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The Moody Blues

Although they're best known today for their lush, lyrically and musically profound (some would say bombastic) psychedelic-era albums, the Moody Blues started out as one of the better R&B-based combos of the British Invasion. The group's history began in Birmingham, England with Ray Thomas (harmonica, vocals) and Mike Pinder (keyboards, vocals), who had played together in El Riot & the Rebels and the Krew Cats. They began recruiting members of some of the best rival groups working in Birmingham, including Denny Laine (vocals, guitar), Graeme Edge (drums), and Clint Warwick (bass, vocals).

The Moody Blues, as they came to be known, made their debut in Birmingham in May of 1964, and quickly earned the notice and later the services of manager Tony Secunda. A major tour was quickly booked, and the band landed an engagement at the Marquee Club, which resulted in a contract with England's Decca Records less than six months after their formation. The group's first single, "Steal Your Heart Away," released in September of 1964, didn't touch the British charts. But their second single, "Go Now," released in November of 1964 -- a cover of a nearly identical American single by R&B singer Bessie Banks, heavily featuring Laine's mournful lead vocal -- fulfilled every expectation and more, reaching number one in England and earning them a berth in some of the nation's top performing venues (including the New Musical Express Poll Winners Concert, appearing with some of the top acts of the period); its number ten chart placement in America also earned them a place as a support act for the Beatles on one tour, and the release of a follow-up LP (Magnificent Moodies in England, Go Now in America) on both sides of the Atlantic.

It was coming up with a follow-up hit to "Go Now," however, that proved their undoing. Despite their fledgling songwriting efforts and the access they had to American demos, this version of the Moody Blues never came up with another single success. By the end of the spring of 1965, the frustration was palpable within the band. The group decided to make their fourth single, "From the Bottom of My Heart," an experiment with a different, much more subtly soulful sound, and it was one of the most extraordinary records of the entire British Invasion, with haunting performances all around. Unfortunately, the single only reached number 22 on the British charts following its release in May of 1965, and barely brushed the Top 100 in America. Ultimately, the grind of touring, coupled with the strains facing the group, became too much for Warwick, who exited in the spring of 1966; and by August of 1966 Laine had left as well. The group soldiered on, however, Warwick succeeded by John Lodge, an ex-bandmate of Ray Thomas, and in late 1966 singer/guitarist Justin Hayward joined.

For a time, they kept doing the same brand of music that the group had started with, but Hayward and Pinder were also writing different kinds of songs, reflecting somewhat more folk- and pop-oriented elements, that got out as singles, to little avail. At one point in 1966, the band decided to pull up stakes in England and start playing in Europe, where even a "has-been" British act could earn decent fees. And they began building a new act based on new material that was more in keeping with the slightly trippy, light psychedelic sounds that were becoming popular at the time. They were still critically short of money and prospects, however, when fate played a hand, in the form of a project initiated by Decca Records.

In contrast to America, where home stereo systems swept the country after 1958, in England, stereo was still not dominant, or even common, in most people's homes -- apart from classical listeners -- in 1966. Decca had come up with "Deramic Stereo," which offered a wide spread of sound, coupled with superbly clean and rich recording, and was trying to market it with an LP that would serve as a showcase, utilizing pop/rock done in a classical style. The Moody Blues, who owed the label unrecouped advances and recording session fees from their various failed post-"Go Now" releases, were picked for the proposed project, which was to be a rock version of Dvorák's New World Symphony. Instead, they were somehow able to convince the Decca producers involved that the proposed adaptation was wrongheaded, and to deliver something else; the producer, Tony Clarke, was impressed with some of the band's own compositions, and with the approval of executive producer Hugh Mendl, and the cooperation of engineer Derek Varnals, the group effectively hijacked the project -- instead of Dvorák's music, they arrived at the idea of an archetypal day's cycle of living represented in rock songs set within an orchestral framework, utilizing conductor/arranger Peter Knight's orchestrations to expand and bridge the songs. The result was the album Days of Future Passed.

