Original master has already been damaged, since the recurrence of is still being produced and sold in the remix version. However, the Omoto tape that has been reprinted from the reel came out again to the world in recent years. In fact, the sound of this work is another dimension entirely and cause many of the LP. Its freshness is even comparable to the current remix version CD, nor any of cloudiness, turbidity-distortion. Of course, freshness is also in line with the current official CD, the contents are completely different original mix.
Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. This rumour is supported by the apparent existence of a CD that was said to have been floating around Polydor's studios around , containing the vinyl mix originally intended to be included in the SACD remix. The compilation album Time Traveler contains an excellent quality version of "Nights in White Satin's" vinyl mix, supporting the idea that a good quality master still exists somewhere.
Five years later it reached number 3 on the Billboard chart in the US. The LP was a song cycle or concept album that takes place over the course of a single day. The album drew inspiration in production and arrangement from the pioneering use of the classical instrumentation by the Beatles , to whom Pinder had introduced the mellotron that year.
It took the form to new heights using the London Festival Orchestra ,  a loose affiliation of Decca's classical musicians given a fictitious name, adding the term "London" to sound impressive, to provide an orchestral linking framework to the Moodies' already written and performed songs, plus overture and conclusion sections on the album, including backing up Graeme Edge's opening and closing poems recited by Pinder.
Strings were added to the latter portion of the album version of Hayward's " Nights in White Satin " absent on the single but the orchestra and group never performed together on the recording, with the band's rock instrumentation centred on Pinder's mellotron. Despite being a lush concept album, the LP was cut in a very workmanlike manner, with the band recording a particular song, then the track being presented to Peter Knight who quickly composed a suitable "linking" orchestral portion, which the Decca musicians "London Festival Orchestra" then recorded.
The album was as much an original work by Knight himself as the group. The composing credits were listed on the sleeve as: "Redwave-Knight", although Hayward wrote "Nights Clarke produced the album, and afterwards continued working with the band. Sometimes known to fans as "The Sixth Moodie", he produced their albums and singles for the next eleven years.
Engineer Derek Varnals also contributed heavily to the creation of the early Moody's studio sound, working with Pinder and Clarke to create a more symphonic overlapping sound on the mellotron as opposed to the sharp 'cut off' the instrument normally gave, partly achieved by removing all the "sound effects" tapes trains, whistles, cockerel crowing, etc.
A promotional film for the song was filmed on location at Groot-Bijgaarden Castle near Brussels in Belgium. Lodge provided a two-part song "House of Four Doors" set either side of Thomas' epic piece. Justin Hayward began playing sitar and incorporating it into Moody Blues music "Voices Graeme Edge found a significant secondary role in the band as a writer of poetry, and some of their early albums from the late s began with various band members reciting poems by Edge that were conceptually related to the lyrics of the songs that followed.
Edge narrated his brief "Departure" poem on "Lost Chord", although Pinder recited the majority of Edge's poetry, as according to Edge, he had the best voice for it due to smoking more cigarettes and drinking more whisky at the time. Pinder contributed the closing track on side one, "So Deep Within You".
The opening track "Higher and Higher" saw Pinder simulate a rocket blast-off on keyboards, then narrate Edge's lyrics. It was during that the band established their own label "Threshold" under licence to Decca Records.
To Our Children's Children's Children was the first of their albums to be released on their own label. The song "Watching and Waiting" was issued as a single on the Threshold label, but failed to chart.
Although the Moodies had by now defined a somewhat psychedelic style and helped to define the progressive rock then also known as 'art rock' sound, the group decided to record an album that could be played in concert, losing some of their full-blown sound for A Question of Balance This album, reaching No.
Hayward's "Question" in a different version was issued as a single, reaching No. Justin Hayward began an artful exploration of guitar tone through the use of numerous effects pedals and fuzzboxes and developed for himself a very melodic buzzing guitar-solo sound. The Moody Blues had by now become a bill-topping act in their own right. Pinder's "Melancholy Man" a No. The opening track "Procession" was the only item composed by all five band members, a fascinating track depicting the "evolution" of music, leading into Hayward's "Story in Your Eyes".
Edge, the long-standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken — his "After You Came" featured each of the four lead singers taking a vocal section. Then in , Lodge's songs "Isn't Life Strange?
Sojourn also saw Pinder using the new Chamberlin instrument in place of the mellotron and Edge using an electronic drum kit. By this time, other bands were picking up their work. In late , a re-issue of the five-year-old "Nights in White Satin" became the Moody Blues' biggest US hit, soaring to number two on the Billboard Hot and becoming a certified million-seller; the song had "bubbled under" the Hot charts on its original release.
The song also returned to the UK charts, reaching No. The Moodies were also among the pioneers of the idea that a successful rock band could promote itself through their own label, following the Beatles' creation of Apple Records. However, they helped lay groundwork for other major acts to set up similar personal labels and distribution deals, including the Rolling Stones ' own label and Led Zeppelin 's Swan Song , [ citation needed ] and all of the Moodies' studio releases from to bore the Threshold logo on at least one of their format versions.
Before the band's —74 world tour their last with Pinder , Hayward wrote a song called "Island" with the intention of including it on a potential follow-up album, which the Moodies recorded in before ultimately going their separate ways. An additional cause of the hiatus were the long tours that had by this time strained Pinder, who needed a rest. The album had originally been a projected liaison between Hayward and Pinder, but after Pinder dropped out, John Lodge stepped in.
Tony Clarke produced it. The members then released solo albums. Pinder said he hoped to get the band back together that year. I was trying to get the band to do an album, but the response was so weak I returned to California with my two new Mk5 mellotrons and began work on my solo album The Promise. In , the group made a decision to record together again, with their record company Decca urging a reunion album.
London Records decided to release a somewhat poorly mixed eight-year-old recording of the band performing at London's Royal Albert Hall , against their artistic wishes. The sessions were marked with tension and division: first there was a fire at the studios they were using, then after quickly relocating to Pinder's home studio, a landslide following torrential rains effectively marooned them, inevitably causing tensions to rise with Pinder then dropping out before completion.
Clarke was also forced to leave because of non-musical reasons before the album was completed, but by the spring of Octave was ready for release. Pinder, citing his young family, and by then probably considering the band's touring days behind them, excused himself from the touring commitments that were to follow.
His decision caused acrimony within the band notably from Edge and Ray Thomas had said Pinder was initially agreeable to touring, but his opting out later on with a major comeback tour already planned was a severely embarrassing blow to them. Attempts were made by their management to downplay Pinder's absence, notably at a major UK music press party Decca organised, when the top Decca dignitary guest, while making a "welcome back" speech, openly referred to "Mike Pinder being currently absent over in the States ", much to their dismay.
During this period, the prog-rock band Yes had asked their keyboardist Patrick Moraz , to leave, and he joined the Moody Blues as keyboardist for the Octave World Tour. The album sold well and produced the hits " Steppin' in a Slide Zone ", no. By they were ready to record again, this time bringing in producer Pip Williams. Moraz was retained as the band's permanent keyboardist, though Pinder had originally understood that he would continue to record even if not touring with the band.
Pinder took legal action to prevent the new Moody Blues album from reaching the public without his contributions, but he was not successful, and ultimately, he never returned to the fold.Mar 01, · In celebration of the 50th Anniversary of their iconic, landmark album, Days of Future Passed, The Moody Blues performed the album in its entirety in Toronto at the Sony Centre for the Performing Arts in July