I start to re-upload all of them plus some new one now in January 2013. Every thing before that date as been deleted by the authority. Enjoy the music and if you like a band just buy it at your music store.

Saturday, August 29, 2009

JETHRO TULL / flute cake live in Stockholm

Flute cake live in Stockholm (rare)

Bit rate 128 kps

LINK:  Flute cake live in Stockholm


01- Back To The Family
02- Dharma For One
03- Nothing Is Easy
04- A Song For Jeffrey
05- My Sunday Feeling
06- Martin's Tune
07- To Be Sad Is A Mad Way To Be


JETHRO TULL / Chemnitz 2007 bootleg

Chemnitz 2007

Bit rate 192 kps

LINK: chemnitz2007


01. Someday The Sun Won't Shine For You

02. Living In The Past
03. Jack In The Green
04. The Water Carrier
05. Thick As A Brick
06. King Henry's Madrigal
07. Fat Man
08. Bouree
09. Sweet Dreams
10. After You After Me
11. Nothing Is Easy
12. "Stairway To" Aqualung
13. America
14. My God
15. Budapest
16. Locomotive Breath


JETHRO TULL / unplugged


Bit rate 320 kps

LINK:  unplugged


01 Cheap Day Return - Mother Goose
02 Bouree
03 Another Christmas Song
04 When Jesus Came To Play
05 Roks On The Road
06 Fat Man
07 Aqualung - Locomotive Breath - Black Sunday
08 Like A Tall Thin Girl
09 Cheap Day Return - Wond'rin Aloud
10 Jack In The Green
11 Skating Away On The Thin Ice Of A New Day
12 Budapest
13 A Christmas Song
14 Outro - Locomotive Breath
15 Too Old To Rock 'n' Roll, Too Young To Die

THE WHO / amazing journey

Amazing journey

Bit rate 128 kps

LINK:amazing journey

01 Leaving Here
02 I Can't Explain
03 My Generation
04 I'm A Boy
05 I Can See For Miles
06 Amazing Journey
07 Pinball Wizard
08 Summertime Blues (Live)
09 Baba O'riley
10 The Song Is Over
11 Sea And Sand
12 Who Are You
13 Eminence Front
14 Won't Get Fooled Again (Live)
15 Real Good Looking Boy
16 Tea And Theatrer


YES / ocean tales 1974

Ocean tales

Bit rate


Thank you http://progrockvintage.blogspot.com/. One blog you will love if you love my blog.My little sister Luciana is the owner.Thank for the LINK.


1- Fire Bird Suite
2- Siberian Khatru
3- And You And I
4- Close To The Edge
5- The Revealing Science Of God


1- The Remembering
2- The Ancient
3- Ritual
4- Roundabout .


THE WHO / face dances

Face dances

Bit rate 320 kps


1. You Better You Bet
02. Don't Let Go the Coat
03. Cache Cache
04. The Quiet One
05. Did You Steal My Money
06. How Can You Do It Alone
07. Daily Records
08. You
09. Another Tricky Day


HAWKWIND / space bandits

Space bandits

Bit rate 320 kps


Password "historyofthe80s"

01. Images
02. Black Elk Speaks
03. Wings
04. Out Of The Shadows
05. Realms
06. Ship Of Dreams
07. T.V. Suicide

Sonic attack

Bit rate 320 kps


Password "Historyofthe80s"

01. Sonic Attack
02. Rocky Paths
03. Psychosonia
04. Virgin Of The World
05. Angels Of Death
06. Living On A Knife Edge
07. Coded Languages
08. Disintegration
09. Streets Of Fear
10. Lost Chances
11. Trans-Dimensional Man


NOVALIS / bumerang


Bit rate 320 kps


1. Nimm meine Hand (4:35)
2. Setz' dich zu mir (3:27)
3. Spazieren im Morgen (3:50)
4. Torero der Nacht (4:15)
5. Über Stock und Stein (3:50)
6. Bumerang (4:27)
7. Wien (3:36)
8. Horoskop (3:37)
9. Espresso (3:11)
10. Talisman (3:46)


NOVALIS / flossenengel


Bit rate 256 kps


1. Atlanto (5:12)
2. Im Brunnen der Erde (4:28)
3. Brennende Freiheit (2:20)
4. Im Netz (8:38)
5. Flossenngel (3:26)
6. Walzer für einen verlorenen Traum (3:27)
7. Sklavenzoo (6:00)
8. Alle wollen leben (4:45)
9. Rückkehr (6:00)
10. Ob Tier, ob Mensch, ob Baum (1:50)


NOVALIS / vielleicht bist du

Vielleicht bist du

Bit rate 1978


1. Der Geigenspieler (8:14)
2. Zingaresca (5:12)
3. Manchmal fällt der Regen eben lang (3:50)
4. Vielleicht bin Ich ein Clown? (6:22)
5. City-Nord (6:07)
6. Die Welt wird alt und wieder jung (4:30)


NOVALIS / brandung


Bit rate 320 kps


1. Irgendwo, Irgendwahn (4:35)
2. Wenn nicht mehr zahlen und figuren (3:03)
3. Astralis (8:50)
4. Sonnenwende: (16:56)
a) Brandung (3:42)
b) Feuer bricht in die Zeit (3:56)
c) Sonnenfinsternis (3:30)
d) Dämmerung (5:48)