The record's mix of rock and classical sounds was new, and at first puzzled the record company, which didn't know how to market it, but eventually the record was issued, first in England and later in America. It became a hit in England, propelled up the charts by the single "Nights in White Satin" (authored and sung by Hayward), which made the Top 20 in the U.K.; in America, the chosen single was another Hayward song, "Tuesday Afternoon." All of it hooked directly into the aftermath of the Summer of Love, and the LP was -- totally accidentally -- timed perfectly to fall into the hands of listeners who were looking for an orchestral/psychedelic recording to follow works such as the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Better still, the band still had a significant backlog of excellent psychedelic-themed songs to draw on. Their debt wiped out and their music now in demand, they went to work with a follow-up record in short order and delivered In Search of the Lost Chord (1968), which was configured somewhat differently from its predecessor. Though Decca was ecstatic with the sales results of Days of Future Passed and the singles, and assigned Clarke and Varnals to work with them in the future, the label wasn't willing to schedule full-blown orchestral sessions again. And having just come out of a financial hole, the group wasn't about to go into debt again financing such a recording.

The solution to the problem of accompaniment came from Mike Pinder, and an organ-like device called a Mellotron. Using tape heads activated by the touch of keys, and tape loops comprised of the sounds of horns, strings, etc., the instrument generated an eerie, orchestra-like sound. Introduced at the start of the '60s as a potential rival to the Hammond organ, the Mellotron had worked its way into rock music slowly, in acts such as the Graham Bond Organisation, and had emerged to some public prominence on Beatles' records such as "Strawberry Fields Forever" and, more recently, "I Am the Walrus"; during that same year, in a similar supporting capacity, it would also turn up on the Rolling Stones' Their Satanic Majesties Request. As it happened, Pinder not only knew how to play the Mellotron, but had also worked in the factory that built them, which enabled him over the years to re-engineer, modify, and customize the instruments to his specifications. (The resulting instruments were nicknamed "Pindertrons.")

In Search of the Lost Chord (1968) put the Mellotron in the spotlight, and it quickly became a part of their signature sound. The album, sublimely beautiful and steeped in a strange mix of British whimsy ("Dr. Livingston I Presume") and ornate, languid Eastern-oriented songs ("Visions of Paradise," "Om"), also introduced one psychedelic-era anthem, "Legend of a Mind"; authored by Ray Thomas and utilizing the name of LSD guru Timothy Leary in its lyric and choruses, along with swooping cellos and lilting flute, it helped make the band an instant favorite among the late-'60s counterculture. (The group members have since admitted at various times that they were, as was the norm at the time, indulging in various hallucinogenic substances.) That album and its follow-up, 1969's On the Threshold of a Dream, were magnificent achievements, utilizing their multi-instrumental skills and the full capability of the studio in overdubbing voices, instruments, etc. But in the process of making those two LPs, the group found that they'd painted themselves into a corner as performing musicians -- thanks to overdubbing, those albums were essentially the work of 15 or 20 Moody Blues, not a quintet, and they were unable to re-create their sound properly in concert.

From their album To Our Children's Children's Children -- which was also the first release of the group's own newly founded label, Threshold Records -- only one song, the guitar-driven "Gypsy," ever worked on-stage. Beginning with A Question of Balance (1970), the group specifically recorded songs in arrangements that they could play in concert, stripping down their sound a bit by reducing their reliance on overdubbing and, in the process, toughening up their sound. They were able to do most of that album and their next record, Every Good Boy Deserves Favour, on-stage, with impressive results. By that time, all five members of the band were composing songs, and each had his own identity, Pinder the impassioned mystic, Lodge the rocker, Edge the poet, Thomas the playful mystic, and Hayward the romantic -- all had contributed significantly to their repertoire, though Hayward tended to have the biggest share of the group's singles, and his songs often occupied the lead-off spot on their LPs.

Meanwhile, a significant part of their audience didn't think of the Moody Blues merely as musicians but, rather, as spiritual guides. John Lodge's song "I'm Just a Singer (In a Rock & Roll Band)" was his answer to this phenomenon, renouncing the role that had been thrust upon the band -- it was also an unusually hard-rocking number for the group, and was also a modest hit single. Ironically, in 1972, the group was suddenly competing with itself when "Nights in White Satin" charted again in America and England, selling far more than it had in 1967; that new round of single sales also resulted in Days of Future Passed selling anew by the tens of thousands.

