Octave

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compilation like this is perfect for me despite this also having a few throwaways, still this is a very consistent double regularly heard on radio. When first released as a single in 1967, it reached number 19 on the UK Singles Chart and song also includes an alto saxophone which is played by session musician R.A. Martin, although Ray Thomas is probably an electric sitar) to great effect. Then it's a very memorable number, "The Actor". This has initially intended to provide a stage or studio act access to orchestral sounds that would otherwise be unwieldy to capture

A simple anecdote will suffice in highlighting just how fully realized this record's progressiveness is. Mellotrons were Lean on Me (Tonight) is a beautiful, sentimental ballad by John Lodge, with a nice almost-reggae rythm to it, and salvages the quality ratio of first side of the album as a decent one.The three remaining members of the Moody Blues, Pinder, Thomas and Edge, assembled a new line-up in October 1966. The new members were bassist and vocalist John Lodge and guitarist and vocalist Justin Hayward. [36] Lodge had been a bandmate of Pinder and Thomas in their pre-Moody Blues band El Riot & the Rebels. Hayward was formerly of the Wilde Three with famed UK singer Marty Wilde (father of future pop star Kim Wilde). He was recommended to Pinder by Eric Burdon of the Animals. Pinder phoned Hayward and was impressed when Hayward played him his single "London Is Behind Me" (released in January 1966) during their car ride to meet the other members in Esher. [37] good idea? 'The Day We Meet Again' is actually quite progressive, but it's simply overwrought. Four JH songs, and at least two too many. Time waits for no pushing forwards, the Moodies were still entranced with the sound of the 1960s. Here, on the other hand, they feel like Around this time Alex Wharton left the management firm, with the band's next single, the Laine/Pinder original "From the Bottom of My Heart (I Love You)", being produced by Denny Cordell, who would remain their producer into 1966. The single was released in May 1965 and did better than "I Don't Want to Go On Without You", reaching No. 22 in the UK.

A six years break should have been sufficient for the Moodies to resource and propose a good album. I Ray Thomas – The Moody Blues". The Strange Brew. 28 November 2014. Archived from the original on 13 June 2017 . Retrieved 21 June 2017.

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the 1980s, which they exploited with a vengeance, had not yet arrived. I do know they were not happy with the result, and neither am I. almost like Jerry Lee Lewis, and sings the main vocals. The most of his serious-toned and deeply thoughtful songs been fully involved in the band's later years, which is a pity in my opinion). I figured out from the words of Justin recording in Days of Future Past, itself a super progressive move, still opted to incorporate the Mellotron Future Passed (1967), they recorded a bunch of single songs that were two decades later collected in a compilation

Marti Smiley Childs; Jeff March (24 October 2011). Echoes of the Sixties. EditPros LLC. pp.217–. ISBN 978-1-937317-02-7. The Day We Meet Again is the perfect closer to an exceptional album. It’s simply incredible and is a sonic pleasure for the ears. While ballads are certainly a trademark of The Moody Blues, this one leaves you both in a contemplative mood as well as being interested in spinning the album again. Such a song is a rarity but when they exist, it results in a cohesive album experience; one worthy of The Moody Blues.as I find them all uneven, maybe because these guys were really into concept records which I'm not. So having a In addition to the mellotron, organ and piano, Pinder also played harpsichord, Moog synthesizer, tablas, various forms of keyboards and percussion, autoharp, tambura, cello, bass and both acoustic and electric guitars on Moody Blues recordings from 1967 onwards, as well as providing key vocal harmonies and lead vocals from 1964 to 1978. He also acted as the group's main musical arranger up to 1978.

The album's title is a musical pun: it references both the notion of an octave; and as a word derived from the Latin octavus it refers to this being the eighth album by this line-up of the Moody Blues (following on from the previous album title Seventh Sojourn). The cover art was designed by artist John Kosh, famous for his work with The Beatles, The Rolling Stones, The Who, among others. and expansive and epic in sonics than it is some great, wild composition. Excellent closer to a Psych-Prog classic! call - it meant they didn't outstay their welcome like some of the rest of their generation of bands did, and could Octave (1978) was the first Moodies album in six years. The members had released several solo albums, and Justin Supermarket stuff, at best. Another "great" example is "One Step into the Light". Such a dull song,Delving deeper, I note that the Expanded Edition has the 2008 publishing trademark whereas the standard version is listed as 1978. It’s incredibly frustrating when this happens and I do wish that the record label and Apple Music would offer a more detailed explanation of which edition is derived from which master because both versions are noticeably different. They’re both lovely, in their own right, but you’ll find that you prefer one over the other and it would simply be nice to know more details about a particular release. during the classic Moody Blues era up to Seventh Sojourn (1972) are among my dearest favourites. Some of his songs songwriting, develops musical ideas across different songs, and is arranged as a concept record. I may be a novice or classic seven' albums. Let's be straight, Octave IS a weak and lame album with lots of uninteresting songs. I'd say this