The Moody Blues

[SMiLE Brian]

Recently got into this band and their classic era stuff is so awesome. Their stuff on vinyl has been amazing with the Mellotron ringing through my house.

[Jason]

Oh, don't get me started. My other favorite band along with the Beach Boys. I adore their music.

[SMiLE Brian]

Oh, don't get me started. My other favorite band along with the Beach Boys. I adore their music.

They need a reunion as well, its rare that a band has all its members still alive at this point. What is the deal with Mike Pinder?

[Jason]

Well, if you want to be picky, technically all of the members except for Clint Warwick (bassist during the 1964-66 "Mark 1" Moodies, the Go Now era) are still alive.

Mike Pinder's departure from the band was a long, drawn out process. The band were in a personal rut during the Seventh Sojourn period, mainly due to the rigors of touring and some other personal problems. Mike Pinder was the one most affected by this. After Seventh Sojourn was released the band toured the world in throughout much of 1973 and the beginning of 1974. After the tour ended in 1974 the band was worn out and, despite pressure from Justin Hayward to continue, decided to go on hiatus and work on individual projects for a while. Each member made solo records during the hiatus, and Justin Hayward and John Lodge recorded the Blue Jays album during this period, as well.

By the time the band reconvened in late 1977 (and Decca saw fit to release the Caught Live +5 record, which angered the band), Mike had moved to the United States, married, and started a family. The rest of the band were ready to record, as usual, but Mike's refusal to leave Los Angeles resulted in the Moody Blues moving their entire entourage (including producer Tony Clarke) to Los Angeles in order to record what would become Octave.

The sessions were, to put it mildly, disastrous. The initial sessions had to be cancelled midway through when a torrential rainstorm sent a series of mudslides down through the studio and rendered it unusable. To complicate matters, Tony Clarke's marriage fell apart, and he had to return to England to deal with an impending divorce. The band moved the sessions and started recording in Mike Pinder's garage studio, but the tension had already reached a fever pitch. Mike had a lot of trouble relating to the rest of the band, culminating in a furious screaming match between Graeme Edge and Mike that led to Mike dropping out of the sessions before completion. The four-piece band (spearheaded by Justin and John) finished the album themselves, including the keyboard parts.

A disastrous press conference in England before the 1978 tour featured Tony Clarke "sitting in" as Mike Pinder in order to give the impression that all five were back together, however, the Decca press agent mentioned at the end of the conference "Mike Pinder currently absent back in the States", much to the band's distaste.

When time came to tour the Octave record (and with some of their highest ticket sales ever), Mike was initially up for the touring, but only got as far as a final meeting and contract signing before admitting he couldn't bear to go out on the road. He claimed later on that the band agreed that he would work in the studio and a session musician would perform live in his place. The session musician hired for the job was ex-Yes keyboardist Patrick Moraz.

By the time came to record Long Distance Voyager in 1980, Patrick had already been given full membership in the band. Mike Pinder's first news of the album's release came in the form of advertisements he saw in a local newspaper. He filed suit to stop the band from releasing the record without his contributions, but was unsuccessful.

I wouldn't say there is bad blood between Mike and the other Moodies, but he seems very content to do his own thing. I'd love to see a reunion, but with both Mike and Ray Thomas enjoying their respective retirements, I doubt it would happen.

[SMiLE Brian]

Well, if you want to be picky, technically all of the members except for Clint Warwick (bassist during the 1964-66 "Mark 1" Moodies, the Go Now era) are still alive.

Mike Pinder's departure from the band was a long, drawn out process. The band were in a personal rut during the Seventh Sojourn period, mainly due to the rigors of touring and some other personal problems. Mike Pinder was the one most affected by this. After Seventh Sojourn was released the band toured the world in throughout much of 1973 and the beginning of 1974. After the tour ended in 1974 the band was worn out and, despite pressure from Justin Hayward to continue, decided to go on hiatus and work on individual projects for a while. Each member made solo records during the hiatus, and Justin Hayward and John Lodge recorded the Blue Jays album during this period, as well.