In the midst of all of this activity, the members, finally slowing down and enjoying the fruits of their success, had reached an impasse. As they prepared to record their new album, Seventh Sojourn (1972), the strain of touring and recording steadily for five years had taken its toll. Good songs were becoming more difficult to deliver and record, and cutting that album had proved nearly impossible. The public never saw the problems, and its release earned them their best reviews to date and was accompanied by a major international tour, and the sales and attendance were huge. Once the tour was over, however, it was announced that the group was going on hiatus -- they wouldn't work together again for five years. Hayward and Lodge recorded a very successful duet album, Blue Jays (1975), and all five members did solo albums. All were released through Threshold, which was still distributed by English Decca (then called London Records in the United States), and Threshold even maintained a small catalog of other artists, including Trapeze and Providence, though they evidently missed their chance to sign a group that might well have eclipsed the Moody Blues musically, King Crimson. (Ironically, the latter also used the Mellotron as a central part of their sound, but in a totally different way, and were the only group ever to make more distinctive use of the instrument.)

The Moodies' old records were strong enough, elicited enough positive memories, and picked up enough new listeners (even amid the punk and disco booms) that a double-LP retrospective (This Is the Moody Blues) sold extremely well, years after they'd stopped working together, as did a live/studio archival double LP (Caught Live + 5). By 1977, the members had decided to reunite -- although all five participated in the resulting album, Octave (1978), there were numerous stresses during its recording, and Pinder was ultimately unhappy enough with the LP to decline to go on tour with the band. The reunion tour came off anyway, with ex-Yes keyboardist Patrick Moraz brought in to fill out the lineup, and the album topped the charts.

The group's next record, Long Distance Voyager (1981), was even more popular, though by this time a schism was beginning to develop between the band and the critical community. The reviews from critics (who'd seldom been that enamored of the band even in its heyday) became ever more harsh, and although their hiatus had allowed the band to skip the punk era, they seemed just as out of step amid the MTV era and the ascendancy of acts such as Madonna, the Pretenders, the Police, et al. By 1981, they'd been tagged by most of the rock press with the label "dinosaurs," seemingly awaiting extinction. There were still decent-sized hits, such as "Gemini Dream," but the albums and a lot of the songwriting seemed increasingly to be a matter of their going through the motions of being a group -- psychedelia had given way to what was, apart from the occasional Lodge or Hayward single, rather soulless pop/rock. There were OK records, and the concerts drew well, mostly for the older songs, but there was little urgency or very much memorable about the new material.

That all changed a bit when one of them finally delivered a song so good that in its mere existence it begged to be recorded -- the Hayward-authored single "Your Wildest Dreams" (1986), an almost perfect successor to "Nights in White Satin" mixing romance, passion, and feelings of nostalgia with a melody that was gorgeous and instantly memorable (and with a great beat). The single -- along with its accompanying album, which was otherwise a much blander affair -- approached the top of the charts. They were boosted up there by a superb promotional video (featuring the Mood Six as the younger Moody Blues) that suddenly gave the group at least a little contemporary pop/rock credibility. The follow-up, "I Know You're Out There Somewhere," was a lesser but still impressive commercial success, with an even better secondary melodic theme, and the two combined gave them an essential and memorable pair of mid-decade hits, boosting their concert attendance back up and shoring up their contemporary songbag.

By the end of the '80s, however, they were again perceived as a nostalgia act, albeit one with a huge audience -- a bit like the Grateful Dead without the critical respect or veneration. By that time, Moraz was gone and the core group was reduced to a quartet, with salaried keyboard players augmenting their work (along with a second drummer to back up Edge). They had also begun attracting fans by the tens of thousands to a new series of concerts, in which -- for the first time -- they performed with orchestras and, thus, could do their most elaborately produced songs on-stage. In 1994, a four-CD set devoted to their work, entitled Time Traveller, was released. By that time, their new albums were barely charting, and seldom attracting any reviews, but their catalog was among the best-selling parts of the Polygram library.

A new studio effort, Strange Times, followed in 1999 and the live (at the Royal Albert Hall) Hall of Fame was issued a year later, but it was the 1997 upgrades of their original seven albums, from Days of Future Passed to Seventh Sojourn, that attracted far more attention from the public. In 2003, Ray Thomas retired, and the Moody Blues carried on as a core trio of Hayward, Lodge, and Edge. They were still going strong as a touring band in 2009, the same period in which their live performance from the 1970 Isle of Wight Festival was released as a CD and a DVD. That same year, Hayward's "Tuesday Afternoon" began turning up as an accompaniment to commercials for Visa. In 2013, the Moody Blues were the subject of a four-disc box retrospective from Universal entitled Timeless Flight. ~ Bruce Eder
full bio

