BB's Album Rankings - The Moody Blues

 

The Moody Blues - Album ranking - Least Favorite to Most Favorite

Today, I delve into the recordings of the magnificent Moody Blues, innovators and prog rock pioneers, who brought classically-influenced rock and symphonic rock into the mainstream with glorious melodies, sumptuous soundscapes, stunning vocals, grand and literary themes, and emotional and inspiring lyrics. As early originators of imaginative concept albums and use of the Mellotron, they forged new directions in rock and transitioned the psychedelic era into progressive rock. Unfortunately, the sonic delights of the Moody Blues seem to be largely forgotten these days, as they rarely are afforded their rightful place among the giants of progressive rock. Darlings of the late 60's and early 70's, their reputation has been somewhat tarnished by their transition to more simplistic synthpop hits in the 80's and 90's, as they struggled to survive in a changing musical landscape. But at their peak, throughout what is known as the 'core seven' albums from 1967 to 1972, and a bit beyond that, there was no other band quite like the Moody Blues, mixing classical, rock, pop, and theater, delivering grand and majestic themes, emotionally powerful performances, and sophisticated intricately arranged musical spectacles. Part of their strength was that all five members were singers and songwriters, as well as versatile musicians, each with their own particular style, which enabled combining many different musical influences, with lush instrumentation and powerful vocals and harmonies, to create a unique sound that explored new directions in rock and pop music, and songs with soaring melodies that embraced emotional intensity, sentimentality, and thought-provoking expansiveness.   
     
