Customer Reviews

Seventh Sojourn

5 star:		(83)
4 star:		(23)
3 star:		(2)
2 star:		(0)
1 star:		(3)

 

 

As noted by a multitude of previous reviewers, this album was the last of the classic 7 from the Moodies from the period from 1967 to 1972. It was also, like the 6 preceding it, different from the others. "Seventh Sojourn" is the most middle-of-the-road rock album of the bunch. Very little progressive rock, no real experimentation, just plain solid rock.

Clearly the Moodies had become better and better at orchestrating their style of music throughout the six classic years period. By the time they reached this album, they were fully mature in a rock style all their own, and yet fitting with the times.

Looking back, it is difficult to see how they went from "Every Good Boy Deserves Favour" to this album. EGBDF was progressive rock with a fair amount of fantasy and science fiction. Seventh Sojourn is very down to earth, reflecting a more mundane and earthly orientation.

The synthesizer is a fully matured instrument in "Seventh Sojourn." In the Moodies previous albums the mellotron was used for novelty and to enhance the unusual nature of their albums. In "Seventh Sojourn" the Chamberlain replaced the mellotron, and became part of the orchestration. The use of the Chamberlain is sometimes so subtle that I find it difficult to know when the Chamberlain is being used.

With all these differences, the change to a more earthly orientation, a middle-of-the-road rock sound, and a new instrument, with some groups you might worry that the album was so different that it is no longer true to the group. Not correct in this case. When you listen to the classic 7 in order from "Days of Future Passed" to "Seventh Sojourn," there is a feel of evolution, and perhaps, a feel of balance. Sometimes I become sad when I listen to this album because I knew the group would never be the same group again. However, as we all know, the group has continued to evolve while trying hard to stay true to their roots. The results continually amaze me.

Of the classic 7, this album is the least cohesive in terms of a common theme, and yet there are themes. As noted earlier, the principal theme is the orientation back in the world as we know it. No dreams, no people from other planets helping us; merely a recognition that this is the place and time in which we live, and darn, while we wish it would be better, it's us that has to make it better, and we can only do so much. What more of a theme do you need?

This album is excellent. The themes are excellent. The Moodies for the first time came back to earth and said: We aren't magic; we have to focus on the real world; we are just a rock and roll group, we are as lost as you are. These thoughts were sobering for those people that somehow thought the Moodies were gurus for a new world order. The weren't, and didn't want to be. "Seventh Sojourn" is a reality check.

Given all the positive comments about the album, which should be one of the best 100 rock albums of all time (and isn't, according to those narrow-minded people at VH1), it does have one flaw: It is too short! There are only 8 wonderful songs. Two each from Mike Pinder, Justin Hayward, and John Lodge, one from Ray Thomas ("For My Lady," my favorite Ray Thomas song from any album), and one that was a collaboration between Graeme Edge and Justin Hayward.

"Seventh Sojourn" is the most polished of the classic 7, and would rank as one of the best Moodies albums by some people. Of course, there are others that didn't care for the melancholia and mundane topics and got all bummed out and gave it a bad review. Which just goes to show, you can't please everyone all the time. I read one reviewer who hated "Every Good Boy Deserves Favour" and loved "Seventh Soujourn." Another reviewer described EGBDF as being original and true to the group while "Seventh Soujourn" was too much pop and not the Moodies best work. Who do you believe? Listen for yourself. When I'm in the right mood, this album is awesome. Other times I need something uplifting, and I listen to another group completely.

All good groups generate controversy. The Moody Blues are no exception (which by definition should make them a good group). They have always defined their own path in a unique way. "Seventh Sojourn" closed the first chapter in the story of The Moody Blues. Enjoy it for what it was and what it is: a good album by a good group.

I'm not sure I can add anything new to what's already been said. In particular, Lonnie E. Holder pretty much said many of the things I would have said (read his June 3, 2002 review for a good synthesis on the album.)