Selected Discography


Track List: Say It With Love

1. Nights In White Satin

2. Your Wildest Dreams

3. Had To Fall In Love

4. Want To Be With You

5. Foolish Love

6. Love Don't Come Easy

7. I Know You're Out There Somewhere

8. Bless The Wings (That Bring You Back)

9. New Horizons

10. For My Lady

11. Nervous

12. In My World

13. Say It With Love

14. Lean On Me (Tonight)

15. Running Water

16. Haunted


Track List: The Best of The Moody Blues - 20th Century Masters - The Millennium Collection

1. Nights In White Satin (Live)

2. Ride My See-Saw

3. Question

4. The Story In Your Eyes

5. I'm Just A Singer (In A Rock And Roll Band)

6. Steppin' In A Slide Zone

7. The Voice

8. Gemini Dream

9. Blue World

10. Your Wildest Dreams

11. I Know You're Out There Somewhere


Track List: Time Traveller

Disc 1

2. Love And Beauty

7. Legend Of A Mind

9. Voices In The Sky

10. The Best Way To Travel

12. In The Beginning

13. Lovely To See You

14. Dear Diary

15. Never Comes The Day

16. Are You Sitting Comfortably

17. The Dream

18. Have You Heard (Part 1)

19. The Voyage

Disc 2

1. Higher And Higher

2. Gypsy

4. I Never Thought I'd Live To Be A Hundred

5. Beyond

6. Out And In

7. Candle Of Life

8. I Never Thought I'd Live To Be A Million

9. Watching And Waiting

16. Procession

17. The Story In Your Eyes

18. One More Time To Live

19. You Can Never Go Home

20. My Song

Disc 3

1. Lost In A Lost World

2. New Horizons

3. For My Lady

5. You And Me

Disc 4

3. Talking Out Of Turn

5. Blue World

7. Running Water

12. Say It With Love

13. Bless The Wings (That Bring You Back)

14. Lean On Me (Tonight)

15. Highway


Track List: The Other Side of Life

1. Your Wildest Dreams

2. Talkin' Talkin'

3. Rock 'n' Roll over You

4. I Just Don't Care

5. Running Out of Love

6. The Other Side Of Life

7. The Spirit

8. Slings and Arrows

9. It May Be a Fire


Track List: Long Distance Voyager

1. The Voice

2. Talking Out Of Turn

3. Gemini Dream

4. In My World

5. Meanwhile

6. 22,000 Days

7. Nervous

8. Painted Smile

9. Reflective Smile

10. Veteran Cosmic Rocker


Track List: Seventh Sojourn

1. Lost In A Lost World

2. New Horizons

3. For My Lady

4. Isn't Life Strange

5. You And Me

6. The Land Of Make Believe

7. When You're A Free Man

8. I'm Just A Singer (In A Rock And Roll Band)


Track List: Every Good Boy Deserves Favour

1. Procession

2. The Story In Your Eyes

3. Our Guessing Game

4. Emily's Song

5. After You Came

6. One More Time to Live

7. Nice To Be Here

8. You Can Never Go Home

9. My Song


Track List: A Question Of Balance

1. Question

3. And The Tide Rushes In

4. Don't You Feel Small

5. Tortoise and the Hare

6. It's Up To You

7. Minstrel's Song

8. Dawning is the Day

9. Melancholy Man

10. The Balance


Track List: To Our Children's Children's Children

1. Higher And Higher

2. Eyes Of A Child

3. Floating

4. Eyes Of A Child II

5. I Never Thought I'd Live To Be A Hundred

6. Beyond

7. Out And In

8. Gypsy

9. Eternity Road

10. Candle Of Life

11. Sun Is Still Shining

12. I Never Thought I'd Live To Be A Million

13. Watching And Waiting


Track List: On The Threshold Of A Dream

1. In The Beginning

2. Lovely To See You

3. Dear Diary

4. Send Me No Wine

5. To Share Our Love

6. So Deep Within You

7. Never Comes The Day

8. Lazy Day

9. Are You Sitting Comfortably

10. The Dream

11. Have You Heard (Part 1)

12. The Voyage

13. Have You Heard (Part 2)


Track List: In Search Of The Lost Chord

1. Departure

2. Ride My See-Saw

3. Dr. Livingstone, I Presume

4. House Of Four Doors

5. Legend Of A Mind

6. House Of Four Doors (Part 2)

7. Voices In The Sky

8. The Best Way To Travel

9. Visions Of Paradise

10. The Actor

11. The Word

12. OM


Track List: Days Of Future Passed

1. The Day Begins

2. Dawn: Dawn Is A Feeling

3. The Morning: Another Morning

4. Lunch Break: Peak Hour

5. Tuesday Afternoon (Forever Afternoon)

6. Evening: The Sunset: Twilight Time

7. Nights In White Satin


Track List: A Question Of Balance (Expanded Edition)

