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Every Good Boy Deserves Favour
Imported ed.
Import, Hybrid SACD
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Every Good Boy Deserves Favour
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MP3 Music, June 23, 2008
"Please retry" | $9.49 | — |
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Audio CD, EP, Extra tracks, July 15, 2008
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| Audio CD, Hybrid SACD - DSD, Import, April 10, 2007 |
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Vinyl, Original recording, January 1, 1971
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Audio, Cassette, July 7, 1987
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Track Listings
| 1 | Procession |
| 2 | The Story in Your Eyes |
| 3 | Our Guessing Game |
| 4 | Emily's Song |
| 5 | After You Came |
| 6 | One More Time to Live |
| 7 | Nice to Be Here |
| 8 | You Can Never Go Home |
| 9 | My Song |
| 10 | The Story in Your Eyes Original Version |
| 11 | The Dreamer |
Editorial Reviews
Import-only SACD/Hybrid pressing. 2007 digitally remastered digipack edition of this 1971 classic featuring the original stereo mix and the 5.1 Surround Sound mix plus added tracks along with an expansive booklet containing sleeve notes and rare photographs. Features two previously unreleased tracks: 'The Story in Your Eyes' (Original Version) and 'The Dreamer'. 11 tracks total. Decca.
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 5.52 x 0.35 x 5.03 inches; 2.72 Ounces
- Manufacturer : Decca / Threshold Records
- Date First Available : January 10, 2007
- Label : Decca / Threshold Records
- ASIN : B000MGVCFO
- Number of discs : 1
- Best Sellers Rank: #244,258 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #342 in Baroque Pop
- #2,400 in British Music
- #2,634 in Classic Psychedelic Rock
- Customer Reviews:
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"Every Good Boy Deserves Favour" was the Moodies' seventh album, and the sixth with what is now considered the band's classic lineup of drummer Graeme Edge, guitarist/vocalist Justin Hayward, bassist/vocalist John Lodge, keyboardist/vocalist Michael Pinder, and flautist/vocalist Ray Thomas. The title of the album derives from a memory cue for remembering a series of notes along the treble clef, and the songs fit together well and showcase well the talents of each member of the band.
The opening instrumental "Procession," written in collaboration by all five band members, may seem ambitious, aspiring as it does to set forth the entire history of music in 4 minutes and 40 seconds. Against the band's chanting of "Desolation!" "Creation!" "Communication..." (all concepts that will return later in the album), we hear a movement from primitive drums, to the chanting of monks, to a sitar, to a harpsichord, to a baroque church organ, to the Mellotron that is so strongly associated with the band's work. Yes, it's a bit portentous, but somehow it works.
A melodic electric-guitar interlude from Hayward provides a segue into one of the band's best-known songs, "The Story in Your Eyes." Forty years of continuous overplaying on classic-rock radio have done nothing to diminish the power of this song, one of the band's best. Hayward's calm, measured vocal line complements well his high-energy guitar (his solo on this song shows how underrated he has been as a guitarist), and Lodge's propulsive bass line, Pinder's piano chords, and the band's ethereal harmonies combine for what could be considered the quintessential Moody Blues song.
Ray Thomas's "Our Guessing Game" is one of his best songs, beginning with gentle piano and Mellotron, eventually energized by Hayward's electric guitar. I've always had reservations about Thomas's work -- a good bit of it seems too self-consciously whimsical for its own good -- but this is a solid and straightforward song, with effective use of multi-layered harmonies. "Emily's Song," written by Lodge for his daughter, is gentle and sweet, like a lullaby -- acoustic guitar and cello work together well in this song. No doubt Lodge's daughter Emily, forty years on, is still happy and proud to know that her dad wrote this song for her all those years ago. And side one of the album (back when albums had sides) ended with Edge's "After You Came," a fine example of the band's four vocalists working well together. All four sing the verses together in seamless harmony, including one of my favorite MB lyrics -- "Come back to earth, for what it's worth/For you've been dreaming of a ceiling, not a home." And then, in a striking turn, each of the four vocalists takes a turn singing a line -- first Thomas, then Pinder, then Hayward, then Lodge. Impressive how much of this album demonstrates an ethic of teamwork on the part of the band's members.
Lodge's "One More Time to Live," which was the first song on the second side, goes from a gentle flute intro by Thomas to pick up on some of the themes of "Procession" from the first side, with contemplative lyrics in which the speaker questions humanity's future prospects, except that now "desolation" and "creation" are followed by a long array of other general-concept words that rhyme: evolution, pollution, saturation, population, annihilation, confusion, et al. One can certainly see here the culture-wide anxiety of those times, particularly with regard to environmental degradation and the prospects for nuclear war. At least this long list of "-tion" words ends with "solution," offering a hopeful suggestion that maybe we humans, for all our failings, won't manage to breed or pollute or nuke ourselves into extinction. And indeed, a biblical forty years after this album was released, we're still hanging on.