NOVALIS / banished bridge

Banished brdge

Bit rate 256 kps


1. Banished bridge (17:06)
2. High evolution (4:27)
3. Laughing (9:10)
4. Inside of me (inside of you) (6:40)


Formed: 1971
Disbanded: 1985
Genre: progressive rock
Original line-up
vocals: Jürgen Wentzel (until 1973)
bass: Heino Schünzel (until 1980)
organ: Lutz Rahn
drums: Hartwig Biereichel
guitar: Carlo Karges (until 1975)
Most successful line-up
vocals: Fred Mühlböck (1976–1984)
bass: Heino Schünzel (1971–1980)
organ: Lutz Rahn
drums: Hartwig Biereichel
guitar: Detlef Job (1973–1985)
Final line-up
vocals: Ernst Herzner (1984–1985)
bass: Hinrich Schneider (1983–1985)
organ: Lutz Rahn
drums: Hartwig Biereichel
guitar: Detlef Job (1973–1985)

Novalis was a 1970s Krautrock group formed in Germany. Their best-known albums include Sommerabend and Wer Schmetterlinge Lachen Hört.

Band history

Vocalist Jürgen Wentzel and bassist Heino Schünzel placed a newspaper advertisement in search of bandmates in Hamburg in 1971. They were joined by organist Lutz Rahn and drummer Hartwig Biereichel. Together with guitarist Carlo Karges they formed Mosaik, soon changing the name of the band to Novalis. After the release of their first album in 1973, Wentzel left the group and Heino Schünzel took on vocal duties. Carlo Karges, who would go on to join Nena's backing band, was replaced by Detlef Job. Austrian vocalist Fred Mühlböck joined the group in 1976.

The lyrics used on the group's first album were written in English, but on the suggestion of new producer Achim Reichel, formerly of The Rattles, they began to sing in German in 1975. The group incorporated poems by their namesake, the Romantic-era writer Novalis, among others, into their work, along with their own lyrics.

With Fred Mühlböck's powerful and unmistakable voice, the group's greatest successes and even a degree of international recognition came with the albums Sommerabend, Brandung and Vielleicht Bist Du Ein Clown? Lutz Rahn released a 1978 solo album entitled Solo-Trip.

Proceeds from the group's 1979 concept album, Flossenengel, which was based on the theme of whaling, went to the World Wildlife Fund.

By the early 1980s, and in the wake of the Neue Deutsche Welle, Novalis appeared rather outmoded. The group sought a new direction, but split following numerous personnel changes.

Their final album was 1985's Nach Uns Die Flut. They were accompanied on tour that year by guitarist Günther Brackmann. Rahn and Biereichel put together a 1993 compilation of live recordings of Novalis at their peak.


  • Banished Bridge, 1973
  • Novalis, 1975
  • Sommerabend, 1976 (Summer evening)
  • Konzerte, 1977 (Concerts)
  • Brandung, 1977 (Tide)
  • Vielleicht bist du ein Clown?, 1978 (Maybe you're a clown?)
  • Wer Schmetterlinge lachen hört, 1978 (Who hears butterflies laughing)
  • Sonnewende, 1978 (Solstice)
  • Flossenengel, 1979 (Angel with fins)
  • Augenblicke, 1981 (Moments)
  • Neumond, 1982 (New Moon)
  • Visionen, 1982 (Visions)
  • Sterntaucher, 1983 (Star diver)
  • Bumerang, 1984 (Boomerang)
  • Nach uns die Flut, 1985 (After us the flood)
  • Novalis lebt!, 1993 (Novalis lives!, live compilation)
Flossenengel, 1995 (compilation)

Carlo Karges (31 July 1951, Hamburg30 January 2002, Hamburg) was a Germanmusician who became a guitarist and songwriter for the rock band, Nena.

Karges grew up with his single mother in Hamburg, and began as a student to play guitar and to compose songs. After he had gathered experience playing live in several different groups, including Tomorrows’ It Poison and Release Music Orchestra, by 1971 he was the guitarist and keyboardist and founding member of Novalis.

In 1981 he joined Gabriele "Nena" Kerner in establishing Nena. Karges co-wrote their most famous song, "99 Luftballons".

Karges died early in 2002 at the age of 50, in the clinic Eppendorf due to liver failure. He was buried in Hamburg's main cemetery, Ohlsdorf.


PELL MELL / Moldau


Bit rate 256 kps


1. Moldau Part one
2. The farmers wedding
3. The hymph dance
4. Moldau Part two
5. Gliding
6. Dark valley


PELL MELL / only a star

Only a star

Bit rate 256 kps


1. Count Down
2. Daydreamer
3. Only A Star
4. Across The Universe
5. Disillusion
6. Trailors In Movie Halls
7. Phoebius Is Dead


PELL MELL / Rhapsody


Bit rate 256 kps


1. Rhapsody Frost of an alien darkness (9:24)
2. Rhapsody Wanderer (2:31)
3. Rhapsody Can Can (3:38)
4. Prelude (3:18)
5. Desert in your mind (6:18)
6. The riot (6:06)
7. Paris the past (8:10)


PELL MELL / from the new world

From the new world

Bit rate 128 kps


1. From The New World (16:06)
2. Toccata (3:53)
3. Suite I (8:05)
4. Suite II (11:39)


PELL MELL / Marburg


Bit rate 128 kps


1. The Clown And The Queen (8:37)
2. Moldau (5:24)
3. Friend (7:04)
4. City Monster (8:42)
5. Alone (9:24)

Pell Mell's debut is the one that should appeal most to people here. While later albums might have been more airy, fluffy, and even silly, while still being very worthwhile, Marburg is dominated by heavy organ, at times screeching vocals, some blistering lead guitars, and a more gritty violin sound than would appear just a few short years later. While blatantly symphonic and employing some recognizable classical themes, this most impressive first album is more krautrock sounding if you will. Still, their penchant for juxtaposing moods and skillfully shifting tempo was clearly intact from day 1, and if you like a good melody you will find more than a few here. Hence, something for everybody, but a special dollop for those, like me, who think no one did progressive rock like the Germans did in the 70s.

