HAYWARD & LODGE

"This Morning" is the opener, and it is a fine dramatic song, it really sounds like a Moodies number, one does not even notice that it's rather long. But the next number, "Remember me, my friend" is nothing special. Hayward & Lodge did not write together during the Modified classic album era, and this rambling song shows us we did not miss much.

The third song "My brother" is a nice little poignant number, slightly bittersweet. It's followed by John Lodge's best number on the album,"You", an interesting song with a shared lead vocal.

Then things start to go downhill. Side One closes with the orchestra backed "Nights, Winters, Years", and for me Justin Hayward goes OTT, it's like a song from a musical rather than a prog rock number. Usually Zi like his dramatic numbers, but this is frankly, overblown. Worse is to come, though. Side Two opens with "Saved by the Music", the worst track on the album. The problem is not the song itself, it's the production. John Lodge wrote a difficult vocal line which is obviously out of his range, and the song is over long, and overcomplicated, with frequent tempi changes. To make it worse, somebody tries to play the flute, and makes a mess of it. The ultimate impression is of an unpolished demo recording.

Then it gets better,with "I dreamed last night". Hayward is back on form with a fine romantic number, and this time the orchestral backing adds to the ambience of the song, rather than overpowering it. His next song, "Who are you now"? is a sad little introspective number reminiscent of "Dawning is the Day". I find both numbers to be rather dull, but I appreciate others will have different taste. The penultimate song "Maybe" half works, Lodge wrote an ambitious tube + listen for his cello playing), but lets himself down with some weak lyrics. But the final song, "When You Wake Up" is a superb and moving number, with a powerful climax that will bring a tear to your eye, and is as good as anything that the Moodies ever recorded.

So, in conclusion. Half the album is great, but the other half just sounds like forty per cent of The Moody Blues. Yes, it has its moments, but for me, it's not as good as the real thing, which is all five Moodies together.

"Blue Jays" is a studio album recorded in 1974 and released in 1975 by Justin Hayward and John Lodge, two of The Moody Blues' members. The album was recorded and released during The Moody Blues' hiatus of five years. Between 1972 and 1978, after the release of their album "Seventh Sojourn", The Moody Blues took a break from recording together and the band's members improved to release their solo albums. So, it was in this context that Hayward and Lodge joined together and released "Blue Jays". The album had originally been a project of Hayward and Michael Pinder but as soon as Pinder left, Lodge entered. For many people "Blue Jays" is the lost The Moody Blues' album. Despite the absence of the other three band's members, it has the distinctive marks of an album released by the band.

At least in terms of sound, Hayward and Lodge have created with "Blue Jays" the ultimate The Moody Blues' album. It has the same sound that established the band's mass popularity in 1968 with their album "Days Of Future Passed". Basic rock instrumentation heavily overlaid with mellotron or string orchestra, and vocals treated as instruments in the Wagnerian manner. In strictly musical terms, however, The Moody Blues are far from Wagnerian. Simple and melodic themes are elongated to accommodate a dramatic and emotional swelling orchestration and a gargantuan crescendo.

The line up on the album is Justin Hayward (vocals and guitar) and John Lodge (vocals and bass). The album had also the participation, as guest musicians, of Jim Cockney (violin), Kirk Duncan (piano), Tom Tompkins (viola), Tim Tompkins (cello), Graham Deakin (drums), Mark Singer (drums) and Del Newman on the orchestral arrangements, too.