"Nice to Be Here" shows Thomas returning to his whimsical ways. "A mouse playing daffodil"? Really? Sounds as though someone has read Kenneth Grahame's "The Wind in the Willows" one time too many. But it's a pleasant tune, and the combination of flute, acoustic guitar, and high-register bass works well. Hayward's "You Can Never Go Home" is a fine song that makes me think of walking long ago through Asheville, North Carolina, carrying a well-thumbed copy of Thomas Wolfe's novel "You Can't Go Home Again"; like Wolfe's novel, Hayward's song deals with the passage of time and the impossibility of returning to the safety of one's earlier life. The song begins slowly, with acoustic guitar; then the Mellotron and electric guitar kick in, and the song picks up in intensity. And the piano-based "My Song," the tune that originally closed the album, shows us Pinder at his most overtly mystical, with that guru-from-the-mountaintop quality that often marked his work. The song has a spacey-sounding break in the middle that combines breathing sounds with Mellotron power chords in a manner that made me think of astronaut David Bowman's trip through the Star Gate in Stanley Kubrick's "2001: A Space Odyssey" (1968). But it works as a song, and rounds the album off well.
This release of "Every Good Boy Deserves Favour" includes two bonus tracks. An original version of "The Story in Your Eyes" makes for an interesting alternate take on this Moodies classic -- slightly different vocal delivery by Hayward, with more echo on the vocal, and less emphasis on harmonies. And "The Dreamer," a Hayward-Thomas collaboration, is a fine, acoustic guitar-based song with Thomas on vocal, a perfectly suitable note on which to close.
The CD includes helpful liner notes that provide useful information regarding the circumstances under which the album was recorded, lyrics for all the songs except the bonus track "The Dreamer," and a number of photographs of the band. For any fan of the Moody Blues, this album is essential.
I'm going to start off with a veritable Justin Hayward gushfest here: 'The Story in your Eyes'. Oh my word, what a pure delight this song is. Yes folks, Mr Hayward knows how to rock it out! What- and how many- adjectives can I use to adequately describe it? BRILLIANT, MASTERFUL, AWESOME, BEAUTIFUL, SMART, come to mind. This song is simply a showcase for Hayward's phenomenal talents as a singer, songwriter and guitar maestro. "And the sound we make together is the music to the story in your eyes". Pray tell, who else writes intelligent yet beautiful lyrics like this? NOBODY!! The music, beat and tempo are great as well, carried along by Graeme Edge's terrific percussion work and John Lodge's oh so hard-driving bass. Mike Pinder just flat out tore up the keys on this one. Heck, they ALL shine on this gem!! If I have one MINOR complaint, it's that this song is nowhere near long enough- give me just two more minutes of it, PLEASE!
The hard-rocking 'After You Came', superbly written by Graeme Edge, was a VERY pleasant surprise. It should have been named 'Another Way To Fall', because of the catchy chorus: "I've reached the top of my wall. I've found out another way to fall". I love the overall sound of this lively ditty and the musicianship is blazing hot. The way the guys all trade lead vocals is simply fantastic. I was almost squealing with girlish delight to hear John's lovely vocals totally dominating in several places- way to go Lodgie! This song is tailor-made for his voice. But all the Moodies flat sang- and played- their hearts out on this one. Way to write a song Graeme!
On to the two offerings from the fab Mr John Lodge. First off: 'One More Time To Live'. This one took me a few listens to "get" it, as it's just too much to take in all at once and fully comprehend it. At first I didn't quite see how the chorus of very loudly spoken words fit in, but now I realize that it works beautifully with the heavy subject matter. This might be John's deepest, darkest song. This powerful tune, written well over 30 years ago, is so relevant to today's troubled world that John could have put it to paper yesterday. You've outdone yourself John and you should be darned proud of this song!
I've deliberately saved John's other number, 'Emily's Song', until last. This song hits very close to home with me and at times, frankly leaves me an emotional wreck. You see, I had no relationship with my biological father. Since my earliest childhood memories, I have wanted and dreamed about having a kind, loving man such as John Lodge for my Dad. To have your daddy love you enough to write and sing about his little girl is too precious and painful for me to put into words. I just hope and pray that Emily Lodge knows how truly blessed she is to have such a father, and that she returns that love to him. John, from the bottom of my heart, thank you for sharing all your beautiful words with the world. You truly are a very special human being.
In closing, I'd just like to say that this album is a must-have for anyone who appreciates classic/progressive rock at its finest, created by the most amazing band to ever bless this Earth with their music.
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