THE MOODY BLUES
LONG DISTANCE VOYAGER ****
Released: 15 May 1981
Label: Threshold
Recorded at Threshold Studios and RAK Studios, London, 19 February 1980 – 14 April 1981.
Produced by Pip Williams
Engineered by Greg Jackman
UK Chart: #7; US Chart: #1.
Justin Hayward – lead vocals (1,3,4,5,6) backing vocals, guitars; John Lodge – lead vocals (2,3,6,7), backing vocals, bass guitar; Ray Thomas – lead vocals (6,8,10), backing vocals, flute, harmonica; Graeme Edge – drums; Patrick Moraz – keyboards; Dave Symonds – narrator (9); The New World Philharmonic – string section
Track List:
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- The Voice (Hayward) – (5:21) **** (US #15)
- Talking Out of Turn (Lodge) – (7:18) **** (US #65)
- Gemini Dream (Hayward, Lodge) – (4:09) ***** (US #12)
- In My World (Hayward) – (7:22) *****
- Meanwhile (Hayward) – (4:08) ****
- 22,000 Days (Edge) – (5:25) ***
- Nervous (Lodge) – (5:45) ****
- Painted Smile (Thomas) – (3:18) / Reflective Smile (Thomas) – (0:36) / Veteran Cosmic Rocker (Thomas) – (3:18) ***
The Moody Blues are best known today for their 1967 mega-ballad “Nights in White Satin”, although they had a UK #1 with their second single “Go Now” back in 1964. By 1981, in the post-punk/new wave era, the band had come to be viewed as something of an anachronism with its penchant for gentle acoustic and orchestral arrangements at odds with the more simplistic and electric approach being championed by the days’ top bands. Indeed, the Moodies had only released one new studio album since 1972, that being 1978’s OCTAVE, which had been largely undistinguished, despite hitting #5 in the UK album chart. This made LONG DISTANCE VOYAGER, released three years later, all the more surprising for its consistently high quality of songwriting and updated sound. The album heralded the arrival of former Yes-man Patrick Moraz on keyboards to replace founder member Mike Pinder. The result was a more modern approach, whilst still retaining the trademarks of gorgeous acoustic guitar arrangements and sympathetic orchestration. The most impressive aspect though was the quality of the songs.
The album opener, “The Voice”, begins with an atmospheric synth refrain from Moraz before launching into an up-tempo acoustic guitar-driven song typical of Hayward. The listener can lose themselves in the lilting harmonies and melodies of “Talking Out of Turn” and the wonderfully glowing ballad “In My World” – possibly Hayward’s best since “Nights in White Satin”. These two songs have extended sections that may seem a little self-indulgent but are not unwelcome because they transport you into their world with a warm glow in your heart. “Gemini Dream” channels Jeff Lynne and ELO extremely effectively with its bouncing synth lines and melodic hook make it the catchiest tune on the album. “Meanwhile” is another winner of a ballad, more up-tempo this time with a prodding bass line. “22,00 Days” opens like a Pink Floyd mid-tempo rocker with its pounding rhythm and has a big chorus. “Nervous” is another strong melodic mid-tempo tune with slide guitar and heavy orchestration that again echoes ELO. The album’s three-part closer is perhaps the only misstep with its eccentric mix of music hall, eastern melodies and bombastic rock at odds with the more graceful music that precedes it. This was no doubt the intention and on a good day, Thomas’ quirky mini-opera of court jesters and backstage antics can raise a smile through its sheer impudence.
LONG DISTANCE VOYAGER was to be The Moody Blues’ last top 10 album in the UK. It may sound a little dated today production-wise, but so does much of the music from the 1980s and here it is the songs that shine through with a warming glow.
Don’t just take my word for it:
“Progressive rock bands stumbled into the ’80s, some with the crutch of commercial concessions under one arm, which makes the Moody Blues’ elegant entrance via LONG DISTANCE VOYAGER all the more impressive.” – Dave Connolly, All Music Guide
“LONG DISTANCE VOYAGER is one of the most seamlessly embroidered records I’ve ever heard. The Moody Blues’ musical canon doesn’t always go boom, but it’s dignified, eloquent and, like good sherry, should warm the hearts of their veteran cosmic fans–and any others who choose to listen with fresh ears.” – Parke Puerbaugh, Rolling Stone
Mike Rutherford – Guitar, Bass, Drum Programming
Mike Rutherford – Guitar, Bass, Drum Programming
Collins released HELLO, I MUST BE GOING! nearly two years after his debut FACE VALUE and between the Genesis albums ABACAB (1981) and GENESIS (1983). Like his debut this album contains a wide variety of musical styles and whilst as a whole it does not quite match its predecessor, this is still an impressive follow-up. Standouts include the bitterness and anger of the drum propelled “I Don’t Care Anymore”, the heart-wrenching “Don’t Let Him Steel Your Heart Away”, the dark and brooding “Do You Know, Do You Care” and the big band inspired “The West Side”. There is also the melancholy of the closing “Why Can’t it Wait ‘Til Morning” and the brass driven duo “I Cannot Believe it’s True” and “It Don’t Matter to Me”. The album is perhaps best known for Collins’ first UK solo number 1 with his cover of Diana Ross and the Supremes’ Motown hit “You Can’t Hurry Love”. There is the occasional misstep – “Thru These Walls” comes across as a little too creepy and recycles Collins’ signature drum fill from “In the Air Tonight” and “Like China” feels a little forced in trying to create its cockney geezer charm – but this is a very solid album that would lift Collins a step closer to super-stardom. The second CD features demos and live tracks, which will be of interest to fans.