"Blue Jays" has ten tracks. The first track "This Morning" written by Hayward is a fantastic opener. It's one of the best songs on the album and I think it's also one of the best compositions of Hayward. This is a very beautiful song with a very emotional melody and it's also a song with a very complex musical structure. It's really a great track. The second track "Remember Me (My Friend)" written by Hayward and Lodge is the first song on the album co-written by both musicians. It's a very good song with a nice lovely melody and also with a great and beautiful chorus work. The third track "My Brother" written by Hayward is a nice and soft ballad, very melodic with fine arrangements and nice vocals too. It's another song with a wonderful melody. The fourth track "You" written by Lodge is another beautiful and soft ballad on the album. It's a typical Lodge's song, very pleasant and with a strong melodic sound and also with a great orchestration, as happen in the whole album. The fifth track "Nights Winters Tales" written by Hayward is a very beautiful and powerful ballad very well orchestrated. It's an exceptional classic piece of music that reminds us the soundtrack of a real film. The sixth track "Saved By The Music" written by Lodge is a nice and agreeable song with good guitar, flute and cello works and especially with a fantastic memorable chorus. The seventh track "I Dreamed Last Night" written by Hayward is another beautiful song completely in the vein of The Moody Blues' music. It's a fantastic song with a very strong melody, acoustic guitars and once more with great harmony in the chorus work. The eighth track "Who Are You Now" written by Hayward is essentially an acoustic song very melodic and beautiful. It's a short song, but despite that, is in my humble opinion, the most beautiful song on the album and it's one of my favourites too. This is really a very beautiful song. The ninth track "Maybe" written by Lodge is another song superiorly orchestrated. It's another soft song with a beautiful and calm melody and also with some good instrumentation. This is my favourite Lodge's song on the album. The tenth track "When You Wake Up" written by Hayward and Lodge is the other song co-written by both musicians. It's the song which was the B side of the single "Blue Guitar". This is a nice song with a strong melody, very beautifully played with good guitar work and also with a good work on the chorus. Finally we have the last song on the album, the bonus track and the A side of the single, "Blue Guitar", written by Hayward. This is a very short track, but it's a song with a nice and melodic guitar work. Despite be a good song and finishes quite well the album, I have the sensation that this is, somehow, a different song and in some way it doesn't belongs to "Blue Jays".

Conclusion: "Blue Jays" is a fantastic album, is the most romantic and the most successful album released by any The Moody Blues' members in their hiatus. In my humble opinion, "Blue Jays" proves three things. First, if this album had been released by the group would be one of their best works. Second, once again it was demonstrated how good this duo of composers is. Third, how a simple musical work can be an excellent album with a superior orchestration. So, and in short, the harmonies are probably the most notable characteristic of the songs on this album. Hayward and Lodge have always harmonized well and those harmonies are exploited for full effect on this album. These two artists are masters of the mellow rock. If you are looking for listening simple music, turn out the lights and listen to this, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

"This Morning" opens this magnificent album in true Moody Blues style with sweeping symphonic soundscapes and the familiar heartfelt tones of Justin Hayward, as he imploringly sings, "As the dawn is breaking on your future my child, Is there none of your love alive?, If every door you open closes on me, I don't know if I can survive." The production and orchestration on this opening song is just superb. It's a masterly demonstration of the art of the producer and it sets the tone for the album as a whole, where you know you're in for a real symphonic treat. "Remember Me (My Friend)" is another magnificently orchestrated ballad with Justin Hayward's beseeching words asking, "I am your friend, You must remember me, I'm the one who saw through the world's disguise, Took away its cloak and made it hide from me, Remember me?" The lovely harmonies and sweeping orchestration are just awesome, with the trademark sound of Justin Hayward's superb guitar always there to remind you that this is really a Moody Blues album. The pace slows down a bit for the next song "My Brother", a gentle ballad with those Oh-So-Beautiful harmonies at the forefront again and masterly orchestration from producer Tony Clarke. who also produced all of the Moody Blues albums between 1967 and 1979. Continuing this magic carpet ride on a symphony of sound is "You", a romantic song of love gone sour with these words from balladeer Justin Hayward, "You don't even know my name, Time was when you would take the love you've given all away, Take a part of me, You don't even walk my road, Can't find where you turned, Looked away and you were gone." ..... These are the kind of melancholy heart-wrenching songs that have become Justin Hayward's trademark speciality and his beseeching voice always has that urgent emotional appeal that never fails to tug at the heartstrings. "Nights Winters Years" rounds off Side One in magnificent style. It's a fully orchestrated symphonic epic in the style of "Nights in White Satin", only more so. If you haven't been transported to a magical place before now, then this song will take you there. Prepare to be amazed by this epic production of dynamic proportions! Side Two opens with the most up-tempo rocker on the album, the uplifting "Saved by the Music", although the song does have its quiet reflective moments too. "I Dreamed Last Night" follows next. This sweeping symphonic masterpiece is another emotional rollercoaster ride, guaranteed to tug at the heartstrings with its tale of lost love, where Justin Hayward opens the song with these imploring words, "Oh, I dreamed last night, I was hearing, hearing your voice, And the things that you said, Well, they left me, left me no choice." There aren't many singers of Justin Hayward's calibre who are capable of pouring so much emotion into a bittersweet romantic ballad. "Who Are You Now" is a nice gentle acoustic guitar-driven ballad with the ever- present lush orchestration from Moody Blues producer Tony Clarke. You'd have to be as emotionless as Mr. Spock in Star Trek not to be touched by the powerful emotional appeal in all of the heartfelt songs on this wonderful album. If you're in the mood for some full-blown classically inspired symphonic music, then "Maybe" this next song is for you. Just lie back and let this beautiful music carry you away to an ocean of harmonic serenity. This is the music that dreams are made of. Finally, we come to the album closer, "When We Wake Up" which seems an appropriate title, bearing in mind coming to the end of this album is like waking from a beautiful dream. As you'd expect from two-fifths of the Moody Blues, this is a full-blown symphonic masterpiece of lush orchestration with everything but the kitchen sink thrown into the mix.