1. Question

2. How Is It

3. And The Tide Rushes In

4. Don't You Feel Small

5. Tortoise And The Hare

6. It's Up To You

7. Minstrel's Song

8. Dawning Is The Day

9. Melancholy Man

10. The Balance

11. Mike's Number One

12. Question

13. Minstrel's Song

14. It's Up To You

15. Don't You Feel Small

16. Dawning Is The Day (Full Original Mix)


Track List: I'm Just A Singer (In A Rock And Roll Band) (Live) (Single)


Track List: The Moody Blues Anthology

Disc 1

1. Go Now

2. Tuesday Afternoon (Forever Afternoon)

4. Ride My See-Saw

5. Legend of a Mind

6. Voices in the Sky

7. Lovely to See You

8. Never Comes the Day

10. Candle of Life

11. Watching and Waiting

12. Question

13. Melancholy Man

14. The Story in Your Eyes

15. Lost in a Lost World

16. Isn't Life Strange

17. I'm Just a Singer (in a Rock and Roll Band)

Disc 2

3. Steppin' in a Slide Zone

4. Driftwood

6. The Voice

7. Talking out of Turn

8. Gemini Dream

9. Blue World

10. Sitting at the Wheel

11. Your Wildest Dreams

12. The Other Side of Life

13. I Know You're Out There Somewhere

14. Say It With Love

15. Bless the Wings (That Bring You Back)

16. Highway


Track List: The Story In Your Eyes (Inglewood, CA, 12/83) (Single)