By the time the band reconvened in late 1977 (and Decca saw fit to release the Caught Live +5 record, which angered the band), Mike had moved to the United States, married, and started a family. The rest of the band were ready to record, as usual, but Mike's refusal to leave Los Angeles resulted in the Moody Blues moving their entire entourage (including producer Tony Clarke) to Los Angeles in order to record what would become Octave.

The sessions were, to put it mildly, disastrous. The initial sessions had to be cancelled midway through when a torrential rainstorm sent a series of mudslides down through the studio and rendered it unusable. To complicate matters, Tony Clarke's marriage fell apart, and he had to return to England to deal with an impending divorce. The band moved the sessions and started recording in Mike Pinder's garage studio, but the tension had already reached a fever pitch. Mike had a lot of trouble relating to the rest of the band, culminating in a furious screaming match between Graeme Edge and Mike that led to Mike dropping out of the sessions before completion. The four-piece band (spearheaded by Justin and John) finished the album themselves, including the keyboard parts.

When time came to tour the Octave record (and with some of their highest ticket sales ever), Mike was initially up for the touring, but only got as far as a final meeting and contract signing before admitting he couldn't bear to go out on the road. He claimed later on that the band agreed that he would work in the studio and a session musician would perform live in his place. The session musician hired for the job was ex-Yes keyboardist Patrick Moraz.

By the time came to record Long Distance Voyager in 1980, Patrick had already been given full membership in the band. Mike Pinder's first news of the album's release came in the form of advertisements he saw in a local newspaper. He filed suit to stop the band from releasing the record without his contributions, but was unsuccessful.

I wouldn't say there is bad blood between Mike and the other Moodies, but he seems very content to do his own thing. I'd love to see a reunion, but with both Mike and Ray Thomas enjoying their respective retirements, I doubt it would happen.

Thanks for the detailed infomation, I found the Mark 1 moodies album for really cheap and find it awkward R&B like a lot of British Invasion bands. I miss Mike and Ray in the band, recent live performances, while still good, are missing the awesome flutes and mellotrons that Ray and Mike brought to the band. A reunion performance once or twice would be all I want if they reunite. Finally, the caught live album has those crazy falsettos that I found amazing to listen to.

[Jason]

I'd love to see a reunion but both Ray and Mike seem to be very content doing their own thing. I'm very doubtful it would happen. There isn't a lot of looking back when it comes to the Moody Blues.

[SMiLE Brian]

I'd love to see a reunion but both Ray and Mike seem to be very content doing their own thing. I'm very doubtful it would happen. There isn't a lot of looking back when it comes to the Moody Blues.

I could tell that from interviews with the band, the LPs are where the band lives on. The early albums just put me into another world with awesome production and the band singing deep lyrics.

[Jason]

What albums of theirs do you have?

[SMiLE Brian]

What albums of theirs do you have?

Go Now!, Days of future passed, in search of the lost chord, On the Threshold of a Dream, To Our Children's Children's Children, and long distance Voyager.  I just started my collection, but Moody Blues vinyl in good condition is easy to find because of people avoiding the Moodies and prog. rock like the plague because Rolling Stone told them to.

[Jason]

Good to start with. All of the 1967-72 albums are essential. The 1975 Justin/John Blue Jays album is a worthy purchase. Justin's 1977 Songwriter LP is also very good. 1983's The Present is pretty good. After that, the albums are ok to ehhhhhhh from The Other Side Of Life through Keys Of The Kingdom. 1999's Strange Times is VERY good, probably their best since Long Distance Voyager.

[SMiLE Brian]

Good to start with. All of the 1967-72 albums are essential. The 1975 Justin/John Blue Jays album is a worthy purchase. Justin's 1977 Songwriter LP is also very good. 1983's The Present is pretty good. After that, the albums are ok to ehhhhhhh from The Other Side Of Life through Keys Of The Kingdom. 1999's Strange Times is VERY good, probably their best since Long Distance Voyager.

Will check those out, the 1980s albums are different with Patrick Moraz on keys and the MTV comeback.

