Long Distance Voyager (1981)

WARNING!!

These reviews are given in the spirit of a personal editorial and of personal opinion. If you would find yourself offended by these views and criticisms within the body of these reviews, please do not read further. It is not our intention to offend or injure someone's views on their favourite band. We wrote these as one-time fans who now, after many years, revisited these albums and wanted to write fair and unbiased reviews of The Moody Blues' material. If indeed, a member of The Moody Blues does happen to read these reviews, please take into consideration that these are simply opinions. These reviews present an alternate perspective.
Thank You,
Shawn and Andrew Dow,
March, 2007

Album Review by Andrew Dow

Album Review by Shawn Dow

Album Review by Andrew Dow

After a three-year break after the success of "Octave", The Moody Blues regrouped yet again, almost like a second comeback. Only this time, they no longer had Tony Clarke as producer. He had been with them since "Days of Future Passed" and was replaced by Pip Williams of Handle Artists. Mike Pinder had left the band just before the "Octave" tour, but was replace by ex-Refugee, ex-Yes keyboardist, Patrick Moraz. Moraz's work on Yes' "Relayer" is nothing short of wizardry and he brought a newer, more clean cut edge of playing to The Moodies, giving them a degree of technical advancement they hadn't had before. So, they went on to record "Long Distance Voyager", one of their most straight ahead albums that launched them into success once again.

The Voice: The song opens with an interesting little keyboard prelude that rises and ascends nicely, to have what is probably the most straight ahead rock song this band has seen in ages. Moraz's keyboards mark the entire song with its strong melodic control, always referring to the melody, and not simply covering it up. Hayward's acoustic guitars run through the tune, and his vocals here suit his range and give the song its pop/rock feel. If not for some accenting on Moraz's keyboards to highlight vocals, the song is great, not to mention the nice guitar solo by Hayward with some grit to it. The chorus' are nice here to, and give the song some emotion. A truly great effort on the part of these guys. Did I mention this was a massive hit?

Talking Out of Turn: Moraz opens this slow ballad accompanied by strings. The first thing that goes through my mind is "Oh, no, now another Octave freak out". But no, the strings play the melody for real and Lodge comes out of the gate well with this well sung ballad, backed by Hayward's acoustic guitars and a well sung chorus. This song sticks in your head and has little changes in tone thanks to the well-placed strings in the background. Even though the song clocks in at 7 minutes and 17 seconds, the song doesn't really get old to me, and what a middle 8 section where Lodge's vocals work alongside of the strings, and then, a great guitar solo by Hayward. This band is starting to really surprise me here! Nothing is too overstated. The only thing is that the song does repeat a bit, but in the repeats are little changes that keep it interesting. After the songs final chorus run, another great guitar solo on Hayward's behalf, repeating the first a little. Then the final swell with the strings taking the lead and really adding to the song at the end. Did I mention this one was a hit too?

Gemini Dream: Hayward and Lodge's first tune together as members of The Moody Blues and first since their mutual solo album "Blue Jays". This steady straight ahead disco-type rocker, with it's patented snare drum sound and takeoff keyboards mixed with a running guitar line, is a ready made hit. The left/right guitar effect is interesting, if a little contrived. "We'll rock and roll, right through the ni-ni-ni-ni-night?" The Moody Blues goes uptown city disco here. Not that the song isn't good though, the backing vocals during the chorus and the electric guitar solo by Hayward backed by Moraz's keyboards, give the song it's rock edge. The song is tuneful and silly, but I can forgive it. At least it has some pulse and life to it. The final ending with the keyboards and flute mingling together is a nice touch. Did I mention this tune was a massive, massive hit as well?

In My World: Hayward's first ballad on the album, and oh what a ballad it is. The steel guitar running through the song with those nice double tracked guitars are awesome! Hayward's vocal performance is just strong enough, not over-extending himself. The song then moves ahead with a snare, bass line, next to a nice electronic flute sound by Moraz. The song is so nicely constructed in it's approach. The chorus is really good, with it's chorus of backing vocals, just long enough to allow it to return back to the main tune. Once again, a song clocking in at 7 minutes and 17 seconds (what are the odds of that?), that doesn't seem to feel like it repeats itself at all. The song has a slow ascending effect that makes the song move towards it's final destination: a steel guitar based slow jam. The lightly tapped cymbal accents work nicely, and build to a blistering guitar solo from Hayward. Gee, they can even make a ballad rock out well here, and then some lines played on the steel guitar. A double guitar solo! The electric guitar calling, the steel responding! When I hear this tune, I'm reminded of "Why Worry" on Dire Straits "Brothers In Arms". That tune seems to follow the same pattern: an opening ballad type song that moves into a jam toward the end based on the same melody (well, the CD and tape had the jam, the LP didn't). Any way, a really good song from Hayward.