To dispense with the obvious, the vocals can be quite obnoxious at times, no more so than in the closer "Alone", but if you give it time, even there you will be impressed with its musicality and its suitability for the undeniably skilled playing. Sure, the faux scat is of "Friend" wears thin after the first 5 innovative seconds, but its first part is brilliant, and "City Monster" is a master epic. "The Clown and the Queen" carries a delightfully nostalgic vibe. Even if you can't get past the vocals at any price, the flute, organ and mad fiddling of the souped up classical instrumental "Moldau" justifies seeking out this CD.

One can hear the influence of this album in the works of endearing bands like JANE, far lesser artists like STREETMARK, who knew not what to do with their inspiration, or the brilliant one-off ZOMBY WOOF, and probably a lengthy list of even more obscure bands who barely published during the golden era. But for the source, start with Marburg, one of the keystones of German symphonic prog and a must have release from this period.

Pell Mell biography

Not to be confused with a 1980s American band of the same name, Pell Mell was a symphonic band from Marburg, Germany (Marburg is also the name of the debut album). The band was formed in 1971 by keyboard player Otto Pusch, bass player Jorg Gotzfried, Rudolf Schon on vocals, recorder, and guitar, drummer Mitch Kniesmeijer, and Thomas Schmitt on violin, guitar, and vocals.

The first album is characterized by a rough edge, especially in the vocals. Subsequent albums would smooth out the edges. However, there are aspects reminiscent of Hawkwind, HP Lovecraft, The Nice, and even ELP. Mellotron and classical themes are abundant. It also should be pleasing to fans Krautrock.

Over the next releases they would explore the realm of Mike Oldfield, and then settle into keyboard dominated symphonic. The old psychedelic sounds completely gone. Much of the music is considered some of the best German symphonic ever recorded.

The usual lineup changes occurred over time, and the band began to disintegrate after 1978's "Only a Star." Thomas Schmitt formed the '80s style rock band Skyrider, with former band mate Otto Pusch. They released one self-titled album, and then took back the name Pell Mell. This incarnation released "Moldau" in 1981. However, the old magic was gone, and that is where the Pell Mell story ends.


JANE / between heaven and hell

Between heaven and hell

Bit rate 320 kps


1. Between heaven and hell (19:47)
2. Twilight (8:14)
3. Voice in the wind (5:14)
4. Your circle (3:51)


JANE / lady 1975


Bit rate 192 kps


1. Waiting for the sunshine(3:25)
2. Scratches on your back (3:37)
3. Music machine (6:05)
4. Make me feel better (4:10)
5. (Wishdream) Lady (3:51)
6. Lord love (5:12)
7. Midnight mover (8:33)
8. Silver knickers (but you are all right) (5:01)
9. So, so long (4:31)


JANE / Jane lll

Jane lll

Bit rate 192 kps

LINL: janelll

1. Comin' again (9:40)
2. Mother, you don't know (5:52)
3. I need you (4:50)
4. Way to paradise (3:25)
5. Early in the morning (5:20)
6. Jane-session (4:20)
7. Rock'n'roll star (4:47)
8. King of thule (0:40)
9. Baby, what you're doin' (3:05)


JANE / here we are

Here we are

Bit rate 320 kps

LINK: hereweare

1. Redskin (8:53)
2. Out in the rain (5:38)
3. Dandelion (2:17)
4. Moving (3:53)
5. Waterfall (4:24)
6. Like a queen (2:38)
7. Here we are (5:35)
8. Daytime (single) (3:31)
9. Hangman (instrumental) (3:59)
10. Here we are (single) (3:48)
11. Redskin (single) (2:41)


JANE / together


Bit rate: 256 kps

LINK: together

1. Daytime (8:05)
2. Wind (4:52)
3. Try to find (5:24)
4. Spain (11:53)
5. Together (3:43)
6. Hangman (9:58)


Friday, August 14, 2009

MOODY BLUES / magnificent moodies 1966

Magnificent moodies 1966

Bit rate 256 kps

LINK: magnificentmoodies1966

PASSWORD "sakalli"

Moody Blues was founded in 1964 by Michael Pinder and Ray Thomas. They initially performed a rhythm and blues-based sound in Birmingham. Their debut album hit the streets in 1965.

The style of music on "Magnificent Moodies" differs greatly from what most people expect from a Moody Blues album. The sound is R'n'B influenced and rather naive and simple. The songs are all single length (2-3 minutes long). The song titles reflect the lyric themes very obviously.

"I'll Go Crazy/ Something you got" are good examples of the early sound with the tortued vocals of Laine and "I don't mind" featuring the vocal/piano powers of Mike Pinder. While "From the Bottom of my heart" and "Stop" two great Pinder/Laine originals, allow for the recognition of the maturing writing talents and vocal harmonies which would later become hallmarks of the band.

This edition of the album also includes 14 bonus tracks from the same era.

Laine and Warwick left the group in 1966, and were replaced by guitarist Justin Hayward and bassist John Lodge, as the band inspired and evolved the progressive rock style.

