Author: Peter Podbrežnik
Artist: Moody Blues, The
Label: Decca Records
Released: 1978
Length: 46:08
Rating: 4/5
»Octave« was the ninth studio album from prog rock pioneers The Moody Blues, and their first since reuniting in 1977. After the huge success of its predecessor, »The Seventh Sojourn« (1972), the members of this legendary band had gone off to pursue solo careers for several years. The classic Moody Blues lineup (Hayward, Lodge, Pinder, Thomas and Edge) decided to revive the cult name just as punk and disco were ruling the radio waves. Naturally, audiences of the day weren’t all that fussed about the latest offerings from the progressive rock ‘dinosaurs’, although »Octave« still managed to score a relatively nice commercial success, even on American soil. Even so, it marked an important turning point, and the beginning of the end of their biggest artistic and commercial triumphs.
Apart from being a noticeable sonic shift in the traditional symphonic prog rock Moody sound, especially when it came to crafting their trademark orchestral arrangements, since the mellotron and chamberlin vanished from Pinder’s keyboard arsenal and made way for more modern synthesizers, it was also the last The Moody Blues album featuring the legendary keyboardist/vocalist. Mike Pinder, who had meanwhile started a new family in California, suddenly found he no longer got along with the rest of the band as well as he once had, so he decided to bow out while the album was still being recorded and turned down the chance to tour with his old comrades.
Guitarist/vocalist Justin Hayward and bassist/vocalist John Lodge were thus forced to play the missing synth parts themselves, and in 1979 Pinder was replaced by Swiss keyboard maestro Patrick Moraz (ex-Yes), with whom they successfully carried out the »Octave« tour, kicking off a whole new chapter for this legendary band. In keeping with their long-standing tradition, every member of the band got a writing credit on at least one composition on the album.
The opening energy catalyst »Steppin’ in the Slide Zone«, with Lodge’s vocals at the wheel, was the album’s main hit single, and it did nicely on the other side of the Atlantic too. You can already clearly hear the changed sonic approach here, with synthesizers taking over from the mellotron and chamberlin and bringing the Moodies a far more electronic-tinged sound compared to their earlier, symphonic approach. At the same time, you can already catch the first traces of the gradual sonic drift between symphonic prog rock and melodic rock/AOR that would define their output throughout the entire eighties. Thomas’s pastoral-symphonic ballad »Under Moonshine« is a much more traditionalist Moody creation, with mighty orchestral arrangements and an ethereal vocal turn from the mustachioed multi-instrumentalist, backed by hypnotic multi-part harmonies. It’s one of those pieces on the album that tell you the ‘good old’ The Moody Blues are back among us, sonic tweaks and all.
On the acoustic-tinged pastoral gem »Had To Fall In Love«, guitarist Hayward really shines with his nostalgic vocal approach, which fits perfectly with his gentle acoustic guitar chords, the lively sound of Thomas’s harmonica and the dreamy backing vocal harmonies. The far more energetic, fast-paced »I’ll Be Level With You«, written by drummer Graeme Edge, is spiced up with layered vocal harmonies from all four of the band’s main singers and mischievous guitar passages, while the electronic-tinged synth sound they use to build mighty orchestral arrangements forms a successful bridge between the classic and the newer sonic face of this cult British band. The slowed-down love ballad »Driftwood«, penned and sung by Hayward, was the album’s second hit single and contains plenty of elements from the guitarist/vocalist’s past classics, led by »Nights In White Satin« and »Never Comes The Day«. A lovely melody, driven by Hayward’s unique, melancholy-melodic voice, is laid over pastoral acoustic guitar chords while ethereal symphonic arrangements flow in the background. The whole thing is topped off by the playful use of alto saxophone from session musician R.A. Martin.
The minimalist, rock’n’roll-paced »Top Rank Suite«, another Hayward writing and vocal effort that brings the saxophone back, is a world away from the serious, melancholy nature of the rest of the album with its bouncy, cheeky vibe and tongue-in-cheek lyrics. The pastoral love ballad »I’m Your Man«, where Ray Thomas once again takes charge of vocals and songwriting, and this time wins us over not just with heartfelt singing but also with witty flute flourishes, is one of the better moments on »Octave«. Mighty orchestral arrangements successfully build up the elegant rhythm and refined atmosphere that were always typical of most of Thomas’s creations.
On the symphonic rock classic »Survival«, Lodge wins us over with his songwriting, singing and bass playing, shining especially in the hyper-melodic chorus. The nostalgic atmosphere, accompanying majestic orchestral arrangements and piercing guitar passages, once again recalls their best days of symphonic prog pioneering. »One Step Into The Light« is the only track on the album written and sung by the departing keyboardist Pinder. As you’d expect from such a keyboard master, it’s a distinctly symphonic piece, stuffed with a string of epic orchestral arrangements that would have come out even better had they not given up the mellotron. On the other hand, they did give it a colorful nod in the lyrics. The nostalgic »The Day We Meet Again« comes off as a superb closer, with an innovative synth motif and layered orchestral curtains, while Hayward’s mournful vocals successfully crank up the all-pervading melodrama, which doesn’t let up until the very end of this splendid song.
With »Octave« the classic The Moody Blues lineup bowed out convincingly, delivering a remarkably well-balanced album that falls only a little short of their greatest masterpieces. After Pinder’s departure, despite plenty of interesting releases following one after another through the eighties, The Moody Blues never again reached their former, enviably high artistic level. Patrick Moraz’s arrival marked the start of a new era, still fairly successful commercially but far more melodic-rock oriented, and the abandonment of certain prog rock elements without which the traditional The Moody Blues sound was unimaginable.
Lineup
Justin Hayward – vocals, guitar, keyboards
John Lodge – vocals, bass guitar, keyboards
Ray Thomas – vocals, flute, harmonica, tambourine
Mike Pinder – vocals, keyboards
Graeme Edge – drums, percussion, backing vocals
GUEST MUSICIAN:
R.A. Martin – saxophone, horn
Production
Tony Clarke
Track list
1. Steppin’ in a Slide Zone
2. Under Moonshine
3. Had to Fall in Love
4. I’ll Be Level With You
5. Driftwood
6. Top Rank Suite
7. I’m Your Man
8. Survival
9. One Step Into the Light
10. The Day We Meet Again
