EVERY GOOD BOY DESERVES FAVOUR

Yes, looking at this album only from the linear, chronological perspective, we might get the impression that at that moment the band had little new to astound the listeners with. However, this album seems to me the best Moody Blues' selection for the newcomers. The sequencing is impeccable, the album flows really well as a whole, and in total it is more impressive than the mere sum of individual compositions, strong as they are. In fact, "One More Time to Live" has been the winner on all my best-ever tracks lists for some 15 years. The middle-eight is so much satiated with vocal and moog harmonies that it manages to carry a sense of soundscape completeness, not heard in prog-related music since the most baroque songs on "Magical Mystery Tour". For me the most satisfying moment in the Moodies catalogue, out-childrening even the mellotron - flute blend from "Beyond" on "Children". Although the concept isn't very transparent throughout, the sonic unity is. The album is very even, the weakest track ("Nice to be Here": nice but too long and invariable) is only a slight let-down, more than compensated by the beautiful "You Can Never Go Home", perhaps Hayward's best match of the emotional and the philosophical, not too pretentious and not too naive either. The only overproduced track is "Emily's Song", which could work better as a simple Hayward - Lodge duet, only backed by an acoustic guitar (the glockenspiel parts are kitsch, to say the least). "Our Guessing Game", on the other hand, might be the group's best produced songs, almost an exercise in climax baking. The overall tension is very well built, "My Song" being a good structural solution (though it is not Pinder's best effort anyway). It might be the most ba-rock-que record ever, so - after all - it IS unique! 5 stars it must be, then.