Line-up :
- Michael Pinder / keyboards and vocals
- Ray Thomas / bass, flute, vocals
- Graeme Edge / drums
- Denny Laine / guitar, vocals
- Elaine Caswell / percussion
- Clint Warwick / bass

Track List :
01. I'll Go Crazy - 2:11
02. Something You Got - 2:52
03. Go Now! - 3:14
04. Can't Nobody Love You - 4:03
05. I Don't Mind - 3:27
06. I've Got A Dream - 2:52
07. Let Me Go - 3:13
08. Stop - 2:05
09. Thank You Baby - 2:30
10. It Ain't Necessarily So - 3:21
11. True Story - 1:45
12. Bye Bye Bird - 2:50
13. People Gotta Go (Bonus) - 2:32
14. Steal Your Love Away (Bonus) - 2:15
15. Lose Your Money (But Don't Lose Your Mind) (Bonus) - 2:00
16. It's Easy Child (Bonus) - 3:13
17. I Don't Want To Go On Without You (Bonus) - 2:46
18. Time Is On My Side (Bonus) - 3:03
19. From The Bottom Of My Heart (I Love You) (Bonus) - 3:28
20. And My Baby's Gone (Bonus) - 2:21
21. Everyday (Bonus) - 1:49
22. You Don't (All The Time) (Bonus) - 2:21
23. Boulevard De La Madelaine (Bonus) - 2:56
24. This Is My House (But Nobody Calls) (Bonus) - 2:35
25. Life's Not Live (Bonus) - 2:35
26. He Can Win (Bonus) - 2:25


MOODY BLUES / To our childrens

To our childrens

Bit rate 256 kps

LINK: toourchildrens

PASSWORD "sakalli"

Moody Blues revert to a generally mellower style for this album, in fact at times they seem so laid back their heads must be touching the ground!

"Higher and higher" which opens the album briefly belies this, with its (strangely enough) ascending, upbeat melody, but the following "Eyes of a child", establishes the dominant pace for the album.

There is though, much to enjoy here. "Candle of life" has a Bee Gees feel to it, with swirling orchestration, and a lovely piano backing (it made an excellent B side for "Question" when released as a single). "Watching and Waiting", which the band had apparently expected to be a huge hit single, is a wonderfully melodic number, which washes over the listener in gentle waves of breathing keyboards.

That pretty much goes for the rest of the album. It's hardly challenging and not really very progressive, but it is highly melodic and hugely relaxing, one for low lights and good company.

Line-up :
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals

Track List :
01. Higher And Higher - 4:06
02. Eyes Of A Child I - 3:23
03. Floating - 3:01
04. Eyes Of A Child II - 1:21
05. I Never Thought I'd Live To Be A Hundred - 1:05
06. Beyond - 2:58
07. Out And In - 3:48
08. Gypsy - 3:33
09. Eternity Road - 4:18
10. Candle Of Life - 4:17
11. Sun Is Still Shining - 3:37
12. I Never Thought I'd Live To Be A Million - 0:33
13. Watching And Waiting - 4:15


MOODY BLUES / Every Good Boy Deserves Favour (1971)

Every good boy deserves favour

Bit rate 256 kps

LINK: everygoodboydeservrsfavour

PASSWORD "sakalli"

Track List :
01. Procession - 4:40
02. The Story In Your Eyes - 2:56
03. Our Guessing Game - 3:34
04. Emily's Song - 3:42
05. After You Came - 4:39
06. One More Time To Live - 5:41
07. Nice To Be Here - 4:23
08. You Can Never Go Home - 4:14
09. My Song - 6:19

From the lovely cover art to the opening creation myth, accompanied by gorgeous instrumentation (including a nice little Brian May-type doubletracked lead fanfare), we are led to believe that the Moody Blues have finally produced the concept album they'd always seemed to be promising. It certainly keeps going well, seguing into the driving and memorable "Story in Your Eyes", but as the album continues, there's no doubt that this is simply another collection of good songs loosely bound together.

Not that that's a bad thing; this is just as much as a concept album as, say, "Sgt. Pepper". "Our Guessing Game" is requisite Ray Thomas simple sweetness, saturated with melody and harmony, and "Emily's Song" continues the lush loveliness with remarkable orchestration. "After You Came" hits fairly hard, in a Who-inspired vein, and features some nice guitar work. "One More Time to Live" is tender and lush and pretentious as a Moody Blues song should be, hearkening back to the questing drama of "Procession" to keep the concept going.

"Nice to be Here" (is there any doubt this is a Ray Thomas song?) is a cross between "Wind in the Willows" nursery rhyme psychedelia and Fogerty's "Looking Out My Back Door"- perhaps a little too childish for some, but fun nevertheless. "You Can Never Go Home", however, is a surging guitar-led anthem in the Justin Hayward style, mixing melancholy reflection with yearning romanticism. The final track, "My Song", is the toughest song on the album to digest; the lyrics of the first and last verse may make you cringe, but the vocals work well; the music jumps around from passage to passage, teasing you with sonic textures, but gradually builds to a wrenching climax.

Is it anything they haven't shown us before? Not really- the latter five of the "classic seven" Moody Blues albums are more or less interchangeable, but this one has the most lushly layered sonic signature- even compared to the orchestra on "Days of Future Passed". Is it overblown and pretentious? Sure, but there's still that endearing naivete and optimism to balance the grandeur. Is it "easy listening"? Well, it definitely belongs to the softer side of progressive rock, making even the Alan Parsons Project seem edgy by comparison- but if you're in the mood to let your defenses down a bit and let the music wash over you, there's few albums that will be as comfortable and yet as evocative as "Every Good Boy Deserves Favor".

