The Moody Blues, Seventh Sojourn

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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.

30 of 31 found the following review helpful:

The Ending of an eraMar 14, 2003
By Samhot
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 found the following review helpful:

Last Of Original Seven Albums Produced By The Moodies!Aug 26, 2000
By Barron Laycock "Labradorman"
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!

24 of 25 found the following review helpful:

The End Of An Era!Apr 20, 2007
By Martin A Hogan "Marty From SF"
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.

12 of 12 found the following review helpful:

...And On The Seventh Album, The Moodies Rested...Mar 28, 2004
By Alan Caylow
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."

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