THE MOODY BLUES

Superficially, any debate over what was the first prog album, chronologically, is worthless in the context of this page. As the more keen-eyed amongst you might have spotted this album was released in 1967, almost two years before the release of In the Court of the Crimson King; twenty three months to be exact with this album released in December 1967 and ITCOTKC out in November 1969. The real issue here is exactly how prog is this album? There is no doubt that its cause is helped enormously by the fact that the Moody Blues went on to be very serious heavy-weights in the prog world. If this album had been by a one-off band or one that only flirted with prog might this album simply be associated with the psychedelic, but very definitely NOT prog, albums like Sgt. Pepper or Their Satanic Majesties Request? Well, even taken alone, this album is definitely more prog than the aforementioned duo. Even ignoring the concept feel, two of the tracks on here consist of two songs (parts a. and b.) - the hallmarks of a good prog album. On the other hand, the songs don't stretch out forever and don't change structures. There are no silly time signatures or extended showing off passages. Indeed, really this is an album of eight songs in a pretentious prog framework. Thus I shall class this as a proto-prog album (and maybe the first) but not an out-right prog album which, bearing in mind my limited knowledge, I still attribute to King Crimson's debut. The concept of this album is a reasonably clever one, that of the album representing the twenty four hours of a day, beginning with dawn and ending with night. Each period of the day has an accompanying song (bar the opening "The Day Begins" which is just an overblown classical arrangement) and some have two, although, as I have already mentioned, listed as one track. This album is also notable for the way it is entirely orchestrated. That's not to say there aren't any traditional rock instruments used, but each song is given a string arrangement to back it up, sometimes with the use of a mellotron. I've no doubt it is all very revolutionary but I'm not some prog historian so I'm really not concerned. It almost certainly is the first time such rock-classical fusion had been done before to such an extent. Oh, and the album also begins and ends with some spoken poetry which is laughably pretentious; the line about "senior citizens" only makes it more so. Anyway, the strings aren't brilliant although they do link the songs ok. The opening track, though, is horribly cliched, like a bad film score. Well, what of the songs themselves? Obviously the real reason (well, my reason anyway) to buy this is for the classic "Nights in White Satin" and on that score you won't be disappointed. A great song. Similarly "Forever Afternoon (Tuesday?)" is also great song. Apparently it is also really famous, but I'd never heard of it. The vocal melody for it is top notch. The songs actually work best with the crooning rather than the more, up-beat pop songs. "Dawn is a Feeling" is a good song, mainly on account of the faultless vocals. It is certainly a highpoint of the album when the opening line to "Dawn is a Feeling" bursts forth, after four minutes of deadly boring "classical" music. (Disclaimer: I'm not saying classical music is boring but that the music that opens the album of a "classical" nature is boring. OK?) Still, unfortunately the band don't have the songs on here to match the grandiosity of the concept. You can really tell, sometimes, that they started life as an unsuccessful r'n'b band. "Twilight Time", even in this concept, feels unoriginal whilst its bed-mate "The Sun Set" (part a. of "Evening") is disappointingly dreary as song-writing is seemingly sacrificed for atmosphere. The partner of "Forever Afternoon", "(Evening) Time to Get Away", on the other hand, is almost on a par with its immediate predecessor. Certainly a memorable melody. Unfortunately, "Peak Hour" is almost certainly the worst song on here, sounding like a poor man's Beach Boys rip-off. Yes, not just like the Beach Boys, but even worse. Similarly, "Another Morning" is sub-standard, particularly that cringe-inducing line about kite flying. Therefore this is definitely an album with a reach that surpasses its grasp. It is certainly a nice concept and all very original at the time but the fact that its main worth lies in only a few, and one in particular, songs doesn't do it any favours.

• Return to the main page

Email me at: jackfeeny@yahoo.co.uk