Line-up :
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion


MOODY BLUES / Seventh sojourn

Seventh sojourn

Bit rate 256 kps

LINK: seventhsojourn

PASSWORD "sakalli"

Line-up :
- Justin Hayward / guitars, vocals
- John Lodge / bass guitar, vocals
- Michael Pinder / keyboards, vocals
- Ray Thomas / harmonica, flute, vocals
- Graeme Edge / drums, percussion

Track List :
01. Lost In A Lost World - 4:41
02. New Horizons - 5:10
03. For My Lady - 3:57
04. Isn't Life Strange - 6:10
05. You And Me - 4:19
06. The Land Of Make-Believe - 4:50
07. When You're A Free Man - 6:05
08. I'm Just A Singer (In A Rock And Roll Band) - 4:17

The Moody Blues

The Moody Blues

The Moody Blues in concert at the Chumash Casino Resort in Santa Ynez, California in 2005.
Background information
Origin Birmingham, England
Genre(s) Progressive rock, psychedelic rock, symphonic rock, synthpop
Years active 1964–1974, 1978-Present
Label(s) Decca, Deram, Threshold, Polydor, Universal
Website http://www.moodyblues.co.uk
Justin Hayward
John Lodge
Graeme Edge
Former members
Ray Thomas
Michael Pinder
Patrick Moraz
Denny Laine
Clint Warwick

The Moody Blues are an English band originally from Erdington in the city of Birmingham. Founding members Michael Pinder and Ray Thomas performed an initially rhythm and blues-based sound in Birmingham in 1964 along with Graeme Edge and others, and were later joined by John Lodge and Justin Hayward as they inspired and evolved the progressive rockclassical music, most notably in their seminal 1967 album Days of Future Passed. style. Among their innovations was a fusion with

The band has had numerous hit albums in the UK, U.S., and worldwide. They remain active as of 2009. The Moody Blues have sold in excess of 50 million albums worldwide and have been awarded 14 platinum and gold discs.

Founding and early history

The Moody Blues formed on 4 May 1964, in Erdington, Birmingham, England. Ray Thomas, John Lodge, and Michael Pinder had been members of El Riot & the Rebels, a regionally-popular band. They disbanded when Lodge, the youngest member, went to technical college and Pinder joined the army. Pinder then rejoined Thomas to form the Krew Cats and enjoyed moderate success. The pair recruited guitarist/vocalist Denny Laine, band manager-turned drummer Graeme Edge, and bassist Clint Warwick. The five appeared as the Moody Blues for the first time in Birmingham in 1964. The name developed from a planned sponsorship from the M&BDuke Ellington song, "Mood Indigo". Brewery and was also a subtle reference to the

Soon, the band obtained a London-based management company, 'Ridgepride', formed by ex-Decca A&R man Alex Murray (Alex Wharton), who helped them land a recording contract with Decca Records in the spring of 1964. They released a single, "Steal Your Heart Away" that year which made it onto the charts. But it was their second single, "Go Now" (released later that year), which really launched their career, being promoted on TV with one of the first purpose-made promotional films in the pop era, produced and directed by Wharton. The single became a hit in the United Kingdom (where it remains their only Number 1 single to date) and in the United States where it reached #10.

Their debut album The Magnificent Moodies, produced by Denny Cordell with a strong Merseybeat/R&B flavour, was released on Decca in 1965. It contained the hit single together with one side of classic R&B covers, and a second including four Laine/Pinder originals.

Wharton left the management firm and the group released a series of unsuccessful singles. In the summer of 1966, Warwick left the group. He was briefly replaced by Rod Clark but by October, Laine and Clark had also departed the group. They were immediately replaced by John Lodge, their bassist from El Riot, and Justin Hayward, formerly of The Wilde Three. Pinder phoned Hayward after reading his application to The Animals, and was impressed when Hayward played him his 45 rpm single "London Is Behind Me" during their car ride to meet the other members in Esher. After financial misfortune and a confrontation from an audience member, the band soon realised that their style of American blues covers and novelty tunes was not working for them, and they decided that they would only perform their own material. Their new style, featuring the symphonic sounds of Pinder's mellotron and Ray Thomas' flute, and incorporating distinct psychedelic influences, was to be developed in a concept album revolving around an archetypal day in the life of everyman.

Deram Records contract and founding of signature style

The Moody Blues' contract with Decca Records was set to expire and they owed the label several thousand pounds in advances. They had the support, however, of Decca A&R manager Hugh Mendl, who had been instrumental in the recent establishment of London/Decca's new subsidiary imprint Deram Records. With Mendl's backing, The Moody Blues were offered a deal to make a rock and roll version of Antonín Dvořák's New World Symphony that would promote the company's new Deramic Stereo Sound (DSS) formatman in return for which the group would be forgiven its debt.

The Moody Blues agreed, but they insisted that they be given artistic control of the project, and Mendl (as executive producer) was able to provide this in the face of Decca's notoriously tight-fisted attitude to its artists.The group were unable to complete the assigned project, which was abandoned. They managed to convince Peter Knight, who had been assigned to arrange and conduct the orchestral interludes, to collaborate on a recording that used the band's original material instead.

Deram executives were initially skeptical about the hybrid style of the resulting concept album. Days of Future Passed (released in November 1967) became one of the most successful pop/rock releases of the period, earning a gold record award and reaching #27 on the British album chart (five years later it was to reach #3 in the U.S./Billboard charts). The album was a song cycle that (like James Joyce's Ulysses) took place over the course of a single day. In production and arrangement, the album drew inspiration from the pioneering use of the classical instrumentation by The Beatles, and took the form to new heights, using the London Festival Orchestra to provide full orchestral backing throughout the album, combined with rock instrumentation centred on Pinder's Mellotron.

