Author: Peter Podbrežnik
Artist: Moody Blues, The
Label: Threshold
Release: 1981
Length: 46:32
Rating: 4.5/5
The early eighties were a time when most prog rock pioneers either threw in the towel and called it quits (ELP, Procol Harum, Gentle Giant, Caravan, Soft Machine, etc.) or adapted to the new sonic trends and embraced the synth technology that was cutting-edge for the day (Genesis, Yes, Camel, Rush, Kansas, etc.). Symphonic prog pioneers The Moody Blues were among the few who took a kind of ‘middle road’ back then, meaning they kept almost all of their trademark sonic elements and way of writing songs, while putting the power of modern synthesizers to good use.
The main reason for that was the arrival of new keyboardist Patrick Moraz (ex-Refugee, Yes), who replaced original member Mike Pinder. That also meant »Long Distance Voyager« was the first The Moody Blues album since their debut »The Magnificent Moodies« in 1965 that didn’t feature the full classic lineup (Pinder, Hayward, Lodge, Edge and Thomas). So a whole new era began for the Moodies, one that most of their longtime fans don’t exactly remember fondly. Moraz originally came in as a temporary, live-only replacement for the »Octave« tour, but he ended up staying in the The Moody Blues family all the way until 1991.
»Long Distance Voyager«, their tenth studio album, was a half-concept record: roughly half of the songs revolve around the ‘voyager’ of the album title, while the rest deal with carnival foolery and the chaos that breaks out at a wild party after a rock concert. On »Long Distance Voyager« The Moody Blues sound more melodic, friendly and cheerful than ever before (with the exception of that naive debut mentioned above), which means that, despite the heaps of lush orchestral arrangements, the album will go down well even with those who otherwise swear by melodic rock. The trading of vocal duties between guitarist Justin Hayward, bassist John Lodge and flutist Ray Thomas was still, along with the dynamic interplay of symphonic and rock elements, one of the central ‘weapons’ in The Moody Blues’ sonic arsenal. Despite a noticeable streak of commercialization in some tracks, they still sounded unmistakably like themselves, so you could never confuse them with similar bands.
»The Voice«, the album’s second single, has a mystical intro, a punchy chorus and a quickened tempo, while the synth textures are already ‘waxed’ and tuned to the new sonic trends. Hayward’s vocals radiate confidence and a fresh sense of focus. You can feel a new kind of energy at every turn, even as the familiar rhythmic, vocal and arrangement finesse is still right there. »Taking Out Of Turn«, drenched in solemn orchestral arrangements and with bassist Lodge taking over the vocal command, clocks in at over seven minutes, making it one of the longer pieces in The Moody Blues’ history. It’s no surprise it was picked as the album’s third single, given its friendly melody, seductive chorus and crowd-pleasing love lyrics.
»Gemini Dream« is the first track to seriously signal that the eighties have arrived, another important single drenched in pompous synth textures from start to finish. Despite its rather muddled and at times almost cheesy vibe, full of those synth clichés typical of the eighties, this fruitful songwriting collaboration between Hayward and Lodge comes off as surprisingly fun overall. On the other hand, »Long Distance Voyager« still has plenty of thoroughly traditional The Moody Blues material, like the love ballad »In My World«, wrapped in a pastoral atmosphere, which Hayward delivers with remarkable feeling over acoustic guitar chords. The ethereal »Meanwhile«, ruled by subtle acoustic guitar arrangements, likewise brims over with rhythmic verve and a positive vibe.
One of the album’s peaks is undoubtedly the epic catalyst »22,000 Days«, where the central guitar phrase and tempo strongly recall the motif you could hear six years later on the Pink Floyd classic »Learning To Fly«, while ‘Viking-style’ vocal harmonies and solemn symphonic arrangements help build a mighty atmosphere. »Nervous« is marked by gorgeous flute passages from Thomas, Hayward’s easygoing acoustic guitar melody and Edge’s velvety vocals, while the vibe itself has that innocent sincerity and positivity that will appeal to anyone who swears by the legacy of the Beatles and Paul McCartney’s solo career too.
»Painted Smile«, soaked in carnival atmosphere, is part of the closing three-part suite, where the mustachioed flutist Ray Thomas also steps up as lead vocalist for the first time on the album. Apart from the production and the sound of the keyboards, it’s remarkably reminiscent of certain Moody standards from the early seventies. »Reflective Smile« is merely a carnival-style narration from Thomas leading into the next composition, which is without a doubt the most fun moment on »Long Distance Voyager«. That’s the closing burlesque and, at the same time, a witty self-parody called »Veteran Cosmic Rocker«, a satire of the typical rock star life. Here pentatonic rhythms and orchestral curtains conjure up an authentically oriental mood, while Thomas’s vocals this time even sound a little like Greg Lake (ELP, ex-King Crimson). »Veteran Cosmic Rocker« was one of Thomas’s last major songwriting contributions, as on the following albums, where a more pop rock direction took over, he increasingly stepped back into the background as a composer, which lasted all the way until his retirement in 2002.
»Long Distance Voyager« may have been made in the early eighties, but quality-wise it easily belongs among the classic The Moody Blues albums. In fact, it’s the last record of theirs that can still rightfully be called a ‘classic’. Moraz’s arrival was an important breath of fresh air and successfully adapted the band’s sound to the new sonic directions without sacrificing their distinctive songwriting and arranging identity. »Long Distance Voyager« also continued their string of commercial successes on British soil that had been going since the seventies, and it was their second record to climb to the top of the American charts in the US.
Line-up
Justin Hayward – vocals, guitar
John Lodge – vocals, bass guitar
Ray Thomas – vocals, flute, harmonica
Graeme Edge – drums
Patrick Moraz – keyboards
GUEST MUSICIANS:
B.J. Cole – pedal steel guitar on “In My World”
Pip Williams – producer, orchestral arrangements
The New World Philharmonic – orchestra section
Production
Pip Williams
Track list
1. The Voice (5:18)
2. Talking Out of Turn (7:18)
3. Gemini Dream (4:07)
4. In My World (7:17)
5. Meanwhile (4:08)
6. 22,000 Days (5:27)
7. Nervous (5:45)
8. Painted Smile (3:18)
9. Reflective Smile (0:37)
10. Veteran Cosmic Rocker (3:14)