1996’s DANCE INTO THE LIGHT was Collins’ first album following his announced departure from Genesis, although he would return to the fold in 2007. The album mixes Collins’ standard soulful approach (“Dance into the Light” and “Oughta Know By Now”) with Beatlesque pop (“That’s What You Said”, “Love Police”, “It’s in Your Eyes” and “No Matter Who”) and African rhythms (“Lorenzo”, “River So Wide”, “Take Me Down”). “Wear My Hat” is Collins’ riff on Paul Simon’s “You Can Call Me Al” and there is the warm romanticism of “The Same Moon”. He even finds a place for some social commentary in “Just Another Story”. With his star on the descent following some bad press in the media surrounding his split from his second wife, the album feels as if Collins is throwing out a number of hooks in an attempt to gain a commercial bite. He even finished the album with a bombastic cover of Bob Dylan’s “The Times are A-Changing”. The result is an album that fails to fully satisfy despite some strong songs. In attempting to follow other artist’s styles, Collins seemed to have lost his own voice. Two of his best songs from the sessions sit on the second CD amongst live tracks and demos. The reflective “Another Time” and melancholic “It’s Over” show Collins could still write very strong personal songs.
Tony Banks found time between Genesis’ …AND THEN THERE WERE THREE… (1978) and DUKE (1980) to record his debut solo album A CURIOUS FEELING. Banks’ story concept for the album of a man rediscovering his life having suffered memory loss was inspired by the short story Flowers for Algernon by Daniel Keyes. String Driven Thing’s Kim Beacon provides warm vocals and the album also features Genesis touring drummer Chester Thompson. Banks plays the rest of the instruments including guitar and bass in addition to his keyboards. The synth-dominant music is pure Banks mixing beautiful soaring instrumentals such as “The Waters of Lethe” and “Forever Morning” with tuneful songs “Lucky Me” and “For a While”. He also stretches out on the romantic “You”, which has one of his best instrument segments to close out the song, and rocks hard on the pounding “Somebody Else’s Dream”. The re-mix has enhanced the sonic spectrum considerably and the songs breathe better as a result. Banks’ solo work would never better this excellent debut.
Like Collins’ HELLO, I MUST BE GOING!, THE FUGITIVE was released in the Genesis hiatus between ABACAB and GENESIS. Here Banks decided to take on the vocal duties himself in an attempt to stamp his own identity on his music. As a result the songs were kept simple following the trends set in the streamlining of the Genesis sound over their previous two albums. Banks’ vocals have a certain charm if not range and the songs here suit his vocal style. The opening reggae infused “This is Love” sets the tone and the songs across the album are all tuneful and sometimes catchy, if less adventurous than those on A CURIOUS FEELING. “And the Wheels Keep Turning” has an infectious hook and “By You” is fluffy synth pop. Bank’s increased use of programmed drum sounds means instrumentals “Thirty-Threes” and “Charm” have a robotic feel to them that plays against Banks’ natural deftness for flowing musical melodies and arrangements. There are flashes of brilliance on the rocking “At the Edge of Night” but other tracks, such as the ballad “Say You’ll Never Leave Me” and the mid-tempo “K2” have a plodding rhythm, which fails to bring life to Banks’ melodies. Again Nick Davis’ remixes have brought out some previously hidden delights on an album that, whilst mixed in quality and execution, has its moments of charm and elegance.
Phil Collins’ back catalogue is being reissued at a rate of two releases per month. The first batch under the umbrella release title of Take a Look at Me Now… consists of the Genesis singer/drummer’s 1981 debut solo album FACE VALUE and his introspective 1993 release BOTH SIDES. Both albums have been remastered by Nick Davis and include a second CD containing live versions of some of the songs from that album alongside demos. They also feature recreations of the original album covers.
JEFF LYNNE’S ELO – ALONE IN THE UNIVERSE
CD1:
The first thing you notice about this collection is the excellent remixes of tracks from the earlier albums – notably the period of A Curious Feeling through to Bankstatement. The initial CD releases had lacked a certain dynamic quality, which has been fixed here bringing new life to those tracks (A Curious Feeling having already been spruced up a couple of years ago). Banks has also sequenced the 4 CVDs and not simply followed a timeline. This gives a good balance to the collection and allows for some new creativity with the morph of the gentle instrumental “Redwing” into the rocking “At the Edge of Night” working particularly well at the outset.
Whilst there is a certain logic in a compilation of the music of Genesis alongside solo songs from the 1971-5 line-up (of which each member chooses three each – not always the obvious ones). The end result is unlikely to satisfy hardcore fans of the band or any of the artists individually. For that you would need to look to each member’s solo compilation packages and Genesis’ Platinum Collection.