Decca staff producer Tony Clarke was chosen to produce the album, and the band carried on a durable working relationship with Clarke (sometimes known to fans as "the sixth Moody") who went on to produce all of their albums and singles for the next eleven years. Engineer Derek Varnals would also contribute heavily to the creation of the early Moodies' studio sound.

The album plus two singles, "Nights in White Satin" and "Tuesday Afternoon" (as a medley with "Forever Afternoon," listed as "Forever Afternoon (Tuesday?)" on the album), became massively popular, as was the 1968 follow-up LP, In Search of the Lost Chord. Also included on this album is the song "Legend of a Mind", a song written by Ray Thomas in tribute to LSD guru Timothy Leary which encompassed a masterful flute solo performed by Thomas. Justin Hayward began playing sitar and incorporating it into Moody Blues music, having been inspired by George Harrison. Graeme Edge found a significant secondary role in the band as a writer of poetry, and nearly all of their early albums from the late Sixties begin with Mike Pinder reciting poems by Edge that were conceptually related to the lyrics of the songs that would follow. The band's music continued to become more complex and symphonic, with heavy amounts of reverberation on the vocal tracks, resulting in 1969's To Our Children's Children's Children — a concept album based around the band's celebration of the first moon landing. The album closes with "Watching and Waiting", composed by Ray Thomas and Justin Hayward.

Although the Moodies had by now defined a somewhat psychedelic style and helped to define the progressive rock (then also known as 'art rock') sound, the group decided to record an album that could be played in concert, losing some of their full-blown sound for A Question of BalanceEvery Good Boy Deserves Favour (1971) and Seventh Sojourn (1972) (which reached #1 in the U.S.), the band returned to their signature orchestral sound which, while difficult to reproduce in concert, had become their trademark. Edge, the long standing drummer-poet, started writing lyrics intended to be sung, rather than verses to be spoken. (1970). This album, reaching #3 in the American charts and #1 in the British charts, was indicative of the band's growing success in America. Justin Hayward began an artful exploration of guitar tone through the use of numerous effects pedals and fuzz-boxes, and developed for himself a very melodic buzzing guitar-solo sound. For their next two albums,

In late 1972, a re-issue of the five-year-old "Nights in White Satin" became the Moody Blues' biggest U.S. hit, soaring to number two on the Billboard Hot 100 and becoming a certified million-seller; the song had "bubbled under" the Hot 100 charts on its original release. The song also returned to the UK charts, reaching #9, ten places higher than its original release in 1967.

The Moodies were also among the pioneers of the idea that a successful rock band could promote itself through its own label, following the Beatles' creation of Apple Records. After their On the Threshold of a Dream album (1969), they created Threshold Records, prompted in part by disputes with London/Deram over album design costs (their gatefold record jackets and expensive cover art were not popular with company executives). Threshold would produce new albums and deliver them to London/Decca who acted as distributor. The group attempted to build Threshold into a major label by developing new talent — most notably the UK hard rockTrapeze and the Portland, Oregon, classical-acoustic sextet Providence — but these efforts proved unsuccessful and the Moodies eventually returned to more traditional recording contracts. They did lay the groundwork, however, for other major acts to set up similar personal labels and distribution deals including The Rolling Stones' own label and Led Zeppelin's Swan Song, and all of the Moodies' studio releases from 1969 to 1999 would bear the Threshold logo on at least one of their format versions. band

Hiatus, solo work

In the spring of 1974, after completing a tour of Asia, the group took an extended break — originally announced as a permanent break-up — Justin Hayward being the only one eager to go on. By this point the other band members were feeling exhausted and overshadowed (this said by Hayward himself in the final issue of Higher & Higher magazine 2006). Prior to the band's 1973-74 world tour, he wrote a song called "Island" with the intention of including it on a potential follow-up album, which the Moodies recorded in 1973 before ultimately going their separate ways. During 1974, the compilation album This Is The Moody Blues was released by Threshold Records.

Hayward and Lodge released a duo album, the very successful Blue Jays (1975), and the members each released solo albums. Pinder said he hoped to get the band back together that year. "Having moved to California in 1974, I returned to England for a visit in summer 1975. I was trying to get the band to do an album, but the response was so weak I returned to California with my two new MK5 mellotrons and began work on my solo album The Promise."

Edge produced two albums with guitarist Adrian Gurvitz, Kick Off Your Muddy Boots (1975) and Paradise Ballroom (1976); Hayward composed the acoustically textured Songwriter (1977), which would be followed up in later years by Night Flight (1980), Moving Mountains (1985), Classic Blue (1989), The View From The Hill (1996), and Live In San Juan Capistrano (1998); Lodge released Natural Avenue (1977); Pinder produced The Promise (1976); and Thomas collaborated on two projects with songwriter Nicky James, producing From Mighty Oaks (1975) and Hopes, Wishes and Dreams (1976).

Reunion, 1977–1990

In 1977, as the group made a decision to record together again, London Records decided to release a somewhat poorly mixed then-eight year old recording of the band performing at the Royal Albert Hall, against their artistic wishes. London did this in an attempt to re-energize a somewhat waning public interest in the Moody Blues prior to their anticipated new album, but the crude sound of the concert from 1969 titled Caught Live + 5 would clash sharply with the lush and refined sound the modern Moodies were capable of producing in the studio. By this time Pinder had married and started a family in California, so for their reunion recording, the band decamped stateside with producer Clarke. The sessions were marked with tension and division (with Pinder dropping out before completion), but by the spring of 1978 Octave was ready for release. Pinder, citing his young family, excused himself from the touring commitments that were to follow.

