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For their next two albums, Every Good Boy Deserves Favour ( 1971 ) – from which Hayward's " The Story in Your Eyes " was taken as a US Charting single ( No. 23 ), and Seventh Sojourn ( 1972 ) ( which reached No. 1 in the U. S .), the band returned to their signature orchestral sound which, while difficult to reproduce in concert, had become their trademark.
The title " Every Good Boy Deserves Favour " was borrowed, tongue-in-cheek, from a mnemonic used to remember the musical notes that form the lines of the treble clef: EGBDF.
The opening track " Procession " was the only item composed by all five band members, a fascinating track depicting the " evolution " of music, leading into Hayward's " Story in Your Eyes ".
Thomas's reflective " Our Guessing Game " and whimsical " Nice To Be Here " offset the deeper drama of Hayward's " You Can Never Go Home ", Lodge's " One More Time To Live " and Pinder's " My Song ".
Edge, the long standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken – his " After You Came " ( 1971 ) featured each of the four Lead singers taking a vocal section.
" ( No. 13 ) and " I'm Just A Singer ( in A Rock ' n ' Roll Band )" ( No. 36 ) were lifted from " Seventh Sojourn " as charting UK singles.
" Sojourn " also saw Pinder using the new Chamberlain instrument in place of Mellotron and Edge use an electronic drum kit.
Pinder's stirring lament " Lost in A Lost World " opened this last " Core Seven " outing, while his sympathetic ode to Timothy Leary " When You're A Free Man ", Thomas's romantic " For My Lady ", and Hayward's serene " New Horizons " all stood out.
They each provided well known songs during this period, in addition to the singles, Pinder's songs " A Simple Game " ( 1968 ) & " So Deep Within You " ( 1969 ) were successfully covered by The Four Tops, Pinder winning an Ivor Novello Award for " A Simple Game ", Elkie Brooks later covered Hayward's " Nights in White Satin ".
Pinder also appeared on John Lennon's " Imagine " album in 1971, providing additional percussion on " I Don't Wanna Be A Soldier ( I Don't Want To Die )".
The 1968 to 1972 album sleeves, plus several solo sets up to Ray Thomas's " Hopes, Wishes & Dreams " in 1976, were characterised by striking surreal scenic sleeve artwork ( mostly gatefold sleeves ) by artist Phil Travers.
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