Originally formed in Birmingham, UK, way back in 1964, by keyboardist Mike Pinder and vocalist-flautist-harmonica player Ray Thomas, bringing in Graeme Edge (drums), Clint Warwick (bass), and Denny Laine (vocals-guitar) to round out the original line-up. This early version of the band followed the wave of other bands at the time, playing British beat and R&B covers, with a few originals from Pinder and Laine (but following similar styles). They had success with their second single, "Go Now", a moody R&B number with strong vocals that went to #1 in the UK. However, they struggled to follow that success, with a string of subsequent singles failing to climb the charts. They released their first album, The Magnificent Moodies in 1965, and was a fairly standard mix of pop and R&B songs of the time, but the record company they were on went out of business shortly after. The Moodies signed with Decca Records and The Beatles Brian Epstein as manager, but saw little success through 1966. By October, Denny Laine and Clint Warwick left the band, and Epstein dropped them shortly after. Just as it appeared the band was falling apart, guitarist-vocalist-composer Justin Hayward and vocalist-bassist-songwriter John Lodge were brought in, and was the beginning of the great classic period for the band. As it turned out, those were just the pieces needed to forge a new and exciting direction in musical adventures.
    With this influx of new voices and songwriting, the band re-grouped and changed direction, emphasizing their own compositions and strengths as singers and songwriters. They were interested in incorporating more classical themes and instrumentation. And Mike Pinder brought the Mellotron, a new keyboard device that mimicked strings, horns, winds, etc. through the use of tape segments, into the band, being one of the very first to utilize the instrument. Mike had worked for the company that developed the instrument prior to joining the band, and was one of the few people that actually knew how to use it effectively, and it became a hallmark of their sound. As it happened, around this time, an opportunity came up to work with a symphony orchestra, as Decca wanted to combine rock and classical in a new version of Dvorak's New World Symphony to show off their new stereo recording process and label. But once the band started working with classical composer-conductor Peter Knight on the project, they mutually decided (without letting the label brass know) that they preferred using their own original concept and songs for the project. The result was Days of Future Passed (1967), a ground-breaking concept album that followed a musical day from morning to night, with songs from the Moody Blues mixed with orchestral interludes and connecting tracks forming a more or less seamless album of rock and classical music, culminating with the magnificent Nights in White Satin and Late Lament recitation. This essentially marked the beginning of the progressive rock movement, the opening salvo or starting gun, if you will, for what what would follow over the next few years. And the band just took off from there, creating a sensational sequence of amazing albums, In Search of the Lost Chord (1968), On The Threshold of a Dream (1969), To Our Children's Children's Children (1970), Every Good Boy Deserves Favour (1971), and Seventh Sojourn (1972), most of them concept albums with connecting songs and themes and featuring music, vocals, and lyrics unlike any other band. They produced some big hits along the way, but each album contained gems far beyond the hits and needed to be heard in their entirety. Each member contributed something wonderful to the band. Justin Hayward, with his songwriting knack for beautiful melodies and hooks, and his velvety smooth voice, as well as his guitar-playing. John Lodge, great songwriter and vocalist, and exquisite bassist who used his bass as a melodic instrument, adding stunning bass lines and melodic counterpoint throughout their songs. Mike Pinder brought a progressive mysticism and existential outlook in addition to his wondrous custom Mellotron and keyboard stylings. Ray Thomas, with a more music hall/theatrical voice and style, brought a lighter touch and whimsy, in addition to his marvelous flute playing. And Graeme Edge, a steady drumming presence, created all of the prose and recitation pieces, forming many of the themes, concepts, and inspirational words. Their producer, Tony Clarke, should also be noted, as he was also instrumental in developing the sound, style, and themes of the band throughout this period. Also of note is Phil Travers, who did the impressive artwork for all of these albums.   
    However, after this amazing string of albums, and an extensive tour throughout 1973 and 1974, the band took an extended break, with each band member doing some solo work or other collaborations outside the band for a few years. But when they got back together and released a new album, Octave, in 1978, with disappointing results, they found that much of their audience had moved on. It seemed other bands, specifically the Electric Light Orchestra (ELO), had taken their place as the premier classically-influenced rock band, and with a much peppier and poppier sound had changed the dynamics of the marketplace. The Moodies decided to adapt with the times and go with a more pop-influenced sound, while still maintaining their lush melodies and complex arrangements. However, moving forward, they would be without Mike Pinder, as he bowed out from touring the Octave album. And after the band hired Patrick Moraz to fill in on the tour, went ahead and kept Moraz (and dumped Pinder) for the next album (which led to a series of lawsuits, but Pinder never returned). The next album was Long Distance Voyager (1981), which became a hit and a return to having hit singles, prompting an even greater shift in the direction of a more commercial pop sound, which then led to an embrace of a much more simplistic synthpop sound throughout the 1980's (no more lush orchestration, grand soundscapes and themes) and slick 80's production. But as the decade wore on and moved into the '90's, and with diminishing returns, the band again took an extended break, before coming back in 1999 with Strange Times, with a refined sound and style once again. Their final album was a Christmas album, December, in 2003, featuring a mix of traditional and original Christmas songs in The Moody Blues style. Overall, the band continued to be a concert draw throughout their history, and continued to tour right up through 2017. The band was inducted into the Rock and Roll Hall of Fame in 2018, but Ray Thomas died shortly before they were to be inducted. Graeme Edge, the only member to have been with the band from its very beginning to its end, died in 2021. Just last year (2023), original member Denny Laine died. And most recently, as I was preparing this, we learned of the passing of the last original member of this great band, Mike Pinder, keyboardist-vocalist-composer, who died on April 24 at the age of 84. Continuing on is Justin Hayward and John Lodge, who both still perform songs from the Moody Blues catalog, although separately now, as the Moody Blues as a band ceased to exist when Graeme Edge retired in 2018.
    So, in their discography, the band has 16 studio albums, released between 1967 and 2003. They also have about 8 live albums and dozens of compilation albums of varying quality. Ranked here are just the 16 studio albums. These rankings are based solely on my own opinions and analyses of of their music, and how much it means to me. The 'core 7' are all so remarkably good that it is quite difficult to separate and rank them, but these are my impressions, and all 7 are great classics that deserve to be recognized and appreciated, as they are unlike any other band. The rest of the catalog also has some real gems, however, and is also worth seeking out. Anyway, here is my ranking and comments.
 

16. Sur La Mer (1988)

This album marked the culmination of their cheesy '80's synthpop period. It represented the lowpoint of the band and this music has not aged well. Still, there are a few good pop-rock songs here, such as the follow-up single to Your Wildest Dreams, I Know You're Out There Somewhere, as well as No More Lies and Vintage Wine. But the rest are mostly forgettable or regrettable simplistic synthpop ditties or limp ballads, and the few highpoints are not enougn to compensate for the rest of the album. Really sappy pop production and synthpop arrangements remove any potential these songs or melodies could have had. Ray Thomas does not appear on this album, as singer, songwriter, or vocalist, and Graeme Edge has a reduced presence, as most of the percussion are programmed drum machines, and their input did not fit in with the synthpop vibe of the time. Rating: 2.5ó

 

15. The Magnificent Moodies (1965)  

Their very first album, but this early version of the band was very different from what they would become. Their only album with Denny Laine (guitar/vocals) and Clint Warwick (Bass/vocals), and before Justin Hayward and John Lodge joined the band. This is generally well-done, but mostly standard blues-rock beat music and ballads of the day similar to what many other bands were doing at the time. The standout track is their hit single Go Now, with it's piano-driven beat and strong vocal performance. But strong vocals throughout aren't enough to lift the album above many other similar albums of the day Rating: 2.5ó 