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Seeing them in vegas on the 10/14/2016 it was awesome night right and if you or anyone was at this concert i feel that Mr Justin was not expecting anyone singing Happy birthday to him.It was a great nite enjoyed the night .Now is the anyone that will take me on the cruise next year with them just asking um.
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sexyladies19 6 9 6 9
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Saw them last month and loved the show!! " ..Strange" most beautiful love song ever written. Thx MB for a lifetime of genius!
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When they come to Mt Pleasant Michigan I always go, there music will always live on. There great
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Yes they should be in the Rock and roll hall of fame. I can't believe they are not! They are the best.
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You guys are awesome
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Come by
david...radi o
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This one for you
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Unbelievable ! I actually heard Tuesday Afternoon (Moody Blues) on Tuesday afternoon. The planets are falling into alignment. Except that I missed The Pogues 'Tuesday Morning' this morning. So it's not the apocalypse yet!
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When I was a little girl, I had a crush on a boy and he used to play this album all the time. I still get butterflies when I hear it.
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sterngat YOU are the pretentious one.
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1965 the year of Moody Blues, have enjoyed them since.
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Kkktk hi mommmommgm keg k on ikkkkkkugj oh jjgkmgmkkgi, k k j m k k k k k k j it 6mmgkj rn kgk
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I like the MBs, but 'The Balance' can't even aspire to pretentiousn e s s . . . i t ' s just sheer nonsense. To much weed for those boys; shows why musicians, as well as writers, desperately need level-headed editors.
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Don't get any better!
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...Heartfelt Melodies.... . T a k e s me back to 1973! Time to groove!
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October is coming!!
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plindenthale r 2 0 0 4
I so love this song and always will. It's so mystical and beautiful. Damn I wish I could have met the band. :-( I mean, they still look great in my opinion. Very few people can look so good when they age. And they're still sexy too!
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Sweet Peacefulness . . . . . .
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Check out watching and waiting sounds like God singing
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There should be a rule that 'Monday, Monday' can only be played on Monday, and 'Tuesdy Afternoon' only on Tuesday. I know rock is supposed to be rebellious, but playing songs on the wrong date is going too far! And don't get me started on 'Summer in the City.'
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I Know You're Out There Somewhere... . my ringtone song!...
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RNRPharmacis t . . . . you are brilliant and intelligent as are all MB fans!
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2/2Or smoked only ragweed as a teen. The expanse of sonic textures&col o u r s ( s o r r y for going synesthesic) their music embodied added to many day/night trips of the era. They were unparalleled in their ability to tap musical roots into the hallucinogen - r i c h culture and mystique of the 70s=visionar i e s . Miss nancie: Windowpane was a form of LSD, w/ LSD adsorbed onto nearly transparent pieces of onion skin-like paper. Name was kinda a metaphor of hallucinogen i c experience: seeing through something.
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1/2 I usually only write comments if I'm really enthused or pissed at the ignorance of the writer. The MB were a large reason I became interested in keyboard music, along with the genius of Alan Parsons. The 'bombastic' epithet hurled at MB albums/music came from one of the uncool sources on the planet - Rolling Stone magazine. Although I have no facts to back it up, I think the reviewer who penned that either never ingested hallucinogen s or had only bad experiences with same.
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alexandraabe l l a 1 7
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The Question was one of my favorite songs that I would listen to when I went sailing deep sea. I worked on a container ship that sailed out of NY and through the English Channel eventually arriving in Holland. The Moody Blues took away my feeling of being homesick. I would blast this song as I looked out my porthole. I still love them today and listen to them on Pandora and my CD Player. God bless The Moody Blues.
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Truly a blessing in my life. I worked on a deep sea container ship. That sailed The Northern Atlantic Run. Leaving NYC then at sea for a week only to sail through The English Channel to Holland and Germany. When I got home sick and lost communicatio n s for TV or radio I would play their songs.The Moody Blues were everything to me. I brought my cassette player and continually played their songs. The Question was one of my favorites when I was looking out my porthole staring at the ocean.
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Probably my favorite song ever written and recorded. Great rhythm and lyrics to go with it. First heard it when I was a little kid. Loved it then. Love it now.
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This is one of the most laid back songs ever.
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mysteriousst r a n g e r 5 4 5
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craig5217 What is Window Payne?
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used to love to take LSD very early in the morning, and then go back to sleep and let it wake me up and put on the Moody's starting with Days of Future Passed, and then working through to Seventh Sojourn. Ah, the 1970's
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Have seen them twice, but have lived them many times through headphones. If I absolutely had to pick a favorite band ever...this is it. Best listened to through the Window Payne.
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Bombastic is the perfect word to use for the Moodys--I'm listening to Gypsy now and laughing--ba c k in the day, I used to parody late 60s/early 70s nonsense like this. Just the same, I now find myself missing the overreach--t h e 60s as the age of beautiful dreams. Might be time to go back and discover my inner Timothy Leary.
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In your wildest dreams......
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Ray Thomas, harmonica? Who's steering' this rig
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Very bizarre and great concert at the same time!mike pinder unbelievable ! I remember this one guy passed out in the floor he got up and puked on about 5 people my friends and I started laughing so hard!��
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To thunder1road 5 I was at that concert also at the sportatorium
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I Have It ALL.......IN MY WILDEST DREAMS.!!!!! . . X X X X O O O O X O X O
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I once played this back in the summer of '69 on a Vox drawbar organ while stoned on weed and couldn't believe how amazing that experience was.....easi l y on a par with great sex!
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4) ... the rest of the concert. The only reason I'm posting all this is because it was the best musical experience I have ever had in my life and it brings tears to my eyes when I think about it. Veteran Cosmic Rockers Rule !!!!!!!!
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3) ... music into the compsition - somewhat classical and somewhat psychedelic - going through a series of changes that were enchanting - and after about 1/2 hour the improvising segwayed back into the studio version of the song. The improvising had lasted so long that we had forgotten that it started with Legend of a Mind - and when they returned to the song - everyone was so blown away that they started clapping and they continued clapping in rhythm to every song the Moodies played for ..
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2) ... of the building. I have to take issue with the article in one respect. It says the Moodies could not duplicate their sound in a live performance. Let me tell you - when Mike Pinder cut loose with his mellotron - the quadrophonic sound system made it sound like B-52's were circling inside the building !!! Awesome beyond words. They performed a version of Legend of A Mind that must have lasted a half hour. It started out like the record but they improvised new passages of ....
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I saw them in 1973 at the Hollywood Sportatorium in Florida. They were experimentin g with a new quadrophonic speaker system. The Sportatorium was really just a huge barn with no seats. We were about 1/3 of the way back from the stage. Before the show started I looked back at the rear of the auditorium. The place was packed to the rafters - guys had climbed up on the steel girders that held the building together - and there were people sitting on the roof of the snack shacks at the rear ...
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how many times i've listen to this one for a true love gone. . . gone . .bye . .bye
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alexandraabe l l a 1 7
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saw them in Denver Colorado years ago at Red Rocks was awesome. Best place in the world to see a concert.
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