute defined both the band’s sound and artistic direction perhaps as much as any member except Hayward.

With bassist John Lodge’s energy, guitarist Justin Hayward’s soaring melodies, Thomas’ lilting, reflective ballads, keyboardist Mike Pindar’s existential ponderings, and drummer Edge’s trippy poetry, the band released one psychedelic classic album after another during this span. And being five writers deep, each album from 1967’s Days of Future Passed to 1972’s Seventh Sojourn was a trove of musical delights, wondrously reflected (both on the band’s albums and Thomas’ solo LPs) by the lush cover artwork of Phil Travers.

Thomas’ absence from the band has been keenly felt over the past decade and a half.

We’d like to share a small sample of the man’s work with the band. Enjoy…

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