In the late sixties The
Moody Blues were often labeled the cosmic
stock brokers, because of their love of
making mystical music, whilst not adverse
to filling the coffers.
But I digress, in 1966 The Moody Blues
were washed up, after a solitary hit (mind
you it was a number one, on both sides
of the Atlantic with “Go Now”). They were
playing the scampi and chips northern
England club scene for a pittance.
Original lead singer Denny Laine had left
the band for greener pastures, (finally
joining up with ex-Beatle Paul McCartney
in Wings) and replacements Justin Hayward
and John Lodge were not having an easy
ride settling in. The situation reached
its nadir when one club promoter offered
them some advice “Don’t come back here
lads, you’re the worst outfit I’ve ever
booked”. On the lonely Transit Van (a
necessity to any aspiring band in the
sixties) ride home, the two new members
actually burst into tears. But two years
later The Moody Blues mark two were selling
millions and touring the world.
Begging the indulgence of their record
label Deram, they disappeared into the
studio and transformed themselves as a
caterpillar to a butterfly, from a pop
singles band, into a progressive rock
albums band.
The band themselves reject the pigeon
hole, when Justin Hayward was asked whether
he felt any affinity with the progressive
rock movement he replied, “I don’t think
we feel any affinity with anybody”.
The critics certainly saw something dodgy
in their cosmic makeover and when the
band admitted holding regular business
meetings in their stately homes, they
were judged terminally unhip.
But unfazed by this the Moodies concentrated
on turning up on time for gigs and performing
well, their ability to duplicate their
intricately recorded material live on
stage could be phenomenal, just ask anyone
who saw them live in the late sixties
or early seventies.
Following the tentative orchestral explorations
of “Days of Future Past” and “In Search
of The Lost Chord”. “On The Threshold
Of a Dream” finds the band in confident
mood, starting off the dream sequence
of “In The Beginning” with the wonderfully
over the top lyrics of “I think, I think
therefore I am, I think. There you go
lad, keep it cool” before the band break
into the riff laden “Lovely To See You”
and the band take you on a wonderful 40
minute journey of layered vocals and excellent
musicianship.
Thirty-three instruments were used, none
more prominently than the mighty Mellotron,
Mike Pinder’s rare ability to master this
temperamental beast along with a superb
sense of counter melody, gave the moodies
their instantly distinctive sound.
T.V. appearances from the time show a
band visually in traumatic transition
from Cabaret circuit to Superstardom with
Flautist Ray Thomas in black velvet jacket
and ruffs looking as if he never really
made up his mind.
I leave you with my favorite drummer quote
of the time, when radio D.J. Johnny Moran
asked drummer Graeme Edge if the Moodies
might be regarded as pretentious, after
due consideration, he replied, “Well,
I suppose we do pretend quite a lot”.
Pawed by Mott The Dog
Remastered by Ella Crew
E-mail: review@mott-the-dog.com