During this period, the prog-rock band Yes had asked their keyboard player, Patrick Moraz, to leave. Moraz's management had some contacts with the Moodies, and after a successful audition with the band in England in 1978, he was hired as keyboard player for the Octave World Tour that began in Germany in October. In spite of these difficulties, the album itself sold well and produced the hits "Steppin' In a Slide Zone", written by Lodge and "Driftwood", written by Hayward. The music video produced for "Driftwood" features Moraz, although Mike Pinder was the one who played on the actual recording; the video for "Steppin' in a Slide Zone" simply shows the other four members without Pinder.

The Moodies toured the U.S. and Europe during much of 1979. By 1980 they were ready to record again, this time bringing in producer Pip Williams. Moraz was retained as the band's permanent keyboardist, though Pinder had originally understood that he would continue to record even if not tour with the band. Pinder attempted legal measures to prevent the new Moody Blues album from reaching the public without his contribution, but he was not successful, and ultimately, he never returned to the fold. Released in 1981, Long Distance Voyager was a colossal success, reaching #1 on Billboard and top 5 in the UK. The album yielded two hits, "The Voice", written by Hayward, and "Gemini Dream", written by Hayward and Lodge. By now, the mellotron had been set aside as their primary keyboard instrument and the band embraced a more modern, less symphonic approach. The marketing formula for the band demanded from this time forward that a Justin Hayward song would be used to lead off their studio albums, as his material was the most popular.

The Present (1983), again produced by Williams, proved less successful than its predecessor, though it did spawn a UK top 40 hit in "Blue World" (#62 in the U.S.) and a U.S. top 40 hit in "Sitting at the Wheel" (which failed to chart in the UK). Videos were also produced for both singles. "The Present" was released in conjunction with Talencora Ltd. Records shortly before Decca was bought out by Polydor Records.

In 1986 they enjoyed renewed success with their album The Other Side of Life and in particular with the track, "Your Wildest Dreams" - a U.S. Top 10 hit (and #1 on Billboard's Adult Contemporary singles chart for two weeks) which garnered a Billboard Video of the Year award after being frequently featured on MTV. Newly-hired producer Tony Visconti, and Barry Radman, a synth programmer formerly hired by Moraz, delivered a modern sound the Moodies had been after in order to remain competitive with their pop contemporaries. The album's title song also charted in the U.S., at #58.

The Moody Blues performed live at the Birmingham Heart Beat Charity Concert 1986 which raised money for the Birmingham Children's Hospital. The band played four songs, and later provided backup with Electric Light Orchestra for George Harrison.

The Moodies continued their early video-generation success with Sur La Mer (1988) and its video/single, "I Know You're Out There Somewhere", a sequel to "Your Wildest Dreams". Their sound took on an ever- increasingly synthetic and technical quality as Moraz and Visconti began utilising modern sequencers, samplers, and drum machines. During this time, Justin Hayward and John Lodge wrote and sang on most of the songs as the band came under pressure from the new record company, PolyGram Records, to promote those it deemed to be the two more commercial looking and sounding members. Ray Thomas was playing a diminished role in the studio. The band were temporarily evolving into a synthpop act, with music not at all fit for a flute, and he was relegated to the status of a backup singer. He provided some backing vocals for both The Other Side of Life and Sur La Mer; however, multiple production considerations led Visconti to leave Thomas' vocals off of the latter of these two albums.

1990s to present

Thomas' high value remained on stage primarily from his continued ability to sing out his 60's and 70's Moodies classics, and also in flute and keyboard duets he composed with Moraz which were only performed by the two during Moodies' concerts. The band had begun to reinforce their concert sound in the mid-to-late 1980s with the addition of a second keyboardist (initially Guy Allison, who was soon replaced by Bias Boshell), as well as female backing singers.

In 1991, halfway through the production of their new studio album, Patrick Moraz made some comments in an article in Keyboard Magazine that suggested dissatisfaction with his role in the Moodies. His complaints ranged from the Moodies' music becoming too simple in structure, to the other members' reluctance to allow him to make significant contributions to the songwriting on their albums. He also was spending long amounts of time planning a music concert to celebrate his native Switzerland's 700th anniversary, instead of rehearsing with the Moodies. He was dismissed from further participation in the group before the project was completed. Boshell, as well as new keyboardist Paul Bliss, were brought in to finish the new album's keyboard tracks.

Keys of the Kingdom (1991) had modest commercial success. Once again, Hayward's songs led off the album, with the new singles "Say It With Love" and "Bless the Wings (That Bring You Back)." Also included was a new ambient flute piece by Ray Thomas entitled "Celtic Sonant." John Lodge would make a defining shift in his songwriting on this album, leaving his trademark high-energy rock music, and instead gravitating towards slow love ballads. This trend would continue on the two successive Moodies albums. Instead, Hayward wrote the driving two-part piece "Say What You Mean." Tony Visconti produced some of the tracks on "Keys", as did Christopher Neil and Alan Tarney. The ensuing tour saw them invited to play at the Montreux Jazz Festival.

