No sooner had I heard the news on the radio that Duane Eddy had died (and Richard Tandy of ELO too) than I opened the Guardian’s obituary page to find that Mike Pinder of the Moody Blues has made his final voyage.
Pinder was the last of the original five members of the Moody Blues still standing. Now only Justin Hayward and John Lodge remain of the later classic line-up.
Pinder’s contribution to that classic line-up was immense. It is fair to say that without his ability on the mellotron (an instrument he personally brought to the attention of The Beatles) The Moody Blues would not have sounded as they did, nor had the same success.
His piano solo on the original group’s biggest hit Go Now was no small part of its effectiveness.
This song written by Pinder was the B-side to Ride My See-saw but later appeared on the odd album Caught Live + Five. It was later a hit for The Four Tops but as usual Levi Stubbs shouted his way through it.
The Moody Blues: A Simple Game
This is another of my favourite Pinder songs:-
The Moody Blues: The Best Way to Travel (from In Search of the Lost Chord)
I always loved the piano ending to this track which was sandwiched between Have You Heard Part 1 and Have You Heard Part 2 on the LP On the Threshold of a Dream.
The Moody Blues: The Voyage
Michael Thomas (Mike) Pinder: 27/12/1941 – 24/4/2024. So it goes.
During the week came the news that Denny Laine, first singer with The Moody Blues, the voice of number 1 hit Go Now, has gone.
The Moody Blues: Go Now
Laine later became a founder member of Wings, As co-writer of Mull of Kintyre (with Paul McCartney) he had a bigger selling single than any the Beatles had.
In between The Moody Blues and his stint with Wings he was briefly in various other bands and found time to release two singles under his own name of which the song below was one I liked from first hearing his version. It wasn’t a hit for Denny but in 1972 became one for Colin Blunstone.
Denny Laine: Say You Don’t Mind
Brian Frederick Arthur Hines (Denny Laine) 29/10/ 1944 – 5/12/2023. So it goes.
Though he contributed spoken word pieces to the previous five albums plus an instrumental in Beyond from To Our Children’s Children’s Children only six Moody Blues songs were credited to their late drummer Graeme Edge as sole writer. This rocker, the last track on side one of Every Good Boy Deserves Favour, was one of them.
The Moody Blues: After You Came
Graeme Charles Edge: 30/3/1941 – 11/11/2021. So it goes.
The source of that “glorious age of Camelot” quote I linked to in Tuesday’s review post of Lavie Tidhar’s “King Arthur” book By Force Alone.
The song is from The Moody Blues album On the Threshold of a Dream released in April 1969. A languid, ethereal, atmospheric track. Quite unlike the book I might add.
Previously all my Moody Blues posts have been of Justin Hayward songs. Neither he nor the writer of this, John Lodge, were original members of the band when it had its number one hit Go Now but replaced Denny Laine and Clint Warwick after a subsequent lack of chart success led to that pair leaving the band.
It was the arrival of Lodge and Hayward though which coincided with a change of direction – to which they made a significant contribution.
This video is a clip from the BBC2 late night programme Colour Me Pop partly introduced to showcase the then new colour TV broadcasts. Note the psychedelic effects. The Moody Blues’ appearance on the show was on 14th September 1968. I either watched it at the time of its first broadcast or on a reasonably quick repeat. Despite doing nothing but singing (or miming) on the clip Ray Thomas still manages to give an extravagant performance.
Though this track was written by Lodge it is Hayward’s guitar solo and the group’s signature vocal sound which stand out. The song quickly became a staple of the group’s live shows, more or less the band’s signature tune.
Ex-Zombie Colin Blunstone had a few solo hits in the 70s.
This was one of them. Unfortunately the video isn’t synched. (Perhaps he was miming in the first place, but it sounds like a live performance.)
Colin Blunstone: Say You Don’t Mind
The song’s writer Denny Laine (he of the early Moody Blues and of Wings) had recorded it in the 60s.
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.
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.