 

14. The Other Side of Life (1986)   

Too much disposable 80's synthpop here, but also a couple really good songs in Your Wildest Dreams and the great title track, which showed a different side of the band. At this point, it seems that they are trying to go for a sound more in the style of ELO pop than the Moody Blues, and have lost quite a bit of what made them the great band that they were. But the songwriting and vocals from Justin Hayward still yields some real gems. Ray Thomas was relegated to mostly just a background singer during this period, as his songs and flute were not utilized in this synthpop period. Best Songs: Your Wildest Dreams, The Other Side of Life, I Just Dont Care, Slings and Arrows. Rating: 3ó

 

13. December (2003) 

Yes, OK, this is primarily a collection of EZ listening/adult contemporary style Christmas music, but dang if it still isn't pretty darn good. The Moodies sentimental style just fits very well with the overall Christmas music vibe, where sentimental is a big plus, and the vocals from Justin Hayward and company are still magical throughout. And most of the tracks here are new original Christmas songs, with some traditional covers also included, making for a wonderful Christmas album. Best songs: Don't Need a Reindeer, December Snow, A Winter's Tale, Yes I Believe, White Christmas. Rating:3ó
 

 

12. Octave (1978) 

This album marked the band's return from an extended break (1973-1977) when the members did various solo projects. Unfortunately, by the time The Moodies returned in 1978, their place as the premier classically-influenced progressive pop-rock band had been taken over by other bands (particularly ELO) which featured a poppier, peppier sound. When the Moodies returned with this album, which did not have their best songs, and which didn't live up to their earlier classics, their sound and style just seemed somewhat quaint and old-fashioned, and just didn't have much of an impact. There are several quite good songs on here, but overall, not a very triumphant return. Best Songs: Top Rank Suite, Driftwood, One Step Into the Light, I'll Be Level With You, The Day We Meet Again. Rating: 3ó
 

11. Strange Times (1999)  

Moodies return after 8 year absence with this final full album of original songs, and it is quite strong, but with a bit different sound. They've thankfully fully left behind the synthpop, and feature a more stripped-down, acoustic style, with more of a singer-songwriter feel. There are still strings and keyboard orchestration, but overall, songs are based more on acoustic guitar and piano, and arrangements built around that. English Sunset is a standout track, but several other really good songs. Justin's vocals are wonderful, and both Ray Thomas and Graeme Edge have greater presence here than on other recent albums, as Ray gets his own song again (and co-write of another song), and this album also brings back the album closing recitation from Edge with orchestral backing. A few too many soft ballads, but a very enjoyable album, with beautiful melodies and vocals throughout. A strong, but neglected album. Best Tracks: English Sunset, Sooner or Later, Foolish Love, My Little Lovely, The Swallow, Nothing Changes. Rating: 3.5ó

10. Keys to the Kingdom (1991) 

Better songs than the previous two 80's albums, and have mostly dropped the 80's synthpop sound by this time (but still a few holdover synthpop tracks and arrangements), although still geared toward commercial production. Multiple songs here still sound exactly like ELO (especially Say What You Mean and Lean on Me), and although that is not necessarily a bad thing, it is not what I want from the Moody Blues. Overall, a much better variety of tracks and return of fuller production and more complex arrangements. And the return of Ray Thomas as singer, songwriter, and flautist with his lovely Celtic Sonant. Certainly a step in the right direction, but the relative lack of success of this album lead to another long gap before the next studio album. Keyboardist Patrick Moraz was fired during the making of this album after he publicly complained about the band and his role in it (and lawsuits ensued). Best Songs: Say It With Love, Is This Heaven, Hope and Pray, Once is Enough, Never Blame the Rainbows for the Rain. Rating: 3.5ó

9. The Present (1983) 

Solid follow-up to Long Distance Voyager, as it attempts to replicate its style and success, with mostly positive results. It has many similar strengths and a nice variety of songs and styles, just not quite as strong as LDV, but still really good. A great single in Blue World, but continues to move more toward radio-friendly songs and production (and that synthpop creeping in). Ray Thomas was still a strong presence on this album, but his contributions would be greatly diminished in the upcoming synthpop period. Best Songs: Blue World, Going Nowhere, Hole in the World, It's Cold Outside of Your Heart, Sorry. Rating: 3.5ó