[Jason]

Oh yeah. You can make a very good 80 minute CD with the best of the 1986-91 albums, but it's hard to escape crap like Running Out Of Love and Once Is Enough.

[SMiLE Brian]

Oh yeah. You can make a very good 80 minute CD with the best of the 1986-91 albums, but it's hard to escape crap like Running Out Of Love and Once Is Enough.

Will still check them out for myself, Patrick Moraz sounds like quite the character from what I have heard.

[Jason]

He was. He still is. Patrick was always an excellent keyboardist. However, the fact still remains that the man was (and still is) a HUGE egomaniac who was, to put it bluntly, too much for the egomania that ruled (and later splintered) Yes.

His departure from the band in 1991 (during Keys To The Kingdom recording sessions) came after a good five or so years of internal strife that, luckily, the Moody Blues were able to keep out of the press until Patrick decided to sue them, claiming "unpaid royalties". Patrick's original condition upon joining the band was that he would be paid on a gig-by-gig basis. The rest of the band wanted him as a full member (and he is actually introduced as "our new brother" in 1978 live gigs by Ray Thomas), but Patrick basically shot himself in the foot by allowing himself only a glorified sideman role, which excluded him from any "unpaid royalties", since, technically, he was not a "member". By 1986 he started skipping gigs left and right, and the band had to hire Bias Boshell as a second keyboardist to cover Patrick's inconsistent appearances. Soon afterwards, the band decided just to keep Bias on because he was actually willing to show up and play. When Patrick found out, he attempted to sue the band in 1991 for something like $10 million, but the trial (also aired on Court TV in the United States) soon turned into a circus, with Patrick taking all manner of cheap shots at the band and avoiding questions or giving misleading answers. In the end, he won, but only about $240,000. He has been estranged from the Moody Blues ever since, and all releases in recent memory credit him only as "additional keyboardist".

He's the only real villain in the Moody Blues story, especially after a comment he made about Justin Hayward ended up in the press.

"That Justin Hayward...he'd cut his mother's throat if it meant he'd get ahead in life."

[SMiLE Brian]

He was. He still is. Patrick was always an excellent keyboardist. However, the fact still remains that the man was (and still is) a HUGE egomaniac who was, to put it bluntly, too much for the egomania that ruled (and later splintered) Yes.

His departure from the band in 1991 (during Keys To The Kingdom recording sessions) came after a good five or so years of internal strife that, luckily, the Moody Blues were able to keep out of the press until Patrick decided to sue them, claiming "unpaid royalties". Patrick's original condition upon joining the band was that he would be paid on a gig-by-gig basis. The rest of the band wanted him as a full member (and he is actually introduced as "our new brother" in 1978 live gigs by Ray Thomas), but Patrick basically shot himself in the foot by allowing himself only a glorified sideman role, which excluded him from any "unpaid royalties", since, technically, he was not a "member". By 1986 he started skipping gigs left and right, and the band had to hire Bias Boshell as a second keyboardist to cover Patrick's inconsistent appearances. Soon afterwards, the band decided just to keep Bias on because he was actually willing to show up and play. When Patrick found out, he attempted to sue the band in 1991 for something like $10 million, but the trial (also aired on Court TV in the United States) soon turned into a circus, with Patrick taking all manner of cheap shots at the band and avoiding questions or giving misleading answers. In the end, he won, but only about $240,000. He has been estranged from the Moody Blues ever since, and all releases in recent memory credit him only as "additional keyboardist".

He's the only real villain in the Moody Blues story, especially after a comment he made about Justin Hayward ended up in the press.

"That Justin Hayward...he'd cut his mother's throat if it meant he'd get ahead in life."

This is what Justin Haywards says about that.
 http://www.youtube.com/watch?v=8MR0X0bGqYo

[Jason]

That's some great footage, isn't it? Live recordings of the band before 1970 are exceedingly scarce. More are always welcomed.

[Pinder's Gone To Kokomo And Back Again]

I've seen recent interview clips of Pinder, and it's a shame he won't rejoin (er, be taken back) because he looks great! With his shaven head he actually looks younger than he did in the band's heyday, and he's very articulate, bright and full of life.

