Seventh Sojourn (Reis) (Exp) [Original recording remastered]

The Moody Blues | Format: Audio CD

Product Details

• Audio CD (July 15, 2008)
• Original Release Date: 1972
• Number of Discs: 1
• Format: Original recording remastered
• Label: Polydor / Umgd
• ASIN: B0018LMZOO
• Also Available in: Audio CD  |  Audio Cassette  |  DVD Audio  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.6 out of 5 stars  See all reviews (111 customer reviews)
• Amazon Best Sellers Rank: #3,756 in Music (See Top 100 in Music)
  • #15 in Music > Pop > Oldies > Baroque Pop
  • #78 in Music > Classic Rock > Psychedelic Rock

Editorial Reviews

The Moody Blues, Seventh Sojourn

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Most Helpful Customer Reviews

84 of 88 people found the following review helpful:

5.0 out of 5 stars If only they would have gone on..., June 3, 2002

By 

Lonnie E. Holder "The Review's the Thing" (Columbus, Indiana, United States) - See all my reviews
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This review is from: Seventh Sojourn (Audio CD)

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.

29 of 30 people found the following review helpful:

5.0 out of 5 stars The Ending of an era, March 13, 2003

By 

Samhot (Star Land) - See all my reviews

This review is from: Seventh Sojourn (Audio CD)

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.

29 of 30 people found the following review helpful:

5.0 out of 5 stars Last Of Original Seven Albums Produced By The Moodies!, August 25, 2000

By 

Barron Laycock "Labradorman" (Temple, New Hampshire United States) - See all my reviews
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This review is from: Seventh Sojourn (Audio CD)

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!