8. Long Distance Voyager (1981)

Great return to form, where they correct some of the mistakes of the previous (Octave) album, and deliver an album that is nearly as good as those from their heyday. albeit with an eye towards commercial appeal. Several classic tracks here, however, the hit pop single Gemini Dream also marked the beginning of their synthpop period, and the success of this song resulted in the band moving further in this direction over the next several albums, and would lead to the deterioration of that wonderful lush Moody Blues style. Thus, some signs of trouble ahead, but still a first rate album in itself. First album with Patrick Moraz on keyboards replacing Mike Pinder (and his presence would be missed). Basically the last of the great albums from the band, despite not being in the 'classic period'. Best Songs: The Voice, Painted Smile, In My World, Meanwhile, Nervous, Veteran Cosmic Rocker. Rating: 4ó

7. Seventh Sojourn (1972) 

The last album from the 'core seven' classic period, but my least favorite of those fantastic seven albums. This was the only album without a concept, theme, or association among the songs, being just a collection of songs, and this album also did not contain any recitation element, just 8 unrelated songs, but still a great album. Lead by the great You and Me and New Horizons, contains several wonderful songs. However, I just have never cared for what became one of their biggest hits, 'I'm just a Singer in a Rock and Roll Band'. That and the overall sound of the album just doesn't strike me the same way as the rest of the core 7 albums in that magical string of success. Best Songs: You and Me, New Horizons, Lost in Lost World, Isn't Life Strange, Land of Make Believe, For My Lady. Rating: 4ó

6. Days of Future Passed (1967)

Monumentally important album merging classical and rock, and basically serving as the starting point to the whole 'progressive rock' thing. Took the concept album to the next step with this musical presentation of the day in the life of an everyday person from morning through to the end of the day, with songs by the Moody Blues interspersed with interludes and connecting pieces of orchestral music from the London Festival Orchestra and composed by Peter Knight. It also was the first extensive use of the Mellotron in rock music. Nights in White Satin and Tuesday Afternoon are all-time classics, but I do have a couple issues with much of the rest of the album. First, despite its reputation for integrating the classical orchestra with a rock band, the orchestra is only fully integrated with the Moody Blues on 'Nights", whereas all the other tracks are either just the band (with 'orchestra' sounds provided by Pinder's fabulous Mellotron) or just the orchestatra providing connecting pieces or interludes. It doesn't really fully integrate the two together. Second, the arrangements of the orchestral pieces don't have a very contemporary style or sound (the arrangements seem in a style more out of movie soundtracks from the 1940's and '50's, rather than contemporary to the 60's and beyond). This lack of integration, at least for me, keeps this amazing project from being fully realized. It is still a major breakthrough and undisputed classic, but I don't listen to this as much as the others, and it is just not quite among my top 5 favorites from them. Best Songs: Nights in White Satin, Forever Afternoon (Tuesday?), Peak Hour, Dawn is a Feeling. Rating: 4ó

5. A Question of Balance (1970) 

This album takes on the theme of asking questions and trying to find meaning in the world. Several undisputed classics here, but not quite as grand an experience as some of the previous albums. At this point, they were purposely trying to do songs that were stripped back a bit from the elaborate lushness and complexity of previous albums, so that the songs would translate and work better in concert.  And the songs are wonderful, even if stripped back a bit. Opens with the iconic Question and closes with the moving, inspirational The Balance, with numerous highlights in between. Overall, the production and sound quality on these early 70's albums exceeds that of 60's albums, for a great sonic experience. The band really hitting their stride in this period. Best Songs: Question, The Balance, And the Tide Rushes In, It's Up To You, Dawning Is The Day, How Is It We Are Here. Rating: 4.5ó

4. Every Good Boy Deserves Favour (1971) 

This albums more or less continues the concept from the previous album (A Question of Balance) of looking for meaning in the world, as well as following up on concepts from previous albums. Overall, fantastic concept and execution, the album opens with the instrumental Procession that chronicles the development of music over time (and somewhat follows from the House of Four Doors from ISOTLC), as well as foreshadows a song from later in the album, and which then triumphantly leads directly into my favorite Moody Blues song, The Story in Your Eyes, a rousing, fantastic song with killer guitar riffs, insane counterpoint bass line, and the catchiest melody and chorus. This was the first Moody Blues album I bought myself, and remains a personal favorite. Although ranked a bit lower by some due to a couple of lighter or more whimsical songs, this is a true powerhouse album, containing some of the band's biggest, fullest, and most elaborate and powerful arrangements, on songs such as One More Time to Live, After You Came, You Can Never Go Home, and My Song. An underrated classic. Best Songs: The Story in Your Eyes, Our Guessing Game, After You Came, One More Time to Live, You Can Never Go Home, My Song. Rating: 4.5ó