As the closing album of The Moodies' "classic 7" period, there's definitely a shift in dynamics and mood from the lighter (but thought-provoking), trippy and spaced-out (but fairly accessible) material from their earlier albums. On _Seventh Sojourn_, the mood is more somber and earthy, which was probably highlighted by the fact that the guys were going through a rough period around that time period. Also, the music, while still ethereal, wistful and touching, is a bit more earthy and straightforward.

The way I see it, the album is divided into two halves: The first half features the wispy, new age-tinged rock/pop that The Moodies are pretty known for, while the second half becomes more straightforward and edgy, as some of the tracks rock a little harder than usual.

"Lost In A Lost World" sounds a bit ahead of it's time, mainly because of the percussion. It reminds one a bit of The Beatles, yet it still sounds like a unique fusion done only the way The Moody Blues could have. Features new age, r&b and almost Indian flavors, but topped off with a funky drum beat and rhythm that sounds years ahead of it's 1972 release. The lyrics are deep and thought-provoking, and the luscious vocal harmonies are touching. "New Horizons" is an achingly touching tribute written by singer/guitarist Justin Hayward to his deceased father. The sad orchestrations, combined with Justin's plaintive vocals and the overabundant melody leaves an overwhelming effect. "For My Lady" is written and sung by flautist Ray Thomas. He's usually the writer of the Moodies' most whimsical tunes. While there's still a fair amount of whimsy here, the somber quality still outweighs anything else on this folk-ish track. "Isn't Life Strange" was written by bassist John Lodge, and the title pretty much speaks for itself, as it's a reflection on the stagnations and vicissitudes of life. The choiral-like chorus' are especially moving.

The second half starts off with "You And Me," which is a fairly upbeat rocker. The execution here makes this track sound the most dated, but, I personally like this aspect, as it actually sounds like something that could have come from one of the Moodies' 60s albums. "The Land Of Make Believe" sounds like a mid-tempo, but more sophisticated British-r&b track, especially during the main verses. "When You're A Free Man" features some nice chord changes (Dmin7 and E minor being the opening chords), and some gentle, but tasteful soloing from Justin Hayward. For some reason, some of the atmospherics on this track, particularly the slow tempo, the absorbing and lyrical solos, remind me slightly of Pink Floyd - mainly of their song "Time." Even the vocals (which may have been sung by Mike Pinder, I'm not quite sure) sound a bit like Pink Floyd's lead singer, David Gilmour. Yet, "Time" was released in 1973, and this was released in 1972. Very strange. "I'm Just A Singer (In A Rock And Roll Band)" seems to lighten up the mood a little bit, to an otherwise somber album. It's also (surprise!) the most hard rocking and upbeat on here.

As their most mature album, this is possibly my favorite from them, and that's not an easy thing for me to say. As such, if you're a fan of most of their 60s stuff, and haven't heard this, the somber quality of this album may take some getting used to. But, this shows them at their most sophisticated, mature, earthy and possibly pained (they would not return for another 4-5 years, and keyboardist Mike Pinder would leave.) Highly recommended.

This is the final of the seven albums the Moodies released in rapid succession from the late sixties to early seventies before essentially disbanding based both on exhaustion and disenchantment with the wages and consequences of fame. This is the group that had first put the vital and exciting new sound of synthesized music on the map and integrated it with such mastery with the wall of dreamy electric sound they became so famous for. After exhausting the field of concept albums with four or five in a row, commencing with "In Search Of The Lost Chord" and ending with "Question Of Balance a few breathless years later, the group finally retired in the early 1970s to regain their energy and momentum, and eventually released this final album, which features a wide range of terrific songs written by each of the band members, but really lacking any unifying theme other than the terrific styles of each member and a certain common perspective obvious from the lyrics of each song.

There is a lot of good listening here, and a lot of musical virtuosity, especially with Mike Pinder in his last appearance on the Moog synthesizer, but also with great electric guitar and bass work by Justin Hayward and John Lodge, respectively, and also with terrific work by Graham Edge on drums and Ray Thomas on a variety of wind instruments. Of course, "Isn't Life Strange?" was the smash single driving the album up the charts, and every song from "Lost In A Lost World" to the final "I'm Just A Singer In A Rock And Roll Band" (which was John Lodge's fervent disclaimer to the distressing popular clamor regarding the Moodies as musical prophets of a new emerging higher level of consciousness) are quite good. My own personal favorites are "You And Me" and a terrific song that never got any air time at all, "Land Of Make Believe" written and sung by Justin Hayward. As far as this album is concerned, in my humble opinion it is a definite keeper. Enjoy!

