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Seventh Sojourn

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Seventh Sojourn Page 14 The Retriever December 11, 1912 - , - - M ..sic Seventh Sojourn The recording industry has recentiy: unleashed several albums which are of top quality. In the past mQnth alone some well-established artists have released their newest work. Cat -Stevens' Catch Bull at Four, Close to "Moody Blues••. a combination of- the Edge by-Yes, Jethro Tull's Living in the Past, and the long-awaited James Taylor album are just a few. rock and orchestral arrangements Seventh Sojourn is one of these new releases. The Moody Blues have once again demonstrated their superior ability in musical arrangements. It's triggering listening responses" been a long time since their last _a~bum, Every Good Boy Deserves Favour, but worth the waiting. Seventh Sojourn is the Moody Blues at their best, and in the tradi tion of their previous albums it will undoubtingly. be a million seller. Their style of music has had an overwhelming Emers,)I., LLke and Palmer, .and influence on groups like Yes, ~~lmen a-nd assorted female vocalists. They possess the ex­ traordinary talent of running a basic theme throughout an entire album as seen in Days of Future Passed and ­ Every Good Boy Deserves Favour. What makes the Moody Blues, however, is their combination of rock and orchestral arrangements which act as a catalyst in triggering off the reactions of the listener. Side One of Seventh Sojourn is the mellow portion of the album along with some fine flute work. Harmony is the outstanding feature in "Lost in a Lost World", a song about earth's self destruction. "For My Lady" is a love song with a very basic rhythm, a sort of 'dum-dee-dum' thing, and great percussion backing up on the chorus. _"Isn't Life Strange" is one of those songs aimed at your soft spot, with a driving guitar in the backup section. Strangely enough, this cut was ' released as a single over a year ago. But because of its length (six minutes), it didn't reci' ~ much play. It was then butchel up into a shorter version to mee~ l~ e standards,­ but met the same fate as did Eric Clapton's "Layla". Side Two begins with two cuts by Justin Hayward, who probably has done some of the group's best "Lost World..• a song about arranging. "You and Me" makes best use of all musical abilities of the group-drums, guitars, organ, earth's self-destruction'" ~verything. "Land of Make-Believe" is, in my opinion, the finest cut on the album. What rriakes it stand out is that it is built on three different melodies. The first two verses are soft and almost whispered. The third verse is a stepped-Up, flying-thru-the­ air kind of melody, which explodes into a climax filled with fuzzy guitars and an orchestral background. "When You're a Free Man", a slow paced number with excellent guitar work, is a song with a message for everyone. The album ends with "I'm Just a Singer in a Rock and Roll Band". This cut would be perfect for release as a single because it is the Moody Blues all the way. From the drum roll at the beginning to the driving guitar in the end, not to mention the electric piano throughout, this song clearly exemplifies the musical abilities of these five men. Some' say Seventh Sojourn is destined to be album of the year. With all the good albums that have cropped' up in 1972, it's difficult to make such a claim. However long it tries to stay though, Seventh Sojourn may be among the top. -- Joe Clock~r .
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