One of the all-time great bands.

Was forced to go see them a million years ago by my parents, and it was a life altering event!

[Pinder's Gone To Kokomo And Back Again]

And sure, Octave might be a disaster but it did provide us with this lovely chunk of Justin man-crush magic:

http://www.youtube.com/watch?v=1cO-g6orYGI&feature=related

[Jason]

I wouldn't say Octave was a disaster but it was definitely a case of working within less than cordial conditions. It basically sounds like the solo albums that the individual members did during the hiatus.

[Pinder's Gone To Kokomo And Back Again]

Yeah but:


http://www.youtube.com/watch?v=1cO-g6orYGI&feature=related   

[nickdunning]

This is the best discussion on the Moodies I've ever seen, and it's on Smiley Smile, carry on - lots I didn't know.

I've seen them live twice in recent years on UK tours and they are great entertainment. Nothing serious, just a great night out.

IMHO 'Seventh Sojourn' is the last great Moodies LP (and it is a real classic), I've never been able to get into 'Octave' or after, although some of the songs come off well enough live.

Best record of them all - 'To Our Children's Children's Children'. Wonderful.

The 2 CD remasters from a couple of years are exemplary.

[SMiLE Brian]

Yeah but:


http://www.youtube.com/watch?v=1cO-g6orYGI&feature=related   

Didn't you get to meet Patrick Moraz?

[Jason]

All of their 1967-72 albums are pretty much flawless, although I'd give the edge to Every Good Boy Deserves Favour. Procession is probably the best art rock instrumental of all time. The band is firing on all cylinders; every member has some great material to contribute. Justin's The Story In Your Eyes is an absolute classic. John's Emily's Song and One More Time To Live are great, lesser-played tunes. Mike's My Song is the best thing he ever wrote for the Moodies.

[SMiLE Brian]

All of their 1967-72 albums are pretty much flawless, although I'd give the edge to Every Good Boy Deserves Favour. Procession is probably the best art rock instrumental of all time. The band is firing on all cylinders; every member has some great material to contribute. Justin's The Story In Your Eyes is an absolute classic. John's Emily's Song and One More Time To Live are great, lesser-played tunes. Mike's My Song is the best thing he ever wrote for the Moodies.

I need to buy their early 1970s albums where they made an effort to write songs that could be performed live.

[Pinder's Gone To Kokomo And Back Again]

Yeah but:


http://www.youtube.com/watch?v=1cO-g6orYGI&feature=related  

Didn't you get to meet Patrick Moraz?

Ha! Yes! It was hilarious!

I was living in San Pedro and I guess he was renting some huge half empty mansion in Palos Verdes and was doing a gig at the local, punk rock type coffehouse/venue where me and all my punk-ass friends would hang out. I didn't and don't talk about it much, but I'm a massive Yes freak, so I couldn't help but notice all these posters for Patrick's new album (Windows Of Time) and fliers for his gig literally plastered on every wall, telephone pole, window in town. So, we where hanging out in front of the coffeehouse one night and I hear this booming voice with this weird accent, and I look up the street and it's Patrick Moraz wearing this hugest fur coat I've ever seen and more bling than Mr. T.  He's heading our way trailed with his entourage of really young and fey indie-musician types. Moraz sees that I recognize him so he walks right up to me and asks "yes"? I ask him "Hey, if I run and grab my copy of Relayer (I lived right round the corner) will you sign it for me"? He raises his finger in the air and shouts "NO! Buy my new album: Windows Of Time"! ... I go, "OK, well, will you sign THAT"? He says "Come to my show and I will"! I said, "No thanks"! So, he moved on with a dismissive frown.

I actually didn't get to see his gig. His over-promoting paid off and it was too crowded. But we walked past and could hear some killer stuff he was doing. Friends said it was a great show and that he told all kinds of hilarious stories.

I knew some prog rock drummer guy who was hanging out with Moraz at the time and he said the house he was living in was basically empty and he was sleeping on a blow-up mattress and had all these random keyboards in various states of disrepair that he was trying to sell everyone.