The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.

Recorded at Tollington Park Studios, London, England. Originally released on Threshold (7). Includes liner notes by John Reed.

Digitally remastered by Steve Fallone (Polygram Studios).

The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.

Recorded at Tollington Park Studios, London, England.

All tracks have been digitally remastered.

This is a DTS CD, which features DTS 5.1 Surround Sound technology and is playable on a DTS-capable 5.1 Surround Sound system.

The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.

Recorded at Tollington Park Studios, London, England.

While the Moodies were never exactly a rocker's delight, SEVENTH SOJOURN, the seventh recording with the post-Denny Laine lineup, is perhaps their most ballad-heavy album. Ironically, the album's biggest hit, which would become one of the group's signature songs, was the uncharacteristically uptempo "I'm Just a Singer in a Rock and Roll Band." Elsewhere, appearances are equally deceiving; interpersonal tensions had developed in the band to the point where there wouldn't be another Moody Blues album for six years, but the album is full of slow, romantic musings, not signs of strife.

As usual, it's Justin Hayward, he of the silky voice and heart-on-a-sleeve lyricism, who excels at all this romantic balladry, his contributions being the most melodic and affecting. John Lodge's aforementioned "I'm Just a Singer" is far and away the most energetic tune, but it closes the album and doesn't disturb the contemplative mood. Ironically, though the band was coming apart, they were also reaching new heights. Keyboardist Mike Pinder had traded in his Mellotron for its more sophisticated cousin, the Chamberlain, which provided an improved overall sound on SEVENTH SOJOURN.

While the Moodies were never exactly a rocker's delight, SEVENTH SOJOURN, the seventh recording with the post-Denny Laine lineup, is perhaps their most ballad-heavy album. Ironically, the album's biggest hit, which would become one of the group's signature songs, was the uncharacteristically uptempo "I'm Just a Singer in a Rock and Roll Band." Elsewhere, appearances are equally deceiving; interpersonal tensions had developed in the band to the point where there wouldn't be another Moody Blues album for six years, but the album is full of slow, romantic musings, not signs of strife.

As usual, it's Justin Hayward, he of the silky voice and heart-on-a-sleeve lyricism, who excels at all this romantic balladry, his contributions being the most melodic and affecting. John Lodge's aforementioned "I'm Just a Singer" is far and away the most energetic tune, but it closes the album and doesn't disturb the contemplative mood. Ironically, though the band was coming apart, they were also reaching new heights. Keyboardist Mike Pinder had traded in his Mellotron for its more sophisticated cousin, the Chamberlain, which provided an improved overall sound on SEVENTH SOJOURN.

While the Moodies were never exactly a rocker's delight, SEVENTH SOJOURN, the seventh recording with the post-Denny Laine lineup, is perhaps their most ballad-heavy album. Ironically, the album's biggest hit, which would become one of the group's signature songs, was the uncharacteristically uptempo "I'm Just a Singer in a Rock and Roll Band." Elsewhere, appearances are equally deceiving; interpersonal tensions had developed in the band to the point where there wouldn't be another Moody Blues album for six years, but the album is full of slow, romantic musings, not signs of strife.

As usual, it's Justin Hayward, he of the silky voice and heart-on-a-sleeve lyricism, who excels at all this romantic balladry, his contributions being the most melodic and affecting. John Lodge's aforementioned "I'm Just a Singer" is far and away the most energetic tune, but it closes the album and doesn't disturb the contemplative mood. Ironically, though the band was coming apart, they were also reaching new heights. Keyboardist Mike Pinder had traded in his Mellotron for its more sophisticated cousin, the Chamberlain, which provided an improved overall sound on SEVENTH SOJOURN.

Rolling Stone (1/18/73, p.50) - "...their most satisfying music is also their most tactile, with a variety of rich and flowing textures....SEVENTH SOJOURN is music to bask in and feel with your pores as well as your ears..."

Rolling Stone (1/18/73, p.50) - "...their most satisfying music is also their most tactile, with a variety of rich and flowing textures....SEVENTH SOJOURN is music to bask in and feel with your pores as well as your ears..."

Rolling Stone (1/18/73, p.50) - "...their most satisfying music is also their most tactile, with a variety of rich and flowing textures....SEVENTH SOJOURN is music to bask in and feel with your pores as well as your ears..."