The group remained a steady concert draw, and a series of video and audio versions of their 1992 Night at Red Rocks concert enjoyed great success, particularly as a fund-raiser for American public television where it had been first broadcast. The concert was conducted and arranged by Larry Baird, who has participated in many other bands' orchestral live concerts, such as Kansas, Michael Bolton, Three Dog Night, Al Jarreau, and Alan Parsons. The group also continued their use of additional musicians on stage and in the studio. After legal suits from both Pinder in 1981 and Moraz in 1992, the band were careful not to recognize future keyboard players as official members. Following on from his contributions as keyboardist on the 'Keys Of The Kingdom' album, Paul Bliss has played keyboards for the band live since 1991, being promoted to first keyboardist in 2001. Thomas and Bliss continued the tradition of a flute/keyboard duet for many tours. After Edge injured himself in 1990, second drummer Gordon Marshall was brought in to back him up; he stayed with the group after Edge recovered and has remained in the position since.

From 1991 to 1998, the group took a hiatus from recording, instead trying to perfect the art of performing live with an orchestra. The hiatus ended in 1999, with the album Strange Times, which proved to be the group's first album in almost two decades to be more than moderately received by UK critics. It was recorded in Recco, Italy, at Hayward's suggestion, and was the band's first self-produced effort. The album also featured keyboards and arrangements from Italian musician Danilo Madonia, who has worked in-studio with the band since. The album opened with "English Sunset", a pop song featuring a modern, nearly techno arrangement. Strange Times was also the first album since 1970 to include a new poem by Graeme Edge. Also in 1999, The Moody Blues appeared in one episode of "The Simpsons" called "Viva Ned Flanders".

In 2000, the band released "Hall of Fame", a new live concert from Royal Albert Hall, with a concurrent DVD release. This was taken from the last tour on which Boshell played. He left the live lineup in 2001; Bliss took over first keyboard duties, with his former second keyboard role filled by Bernie Barlow, and Julie Ragins when Barlow took maternity leave from 2006 to 2009.

In 2001, an IMAX film was released, entitled Journey into Amazing Caves, which featured two new songs written and performed by the Moody Blues. The soundtrack also featured Justin Hayward performing vocals and playing guitar throughout. One of these songs, entitled "Water", is the Moody Blues' first instrumental studio recording since their 1983 piece "Hole in the World" from The Present LP.

Hayward and Lodge live in 2007

The new millennium saw the Moody Blues reducing their touring schedule. At the end of 2002, founding member Ray Thomas retired from the group, reducing The Moody Blues to the trio of Hayward, Lodge, and Edge. Flautist Norda Mullen was recruited early the following year for their North America tour, and has worked with the band live and in the studio since. Toward the end of 2003, they released a Christmas-themed album entitled December. The songs included originals and covers such as John Lennon's "Happy Xmas (War Is Over)"; this makes it the group's first album to include covers since their The Magnificent Moodies.

In March 2006, the first five of the band's 'Core 7' albums (the seven albums from Days of Future Passed to Seventh Sojourn) were re-released in Super Audio CD format with Deluxe Editions, featuring bonus songs and some rare previously unreleased tracks by the group. In April 2007, the last two of these classic albums were re-released by Universal/Threshold. These deluxe editions were unique for an art rock group like the Moodies in that one of their members, Justin Hayward, was the one hired to do the work, instead of a professional masters technician. Hayward stated that he listened to virgin vinyl copies of these albums and used them as reference points for the new compact discs. In September 2008, Hayward announced the impending release of remastered versions of Octave, Long Distance Voyager and The Present. will be released on Universal records in the months to come. On May 21, 2007 the Moodies released a forty one track, two-disc compilation of sessions recorded at BBC Studios, various television appearances, and a previously 'lost' performance done on the Tom Jones show titled Live at the BBC: 1967-1970.

In 2007, the now defunct Hard Rock Park theme park in Myrtle Beach, South Carolina, announced the building of a dark ride entitled "Nights in White Satin - The Trip". The ride incorporated multi-sensory experiences as well as a re-orchestrated version of the song by Justin Hayward. A re-recorded version of Graeme Edge's "Late Lament" again followed, which had each group member reading a verse of the poem. In March 2009, the ride closed due to the conversion of the park to the Freestyle Music Park, with the new owners desiring to make the park more "family friendly."

The group continues to tour; they toured the U.S., Canada and the UK in 2006, 2007 and 2008 and are presently touring North America in the summer of 2009. In addition, Hayward took part in the UK tour of Jeff Wayne's Musical Version of The War of the Worlds in April 2006, and a second tour in November 2007, also with dates in 2009. The Moody Blues also toured Australia in 2006.


Although the general line-up of the Moody Blues has been relatively stable since 1966, there have been some important replacements of members with new members and/or hired musicians from their inception in 1964 to the present day:

1964 - 1966

1966 - 1978

1978 - 1987

1987 - 1990


1990 - 2001


  • Bias Boshell - keyboards
  • Paul Bliss - keyboards, guitar
  • Gordon Marshall - drums, percussion

2001 - 2002


  • Paul Bliss - keyboards, guitar
  • Bernie Barlow - keyboards, percussion, vocals
  • Gordon Marshall - drums, percussion

2002 - 2006


  • Norda Mullen - flute, guitar, percussion, vocals
  • Paul Bliss - keyboards, guitar
  • Bernie Barlow - keyboards, percussion, vocals
  • Gordon Marshall - drums, percussion

2006 - 2009


  • Norda Mullen - flute, guitar, percussion, harmonica, vocals
  • Paul Bliss - keyboards
  • Julie Ragins - keyboards, percussion, vocals[11]
  • Gordon Marshall - drums, percussion

2009 - present


  • Norda Mullen - flute, guitar, percussion, harmonica, vocals
  • Paul Bliss - keyboards, guitar
  • Bernie Barlow - keyboards, percussion, vocals
  • Gordon Marshall - drums, percussion