Considered to be the Moody Blues last cohesive album, "Seventh Sojourn" contains the same high quality of songwriting and instrumental brilliance of any predecessor. Remastered from the original quadraphonic tapes, this SACD 5.1 surround recording takes full advantage of the original recordings. An added bonus is four extra tracks never before heard. There is the original extended eight plus minute version of "Isn't Life Strange" by John Lodge that contains a wonderful central instrumental piece. Recorded at Mike Pinder's `Beckthorns' recording studio, the instrumental, "You And Me" contains great mellotron work (or the Chamberlain) and also pushed the envelope for ethereal sound. The instrumental bonus of "Lost In A Lost World" also gives a new spiritual meaning to the original song version. The last bonus song, "Island" is heard here for the first time, having never made it to "Octave". It is a brilliant Hayward ballad that should have been released years ago.

Please note that all Moody Blues Hybrid SACD's do not reproduce the front central channel - a result of the original quadraphonic tape mixing.

By the time the Moody Blues had released their seventh album in five years, 1972's "Seventh Sojourn," the band were absolutely exhausted, both personally and creatively. After the tour for the album was finished the following year, the Moodies took an extended five-year break before reuniting for 1978's "Octave." But before the temporary stop in activity, the Moodies summoned up what creative energy they had left and put it into this wonderful, classic album. You'd never guess that the band were feeling any stress whatsoever, because "Seventh Sojourn" is simply brilliant, one of the Moodies' very best works. Song for song it is a stunner. Keyboardist Mike Pinder contributes two of his most haunting Moody Blues songs ever, "Lost In A Lost World" and "When You're A Free Man." The trio from guitarist Justin Hayward are all winners: the gorgeous "New Horizons," the bouncy "You And Me," and the charming "Land Of Make-Believe." Bassist John Lodge gets the honor of penning the two classic singles from the album, the dramatic ballad "Isn't Life Strange," and the awesome rocker "I'm Just A Singer (In A Rock And Roll Band)." And flautist Ray Thomas contributes one of his all-time greatest numbers, the lovely "For My Lady." Only drummer Graeme Edge passed on writing any songs for the album, but he more than makes up for that with some of the most powerful drumming he ever laid down with the group.Having toured relentlessly, and having created in a short five years an impressive catalogue of albums known by many fans the world over as "The Classic Seven"---and, with "Seventh Sojourn" becoming a #1 smash on the U.S. album chart---the Moody Blues had definitely earned their extended holiday as a recording act. Thank goodness that they returned to duty in 1978 and have been active ever since, but they couldn't have made a better album to rest on than "Seventh Sojourn." It's a glorious Moody Blues album, one of the group's finest achievements. If you gotta go out---even if it's only temporarily---than go out on top. The Moody Blues ended the first phase of their work together *definitely* at the top of the mountain with "Seventh Sojourn."

There're only eight songs, but they couldn't have picked eight better songs for their last hurrah before the end of their legendary classic period. These eight solid songs would be a great introduction to the band for someone new to their music.

Stand outs include Ray Thomas's endearing ballad "For My Lady," "New Horizons," a beautiful Justin Hayward ballad in honor of his late father, Mike Pinder's haunting "When You're a Free Man" and, of course, John Lodge's hits, "Isn't Life Strange" and "Singer in a Rock 'n Roll Band." The remaining three tracks, "You and Me," "Land of Make-believe" and "Lost in a Lost World" also stand tall as true Moodies classics.

I disagree with a previous reviewer that thought "Singer" was out of place here; I think it is a very fitting end to this album. "Singer" is a fantastic song in its original glory; sadly, recent orchestrated live renditions (see the "Night at Red Rocks" and "Hall of Fame" cd's) pale by comparison, because John Lodge's definitive bass line is drowned out by the stupid orchestra, which doesn't belong in that song, and the female backup singers are relied upon too much. By contrast, the "Red Rocks" version of "Isn't Life Strange" is brilliant and far superior to the original, which is a little too slow and takes the echo effect too far. (The "Hall of Fame" version of this song is not a good example of this because it was butchered to make time.)