This is truly an outstanding album which reaches the parts that other albums fail to reach. "Blue Jays" is an album that's guaranteed to linger longer in the memory with its timeless romantic ballads with everlasting appeal for generations to come. If you're a hopeless romantic, or just hopeless at romance, then this is the album for you. An absolute must-have album for any fans of the Moody Blues. In comparison with other Moody Blues albums, this solo endeavour from Justin Hayward & John Lodge ranks as one of their finest albums. This album is a master-class in production technique and represents one of the pinnacles of classic 1970's Symphonic Rock.

To keep the band happy, all five members were given solo recording contracts from their parent label Decca. Guitarist/vocalist Justin Hayward and Mellotron pioneer Mike Pinder chose to team up together for the first of these non-Moody Blues projects to be recorded between 1974 and 1977. After some initial meetings, Pinder however got cold feet and was replaced by Moody Blues bassist John Lodge. The resulting album, Blue Jays, produced by longtime Moody Blues alumni Tony Clarke, was the first of the 'solo' albums to emerge.

There is a reason why this album is currently rated higher than all of the Moody Blues albums here on Prog Archives - including their landmark album Days of Future Passed. It is because Blue Jays is a flawless masterpiece of symphonic rock. Every track is beautiful, magical, and timeless. Even the cover art (front and back) is mesmerizing. Despite the absence of Mike Pinder, Ray Thomas, and Graeme Edge, the album still manages to sound like a Moody Blues album. To make up for the loss of the Mellotron (it does make one appearance on the gorgeous Hayward penned track Who Are You Now) Hayward and Lodge employed three real string players from the band Providence, a symphonic folk band signed to the Moodies' own Threshold label. If that weren't enough, a full symphony orchestra was brought in for three of the album's tracks (Nights, Winters, Years; I Dreamed Last Night; and Maybe) which was arranged and conducted by Peter Knight who had done the same for the band's Days of Future Passed album. Needless to say, the overall album has an extremely lush, classical feel to it. And when combined with Hayward's trademark sustained/distorted guitar leads and the Hayward/Lodge vocal harmonies, the sound produced is simply heavenly.

From the opening notes of This Morning (one of Hayward's most powerful compositions) to the closing guitar solo of the Hayward/Lodge joint composition When You Wake Up, the music of Blue Jays will take you to a place you can only dream about. The CD release features a lovely Hayward solo bonus single co-produced by 10CC called Blue Guitar which continues down the same path as the parent album.

While there is an ongoing debate as to the Moody Blues' place in prog, I can only offer my own personal perspective. This is the album that inspired me to really get into prog. And the rest, as they say, is history...

Additional musicians were hired from groups of the Moodies' own label Threshold, dor example string players from the American Providence. The one thing that clearly separates Blue Jays from the MB output is the absence of Pinder, Ray Thomas and Graeme Edge. Clarke is again a master as the producer, and the orchestrations for three songs were written by Peter Knight, the man they worked with on Days of Future Passed.

