The follow up to Living in the Past. As I recall this was a hit at the back end of 1969 and on into 1970. The group’s second single to reach the top ten.
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I’ve just seen from the club website that one of Sons’ most loyal servants, left back Andy Jardine, has died.
He played a total of 364 games for the club in the 1950s and 60s – including 309 times with Tommy Govan as his partner at full back.
The pairing more or less picked itself. I can still hear the Boghead announcer intoning, “Robertson, Govan and Jardine,” or “Crawford, Govan and Jardine,” as the first three names on the team sheet.
Andy’s last appearance for the club was historic in another sense. It was in the 5-1 win over Third Lanark which was that club’s last ever game.
My last memory of Andy is of that Christmas Day game at Love Street, Paisley in 1971 when big Roy McCormack scored the best goal I’ve ever seen by a Sons player. Andy wasn’t playing, he was a spectator – can of beer in hand (yes, you could bring beer into the ground in those days) – dispensing ex-player’s wisdom to his successor at left back that day, Billie Wilkinson. “Nice wee nudge, son. Oh, unlucky. He’s seen it.”
Andy Jardine, long-standing left back. So it goes.
Another admonitory tale.
I remember this single being advertised on the NME – complete with pictures of Lily.
There is a video of this on You Tube showing pictures of various Lilies. Not quite the thing for the blog though.
After their next LP, Seventh Sojourn, which spawned two singles in Isn’t Life Strange and I’m Just a Singer (In a Rock and Roll Band) both of which – unlike The Story in Your Eyes – troubled the charts, the Moody Blues broke up.
During the five years they spent apart most of them released solo LPs but the most successful venture was a collaboration between Justin Hayward and John Lodge which produced the LP Blue Jays but most memorably the song Blue Guitar, a no 8 hit in the UK. According to the Wiki article above Hayward actually recorded this with 10cc rather than Lodge but nevertheless the two took “Blue Jays” on the road mainly – as I recall Lodge introducing the track on stage – because of Blue Guitar.
Here they are performing it (ie miming) on Supersonic.
A Clive Westlake song that is lyrically reminiscent of last week’s first offering by Goffin and King in the lines, “Tomorrow will you still be here? / Tomorrow will come but I fear / that what is happening to me is only a dream…” but sung by the performer of the second.
Like Goin’ Back this is just a little heavy on the orchestral backing but it has power and pathos both.
I woke up this morning to the news that Gerry Goffin has died.
In his collaborations with Carole King hewrote the lyrics to some of the most enduring popular songs from the 1960s. The list is stunning. At the end of the article in the link are songs he wrote with others.
His lyrics tended to be carefully worked out and belied the frothy nature of the productions of the era.
Look at the words of Will You Love Me Tomorrow. Their underlying poignancy was highlighted in King’s own version on her album, Tapestry.
Tonight you’re mine completely/You give your love so sweetly.
Tonight the light of love is in your eyes/But will you love me tomorrow?
Is this a lasting treasure/Or just a moment’s pleasure?
Can I believe the magic of your sighs?/Will you still love me tomorrow?
Tonight with words unspoken/You say that I’m the only one
But will my heart be broken/When the night meets the morning sun?
I’d like to know that your love/Is love I can be sure of.
So tell me now and I won’t ask again/Will you still love me tomorrow?
This, though, is the early 60s take by The Shirelles.
And then there’s this:-
A little bit of freedom’s all we lack.
So catch me if you can I’m goin’ back.
Gerald “Gerry” Goffin: 11/2/1939 – 19/6/2014. So it goes.
I’ve already mentioned the odd decision to release Watching and Waiting rather than Gypsy as the single from To Our Children’s Children’s Children. The former was an ideal coda to the album but not really single material.
The single that came after, Question, was the Moodies most successful in the new era, only being kept off the No. 1 slot by the England World Cup squad’s Back Home. (Oh tempora!) Despite being described as, “One of the world’s most advanced groups,” while promoting the song on Top of the Pops, the LP it prefaced, A Question of Balance, gave the first indication that collectively the band was going off the boil.
Their next single didn’t even make the UK charts despite being a belter. First below is not the album version from Every Good Boy Deserves Favour. This one has a different vocal performance and a more lush mellotron sound. The more familiar album edition follows.
Tuesday Afternoon was followed as a single by Voices in the Sky (with its flute flourishes and distinctive vocal from Justin Hayward) which, like its follow-up, the hard-driving perennial favourite Ride My See-Saw, featured on the next LP, the even more pretentious concept album, In Search of the Lost Chord. That was the first Moody Blues LP I bought – possibly my first ever and there’s barely a dud on it – with the possible exception of the spoken passages and the final track OM. Its standout is the Ray Thomas song Legend of a Mind embedded within the House of Four Doors sequence with its classical pretensions placing the group’s output firmly in Prog territory.
By this time the Moodies were firmly established as my favourite band.
Then we had this song – later to feature on On The Threshold of a Dream – which I remember in its review of the single the NME referred to as “beautifully constructed.” Here the group plays it live.
I didn’t buy the Moodies’ next single, Tuesday Afternoon, a song which – like Nights In White Satin – appeared also on the LP Days of Future Passed but I remember hearing it on the radio and thinking it was almost as good. It seems the single version was edited down to a ludicrous 2 minutes 16 seconds – missing out the repeat of the opening riff and Tuesday afternoon chorus.
This is how it appeared on the LP and so contains the orchestral afterpiece tagged on by conductor Peter Knight. Knight’s “classical music” interludes linked all the songs on the LP – supposedly to demonstrate the record label Deram’s new “Deramic Sound System.” The story that the band were asked to record an album based on Dvorak’s New World symphony but instead recorded their own songs without the label’s knowledge has been disputed.
Edited (7/6/14) to add:- Those orchestral interludes and the fact that it was a concept album probably make Days of Future Passed one of the first prog rock albums.
I missed the Moody Blues next single after Fly Me High, the Mike Pinder song, Love and Beauty, where his mellotron made its first appearance on record, but I actually bought the one after, the initial issue – on the Deram label, DM 161 – of Nights In White Satin, written by Justin Hayward, which crept into the UK top twenty, making no. 19.
I was impressed by the B-side too, also written by Hayward. That mono version has the harpsichord, which features more prominently on later stereo releases, much lower down in the mix.
This is the stereo version with the more pronounced harpsichord:-