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Average of 9 reviews
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I decided to give The Moody Blues another shot with "Seventh Sojourn," but I found myself adrift in a musical landscape that didn't resonate with me. It all felt vaguely familiar, like a psychedelic dream I'd once experienced, but whenever I tried to latch onto a single track from this album, it slipped away like sand, leaving only the memory of their past work shining brighter than any hope I had for their future releases. If The Moody Blues were to be compared to another iconic psychedelic band from the mid-60s, Pink Floyd would be the closest parallel. However, it seemed as though The Moody Blues had lost their way or perhaps exhausted their creative well, having released seven albums in just five years. These albums had served as my nighttime companions during many introspective nights. With The Moody Blues, it was always about the intricate details, the hidden treasures and secret messages woven throughout their music. Here, "Seventh Sojourn" was the eighth in what I consider their core albums, making the title oddly named, especially with their ninth album being called "Octave." As far as I recall, this discrepancy is because The Moody Blues never considered their 1965 release "The Magnificent Moodies" part of this collection, as the music style and personnel differed significantly... though that's still up for debate. Musically, while there might not be any standout tracks on "Seventh Sojourn," there aren't any bad ones either. What you get is consistent Moody Blues fare, filled with flutes, mellotron, and surprisingly, only two guitar-driven songs. "I'm Just A Singer In A Rock n' Roll Band" sets the tone for the album, revealing a more personal, physical presence for the band. Gone was the detached, faceless aura of their previous sonic journeys. For some reason, they seemed to feel the need to bring their actual selves into the music. Other songs carry a bleak tone, yet still offer hope for the future, standing in stark contrast to the expansive, loving, and pleasant themes of their earlier albums. Even the album art lacks dynamic imagery, mystery, or anything to uncover. The vast, barren desert depicted on the cover implies a sense of being lost and cautious, lacking the expansive nature of their other albums, where the artwork was as important as the music itself—something to be pondered and filled with hidden gems. So, with that in mind, one might wonder if The Moody Blues are doing anything less here, showing listeners what lies within. Few people will outright say they dislike the album, though they might describe it as mature. To me, that suggests a band that has come to terms with their identity, and when a person or a band does that, they stop experimenting and instead produce material that reflects who they are, not who they aspire to be. Sonically, the music feels off to me—unclear and uncertain, almost muddy, though that's not entirely accurate. Perhaps I just crave more actual instruments than are present here. The delivery also feels crowded and confined, resulting in a collection of pop songs that are ill-defined and lack a visionary spark to set them apart. Additionally, the album seems to follow in the shadows of The Beatles in many aspects, as if The Moody Blues have perhaps listened to "A Day In The Life" and "Rain" one too many times, with those influences seeping into their work. Texture has always been a hallmark of The Moody Blues, and to create great texture, especially in the way they intended, one must carefully consider both the lyrics and the music. Here, the music and lyrics don't mesh as seamlessly as they should. Either the lyrics are too flowery and flowing, or the music lacks a responsive nature to those words. These two aspects travel parallel to each other throughout the production, diminishing the seduction that once embraced this great band. Of course, every band is entitled to lose their way from time to time, and I feel I'm being unfair to this massive orchestration. Both "Every Good Boy Deserves Favors" and "Seventh Sojourn" took me somewhere else. So rather than thinking of The Moody Blues as failing, let me suggest that like any comet streaking across the sky, once that comet enters Earth's atmosphere, it can do nothing but burn up. And that's what happened with The Moody Blues—they thought they could end their touchdown sojourns, stand on solid ground, and survive. I'll take their loftier aspirations from their discography any day of the week. **The Fun Facts:** The term "sojourn" means a short stay or a visit. In biblical terms, it means to spend a day, so here, The Moody Blues have been with us for seven days, perhaps auspiciously defining their own period of creation.
Amazing album & these tracks stay true to this bands consistent track record of excellence! If your into top-notch musicianship, you can't go wrong with this band.
As a young 13-year-old vinyl enthusiast, this was among my first records. I was lured in by the RCA Music Club's offer: 13 records for just a penny, but it turned into a monthly record shipment for a year. My parents were understandably mad, and it drained all my paper route earnings to meet my commitment to RCA. Still, I snagged some solid records during that time, and this is one of them.
Still unsure about this one? Go for it! I'm aware it was pressed in the Czech Republic, which hasn't always given us the best quality, but they've really stepped it up this time. The sound quality is fantastic, even better than I anticipated. I snagged it for $10.55, and it's way better than getting a cheaper copy filled with static.
I'm currently giving this album a listen. It's sounding fantastic. The audio is clear, even, and peaceful. The sound quality is truly pleasant. One thing I've noticed about the Moody Blues is that their production isn't always the best. However, this album is well-produced and has a rich, full sound. It's a wonderful addition to my music collection.
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