3. To Our Children's Children's Children (1969) 

The theme of this album centers around space travel and the legacy we leave for future generations. A masterful, fully immersive album, probably their most cohesive, with all the songs just flowing and working together so well to form this masterwork. The album opens with Higher and Higher, a musical simulation of a rocket blasting off and a rocking instrumental backing to Pinder's recitation of Edge's prose, before going into Eyes of a Child, which ponders the wonderment of space travel. The album flows from one highlight to another with a lushly comforting sound and style, wonderful vocals, enveloping sound, and compelling lyrics.  Songs such as Gypsy and Beyond provide the more upbeat rockin' elements, while the more beautifully laconic Out and In and magnificent Watching and Waiting serve up emotional and inspirational high points. A stunning achievement that has to be experienced in total. Best Songs: Gypsy, Watching and Waiting, Higher and Higher, Eyes of a Child, Beyond, Eternity Road, Out and In. Rating: 5ó

2. On the Threshold of a Dream (1969)

First Moodies album I ever heard (and way back in 1969, too), loved it immediately. The theme here has to do with living in a time where we were on the cusp of a new era, a new enlightenment. The album kicks off with a dramatization of Edge's prose dealing with modernization and fear of being replaced by computers (still quite relevant today), then goes into the wonderful uplifting Lovely to See You. Filled with Moodies classics such as To Share Our Love, So Deep Within You, Never Comes The Day, and Are You Sitting Comfortably, and then closes with a sequence that may be the band's most progressive of all; starting with Edge's inspirational The Dream recitation (perhaps his very best), then the beautiful Have You Heard? going into Pinder's instrumental musical adventure of The Voyage, before coming back to conclude with a final section of Have You Heard. Just magical, inspirational, and masterful vintage prog. Note: This album, released in April 1969, was the Moody Blues 3rd album of the core 7, all 3 of which came out well before King Crimson's In The Court of the Crimson King (which many consider the 1st progressive rock album?). Best songs: Lovely to See You, To Share Our Love, Never Comes the Day, The Dream/Have You Heard/Voyage Suite, Are Sitting Comfortably. Rating: 5ó

1. In Search of the Lost Chord (1968) 

Certainly one of the very first true prog albums, and absolutely brilliant from start to finish. Almost singlehandedly takes psychedelic-inspired music and morphs it into progressive rock. A superb concept album with a theme of quest and discovery, from physical exploration to personal self-realization (a general theme they would revisit multiple times). In this album, they expand their influences from classical (as observed in DOFP) to include many other sounds and musical styles, and a variety of nontraditional instrumentation. And on this album (there is no orchestra), they create all the varied sounds and styles themselves, showing their versatility and creativity, adding (in addition to their usual guitars, keyboards, bass, flute, and drums) such things as sitar, tablas, harpsichord, cello, auto-harp, saxophone, timpani, etc. (as well as heavy doses of Pinder's Mellotron-drenched orchestral sounds), all by the band members themselves(no outside musicians). The album opens with a recitation from Graeme Edge (in what would set the precedent for the structure of most their subsequent concept albums), then launches into the rocking 'Ride My See-Saw' and flows from song to song on its journey of search and discovery, through Dr. Livingston, the House of Four Doors and Legend of a Mind. Side 2 deals with more directly with personal discovery with Voices in the Sky and Best Way to Travel, culminating with The Actor and the transcendental meditation mantra of Om. A fabulous journey that shows the creativity, innovation, emotional heart, inspirational motivation, melodic themes, and musical diversity of this remarkable band. A stunning tour-de-force way ahead of its time. Best Songs: Ride My See-Saw, The Best Way to Travel, House of Four Doors/Legend of a Mind, Voices in the Sky. Rating: 5 ó

BB’s Rating scale:
1ó – Terrible, torturous to have to listen to
1.5ó - Poor, not worth your time
2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall
2.5ó– Average, OK, meh, not bad but not that good either
3ó– Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often
3.5ó – Very good album. Some stellar tracks, very enjoyable overall
4ó – Great album, filled with great songs, one that you will want to come back to over and over again
4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece
5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

So, that's my own personal assessment. What about yours? What are your favorite Moody Blues albums (or not so favorite) and why? Again, just a phenomenal catalog, even with the lesser later albums. Certainly one of the all-time great and totally unique rock bands.