Over half of the songs are by Hayward whose song-writing pen was in good shape. The duo shares credits for two songs, of which 'Remember Me (My Friend)' Clarke edited down to 3½ minutes from the original nine minutes. Lodge's own compositions are 'You', ''Saved by the Music' and 'Maybe', all rather romantic songs but in my opinion slightly from the better end of his output. No, nothing as gorgeous as e.g. 'Candle of Life' (1969) but at this time the vintage Moody Blues magic was of course more or less left behind.

The whole album's atmosphere is soft and emotional, but not commercially sentimental as the latter day Moody Blues tend to be. The oroginal album release was followed by the single 'Blue Guitar'. Hayward's basic track is a collaboration with the 10cc musicians, dating from 1973. That laid-back, dreamy song is naturally included in the album's CD release. Even with the absence of the original quintet's synergy and many-sidedness in song-writing, Blue Jays beats almost anything released as the Moody Blues since their comeback album Octave (1978). Before Octave each member released solo album or two. Only Justin Hayward has made a considerable solo career, starting with a good album Songwriter (1977).

Equally, it's hardly an essential entry in the Moodies story - it boils down to Hayward and Lodge trying to keep the band's soft prog formula bubbling just a little bit longer, and it had already been feeling a little tired out before the band took their hiatus.

Recorded during a six year long hiatus between Moody Blues albums, Hayward and Lodge out Moody their own band. Each and every song is filled with lush orchestrations, plaintive vocals, heartfelt lyrics, and haunting melodies. Indeed, it seems there was very little chance of the Moodies reconvening during those years. Symphonic orchestrations are more apparent than on any Moodies album since Days of Future Past, even more so, and more grandiose, for in that iconic album there was much a trade off between orchestral and band tracks, while here the orchestra is fully integrated into the songs. We can separate the tracks on Days and get a bunch of good songs, but we cannot do that here and still have the same music. All of the songs are either slow ballads, where the orchestrations really make their mark or mid-tempo rockers, Saved by the Music being the liveliest of the bunch, which are enhanced by the orchestrations. The chanting vocals of the closer, When You Wake Up, brings the album to a satisfying climax. I do not have the more recent CD release where a song Hayward recorded with 10cc, Blue Guitar is featured. To be honest, I am not sure if I want it, the album closes off so well in its original form (but then again, the cassette tape I have this on will eventually wear out). If the lusher, more romantic side of the Moody Blues interests you then you have to get this album. If not, then avoid at all costs. Myself, I enjoy it a great deal. There is really nothing like it that is better; in other words, it is the best of its genre, as long as we don't confuse it with a Moodies album, and even then it stands up well.

Do indulge yourself once and for all with this splendid album. The quality of the raw material is so good it will instantly make you forget about the corny presentation..and, what the hell, there is also a corny (hidden) side in us all which now and then wants to be released... or is it just me?

Anyway, do not tell anybody, but get this Cd. You will not get disappointed if you liked The Beatles and The Moody Blues.

Blue Jays, seems to be free of such defects of style, and is closer to the brilliant Seventh Sojourn than any other moodies recording. The inclusion of Blue-guitar is a real bonus and tidies up nicely.

A very pleasant album that demonstrates the very skilful writing of haywood and Lodge.

For those who love Haywards profound ballads and Lodge's airy harmonies this is a must hear. There is something different about each song and there are interesting choices of backing instruments (pipe organ and trumpets on 'Maybe' to a simple string quartet on 'Who Are You Now?' to the rocking guitar and piano on 'Saved by the Music'). "My Brother" and "I Dreamed Last Night" are big heartwarmers, drenched with emotion and lyrical imagery. Who can sing of the bittersweet pain and promise of love like Hayward?

I could often compare the songwriting combination of Hayward and Lodge to the quality of Lennon-McCartney. I once read a reviewer describing this pair as the masters of mellow rock. I don't believe anyone can write songs as beautiful as this anymore. There is nothing too deep or philosophical in the lyrics, just a blend of voices to paint with sound on the canvas of imagination. The wonderous harmonies here are good for a romantic evening in front of the fire place. It's a fantastic album that never tires of listening too - several times in one sitting! Every Moodies fan must have this in their collection. 5 stars.