Meanwhile: Side two starts off with this optimistic sounding semi-rocker, with a nice keyboard opening, with Hayward's backing acoustic guitars and a steady pulse provided by Lodge and Edge. Where's Ray Thomas on this album anyways? The song is really keyboard based, and drive the melody, with Hayward's' vocal. A nice little guitar aside in the middle just before the crash of the next verse. The song is about lost love, and Hayward's vocals give the song it's lamentable feeling. Edge's small hi-hat barks during the verses are well placed and he even has a few good drum fills. Another good ballad from Hayward that rocks out a bit.

22,000 Days: The album comes up with it's first Edge tune, in a darker frame of mind, reminding us that the average human life span is 22,000 days. The songs military march feel and chorus of vocals make you think that you're in for another "After You Came" or "I'll Be Level With You", but this song has authority and commands attention, with Thomas leading the backing vocals. Edge comes off this tune showing you what he can do if he really puts his mind to it. The rolls on the roto-toms and some inventive drum fills make me feel bad for knocking him so bad for "Every Good Boy Deserves Favor". The middle 8 section with its guitar drum intro is spine tingling, and even Thomas' harmonica solo is great. Then we get another Hayward guitar line! This song is so well structured and executed, they sound more progressive here then they did in the 70's. One of Edge's best.

Nervous: A guitar/flute combo introduce Lodge's second ballad, which reminds me of something from "Natural Avenue", only here it's performed much better and has better string arrangements to back it. Another song of lost love. Moraz's piano work here is great, too. The song then gears up with a nice drum riff to introduce the section. The song then starts to build and climax, with "Bring it on home". A good melody backed by some strong drumming by Edge and more strings, mixed with Moraz's keyboard. The song moves to its quiet intro and starts its climb back up to the chorus again. The song does repeat itself a few times too many with its constant "Bring it on home/straight lines before my eyes", but there is some nice keyboard work and drumming here, I start liking the repeats. Another good Lodge tune, a little mellow-dramatic, but it keeps its reigns in.

Painted Smile: Thomas owns the entire end of side two with his three-part section, surpassing "Have You Heard" from "On The Threshold of A Dream", only this time we have a happy/sad little song about how he feels he's a clown with a painted smile, only to be hurting inside. Strong vocal by Thomas, great drumming by Edge, and Moraz giving the song its circus feel in the middle. I like the little snare rolls accented by a cymbal clutch, only to get "boos" on the side. The chorus of backing vocals is a good touch, too. A great Thomas tune.

Reflective Smile: Instead of Edge giving us a poem, its Thomas! A creepy, eerie circus sound, introducing the next number.

Veteran Cosmic Rocker: What drum school did Edge go to! Edge pulls out a burner of drum intro, with what I can only attest to be his greatest drum solo, EVER! The song starts off with authority and power and rolls into this song about life on the stage, and how he had someone spike his coke and the feelings on the stage. The song has good changes and power, with good backing vocals. And, of all things, another harmonica solo, and even a flute solo! Both well delivered. Then Moraz pulls off some Indian-style keyboards all to the vocal backing that slowly builds tension and drama. Then Edge pulls more rolls out of his hat to harken the final repeat of the song. For this band, this is a smasher that burns its way through and crashes to it's finale. A strong, strong Moodies number.

Summary

Not since "To Our Children's, Children's Children" have I been more impressed and startled by this band. The injection of Patrick Moraz and producer Pip Williams was just what the doctor ordered to save the Moody Blues. This is, without a doubt, the strongest Moody Blues album to date. They would never reach this peak of popular and critical success again. The album had numerous hits, and went double platinum in Canada, if I remember right, and almost smelled like a comeback album. In my view, it's like an apology for "Octave"! How a band changed itself from one style of sound to another with only one album (and 3 years) between them, I can't fathom. A noticeable lack of Ray Thomas through most of the album unfortunately would enter in a trend later in the bands career. But, on this album, Thomas owns the last quarter of the album with three fine entries under his belt. What a relief after "I'm Your Man", and "Under Moonshine". Hayward and Lodge both scored a hit with "Gemini Dream", while Hayward had "The Voice" and a minor one with "Meanwhile", while Lodge had "Talking Out of Turn" as a hit, too.

I can't stop going on about how good this album is. If someone really wants a good Moody Blues album, this is the one to get. You get great playing, good material, and hits off of it as well. What more could you ask for?

The Moodies really came back with this one, ushering in another era of Moody Blues fans (such as myself at this point), but what would the future hold for the MB5 after such massive, lucrative success?

Star Rating (out of 5)

****1/2 out of *****

Album Review by Shawn Dow

Watch for an upcoming Review by Shawn Dow