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29 of 30 people found the following review helpful:
4.0 out of 5 stars
The Last Album of the Classic Team, October 11, 2004
The Moody Blues released "Seventh Sojourn" in 1972, the seventh album in five years. The constant touring and writing and pressure of fans looking for a musical guru took their toll, and the members of the band decided they needed a break. In 1974 the band formally announced they would be spending time apart to pursue various projects, which everyone took to mean they were breaking up. When "Octave" was released in 1978 fans of The Moody Blues were ecstatic at their return, a return that would mark the last effort that included keyboardist and mellotron expert Mike Pinder.
This album was strongly influenced by the member's solo projects, most particularly Ray Thomas' "From Mighty Oaks" and Mike Pinder's "The Promise." During the hiatus Justin Hayward and John Lodge released "Blue Jays," which sounded remarkably like The Moody Blues but with a very strong romantic and mellow flavor, and there is some of that style on this album as well. Graeme Edge also participated in a project titled "Kick Off Your Muddy Boots," but there appears to be little influence from that album.
The album is a mixed bag of music ranging from fast paced funk and pop to progressive. However, the one notable absence from the album is a unifying concept or theme. Each album of the classic 7 from "Days of Future Passed" through "Seventh Sojourn" was either a concept album or at least a themed album. "Octave" is a conglomeration of music with nothing to unify the selections. It is probably that change from the previous 7 that initially disappointed Moody Blues fans.
The second disappointment is that several of the tracks followed current musical trends rather than setting musical trends. The result is that several of the tracks are weak and detract from the better songs on the CD.
The CD opens with "Steppin' in a Slide Zone," which has elements of traditional Moody Blues music, but the lyrics are infused with so much pop that the song is a shadow of previous Moody Blues effort. This song enjoyed some air play and modest success, but is hardly representative of the Moodies better efforts. I have heard that this song is much better live than this recording.
"Under Moonshine" shows the influence of "Under Mighty Oaks." However, even with the mellow influences, Mike Pinder's synthesizer expertise is critical to this song, and the harmonies are classic Moodies. Ray Thomas' powerful voice is in full and wonderful form. This song is serviceable, if uninspired.
"Had to Fall in Love" could have been on "Blue Jays." The harmony, style and speed of the song are all consistent with that style. The song is elegant, and the backing vocals are pure Moody Blues. The harmonica adds an interesting touch and reminds the listener of days when the Moodies' music was significantly more complex and cutting edge. A person could argue that the song is Justin Hayward on cruise control, as he seems to knock out songs like this with little effort. However, the beauty of the song is undeniable.
Graeme Edge's contribution "I'll Be Level with You" is a fast-paced song that is somewhat different in style from previous fast-paced Moodies songs. The song has an interesting refrain and the guitars and synthesizer provide the most interesting musical moments. Another serviceable song on this CD, but also provides no ground-breaking moments.
A number of reviewers have considered "Driftwood" to be one of the better or even the best selection on this CD. There is little argument that when Justin Hayward has creative moments that those moments can be incredible. This song is a result of one of those moments. As elegant as "Had to Fall in Love" may be, this song is even better. Perhaps the only thing lacking is a stronger synthesizer performance. The saxophone used on this song may have been an attempt to unnecessarily augment the sad nature of the song, a role a synthesizer could have fulfilled.
Just to prove that even Justin Hayward has his off days there is the song "Top Rank Suite." This song sounds as though Justin Hayward is singing something from Elton John's "Rock of the Westies" album, or perhaps something from the Moodies early days that would have fit better on "Prelude." In any case, this song is certainly not one of my favorite songs on this CD.
The second Ray Thomas song, "I'm Your Man," is similar in style to "Under Moonshine." Ray's voice is in full form, but again the song is very mellow for The Moody Blues and, while an acceptable song, has little to commend itself to be a Moody Blues song.
The second John Lodge contribution, "Survival," is reminiscent of his contributions to "Seventh Sojourn" and "Every Good Boy Deserves Favour," as well as "Blue Jays." This song is acceptable but is too similar to his previous songs.
Mike Pinder's sole contribution, "One Step into the Light," bears a lot of similarity to his solo effort "The Promise," but with a Moody Blues influence. The end result is an interesting effort that is part new age, part progressive, part rock and one of the better selections on the CD because it is unusual and different from much of what the Moodies had done in the past. There is an interesting line in this song, "there's one thing that I can do, play my mellotron for you," in reference to the instrument which Mike Pinder used to great effect in early Moodies recordings.
The final track, "The Day We Meet Again," is classic Moodies and another excellent selection. The song could refer to the impending departure of Mike Pinder from the group, or it could refer to the possibility that the Moodies might remain solo acts rather than a group. This progressive-influenced song marked the end of a song, and presaged a new era in Moodies music.
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17 of 17 people found the following review helpful:
4.0 out of 5 stars
A strong return and a fond farewell to Mike Pinder, August 26, 1999
By A Customer
One of the things about the Moody Blues that has always charmed me is how their eclectic personalities come out in their albums. I know their music so well now that even if I hadn't read who wrote the song, I could still tell who did by the way it sounded. Ray Thomas' light, airy songs full of longing for the wonderment of childhood; Justin Hayward's laments of a great love lost; John Lodge's fast-paced, perfect-for-driving rock-and-roll; Graeme Edge's sonorous voice reading poetry I can never really understand; and Mike Pinder's melancholy, anxious, musing tunes about what's going on in our minds. Since Mike left the Moody Blues after this album, I have missed the cerebral aspect he brought to the band. Songs like "Melancholy Man," and "The Best Way to Travel" were unique and engaging. I believe "One Step Into the Light" is one of Mike's best songs, and it is fitting that it was his last recorded with the group. I really would like to see him come back, though
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Octave resolutions for time travellers, May 2, 2000
Preceding "Octave" (1978), was the Moodies' 1972 release "Seventh Sojourn". After the release of SS, they went their own ways (a sad shock for lovers of their music). When "Octave" appeared, it was with great anticipation that I heard it. Michael Pinder was, again, at a maximum presence on the spiritual 'One Step into the Light'. 'Survival', 'I'll Be Level With You', and 'Under Moonshine' are all encouraging and abiding contributions from from Lodge, Edge and Thomas, resp. Justin Hayward's 'The Day We Meet Again', 'Driftwood', and 'Had to Fall...' show an evolving sense of his craft - which involves writing exquisitely beautiful and mysterious love songs. The Moodies were newer sounding here, obviously - it being 6 years later - but they still had the chemistry going with their classic line-up of people. And I hope I am not too undemonstrative in saying "Octave" is a really nice album, worth it alone for 'Survival'- with it's inspiring, truthful and musical momentum; 'Driftwood' - an nicely airy-textured and personal song with a rather fetching chord sequence in the "shattered the illusion..." verse; and 'The Day We Meet Again', with hypnotic syncopations and dreamily subdued vocal delivery. We didn't hear from them again until 1981 with Pat Moraz on the incredible and theatrical "Long Distance Voyager" - sans Michael Pinder. And the beat goes on...
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