I can't stress enough that this album is a PERFECT introduction to the band. I know I said that about "On the Threshold of a Dream," but I mean it much more so here.

I just wanted some other Moody Blues fans to know how much this album meant to me. I was born an only child to a single mom back in 1965. My mother passed away in 1998. I was pretty strong at the time, I barely cried during the whole funeral. A few days after the funeral I was playing some of my old records, and Seventh Sojurn was one of the records I was listening to. When I got to Living In a Land of Make Believe, I just started to cry. I couldn,t stop. I must have played the song 10 times that night. But I really listened to the lyrics, It made me feel very good because I knew that eventually I would see my mother again and I know that she,s watching me every day.
It,s a great album all around but the 5 stars are mainly for that song alone. Thank you Moody Blues and thank you Justin for the emotional release you gave me that night....

Seventh Sojourn is one of those albums that never grows old. I first purchased it as a vinyl way back in the early 70s, and fell in love with it. The arrangements are lush and evocative; the music itself is poignant, melodic and memorable; the lyrics danced across the turntable. Songs such as "For My Lady," "When I'm a Free Man," "Lost in a Lost World" and "Isn't Life Strange" will be Moody classics in years to come. AS most reviewers agreed, despite it being a fun tune, "I'm Just a Singer" is seriously out of place on this album, but who can help but like that bass leadin? It's truly one of their best, and for a band that's been around for over 30 years, that's saying a lot!

The focus of this review is sound quality only; as such, it is restricted to the SACD version/disc on this two-disc package. The only reason to pay the cost of these reissues (I suspect most true fans have already bought the five albums released last year) is the high resolution available via the SACD format. If we take for granted that you have the necessary hardware to properly decode/playback this format, then these reissues are well worth the extra cost, as they reveal greater dynamic range, increased resolution and 'air', and a far deeper and wider soundstage (even through two channels). By the way, these are NOT 5.1, but 4.1 (they were sourced from the quad mixes, remember?). Some of the very minor audio drawbacks that plagued the DVD-A 'Perceptions' box-set by the Doors (see my review there for more details) are also present here, but overall, this SACD offers sound quality that comes about as close to the warmth of fine analog as the digital format currently allows. Remember, these recordings (these comments can be extended to include the SACD version of 'Every Good Boy Deserves Favor') are 35+ years old. By the way, the only "compression" I noticed was when I wore my headphones too tight, so I'm at a loss to explain the observation expressed elsewhere; perhaps Home-Theatre-In-A-Box strikes again, who knows?

This is the last of the Moodies great albums. Alot of acoustic and electric guitars from the brilliant Justin Hayward. Great piano and mellotron playing from Mike Pinder. They became victims of bad 80's production, (cheesy, dated synthesizers, bad drum sounds, etc.), when they regrouped years later. This mix for 5.1 surround sound is excellent. The instruments and vocals are seperated beautifully. There are subtle differences in the mix, louder guitar parts, for example. Justin Hayward contributes 3 great songs. "You & Me" and "New Horizons" are amoung the best he's ever written. "You & Me", an uptempo rocker, was co-written with the drummer, Graeme Edge. "Land of Make-Believe" is a gem. Mike Pinder's "When You're A Free Man" is a hauntingly powerful song with great guitar work from Hayward. His openning track, "Lost in a Lost World", sets the mood for the lp. John Lodge contributes the 2 hits off the album, "Singer in a R-N-R Band" and "Isn't Life Strange". Two rocking and uplifting numbers. The latter is the best version of this song. "Strange" was rerecorded, not remixed, in the 80's along with "Question" with horrific results. Ray Thomas adds the lovely sea shanty, "For My Lady". It's not a very generous album, only 8 songs. But, along with "To Our Children's Children's Children", "On The Threshold of a Dream" and "Question of Balance" it's one of their best.