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On the Threshold of a Dream
On the Threshold of a Dream in Bloomington, MN
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On the Threshold of a Dream
was the first album that
the Moody Blues
had a chance to record and prepare in a situation of relative calm, without juggling tour schedules and stealing time in the studio between gigs -- indeed, it was a product of what were almost ideal circumstances, though it might not have seemed that way to some observers.
The Moodies
had mostly exhausted the best parts of the song bag from which their two preceding albums,
Days of Future Passed
and
In Search of the Lost Chord
, had been drawn, and as it turned out, even the leftover tracks from those sessions wouldn't pass muster for their next long-player project -- but those albums had both been hits, and charted well in America as well as England, and had overlapped with a pair of hit singles,
"Nights in White Satin"
"Tuesday Afternoon,"
on both sides of the Atlantic. Their success had earned them enough consideration from
Decca Records
that they could work at their leisure in the studio through all of January and most of February of 1969; what's more, with two LPs under their belt, they now had a much better idea of what they could accomplish in the studio, and write songs with that capability in mind. Equally important, they'd just come off of an extensive U.S. tour (opening for
Cream
) and had learned a lot in the course of concertizing over the previous year, achieving a much bolder yet tighter sound instrumentally as well as vocally, and they could now write to and for that sound as well. So this album is oozing with bright, splashy creative flourishes in two seemingly contradictory directions that somehow come together as a valid whole. On the original LP's first side (which was the more
rock
-oriented side), the songs
"Lovely to See You,"
"Send Me No Wine,"
"To Share Our Love,"
"So Deep Within You"
all featured killer guitar hooks (electric and acoustic) and fills by
Justin Hayward
; beautiful, muscular bass from
John Lodge
; and vocal hooks everywhere. It's also a surprisingly hard-rocking album considering the amount of overdubbing that went into perfecting the songs, including cellos, wind and reed instruments, and lots of vocal layers -- yet it even found room to display a
pop-soul
edge on
(a number that
the Four Tops
later recorded).
Side two was the more overtly ambitious of the two halves -- after a pair of songs dominated by acoustic guitar and heavy Mellotron,
"Never Comes the Day"
"Lazy Day"
(the latter a piece of social commentary showing that
Ray Thomas
, at least, still remembered his roots in Birmingham), the remainder of the record was devoted to the most challenging body of music in the group's history.
's deliberately archaic
"Are You Sitting Comfortably?,"
a piece that sounds almost 400 years out of its own time, evokes images out of
medieval
Renaissance
history laced with magic and mysticism, all set to
Hayward
's acoustic guitar and
Thomas
' flute, leading into
Graeme Edge
's poetic contribution,
"The Dream,"
accompanied by
Mike Pinder
's Mellotrons in their most exposed appearance to date on a record. And all of that flows into
Pinder
's three-part suite,
"Have You Heard, Pt. 1"
/
"The Voyage"
"Have You Heard, Pt. 2,"
a tour de force for the band -- check out
Edge
's and
Lodge
's rock-solid playing on
"Have You Heard"
-- and for
, whose Mellotrons, in conjunction with
' flute and supported by some overdubbed
orchestral
instruments, push the group almost prematurely into the realm of
progressive rock
. This synthesis of
psychedelia
classical
music, including a section featuring
on grand piano, may sound overblown and pretentious today, but in 1969 this was envelope-ripping, genre-busting music, scaling established boundaries into unknown territory, not only "outside the box" but outside of any musical box that had been conceived at that moment -- perhaps it can be considered
's flirtation with the territory covered by works such as
Alexander Scriabin
's
Mysterium
, and if it overreached (as did
Scriabin
), well, so did a lot of other people at the time, including
Jimi Hendrix
,
the Doors
the Who
, et al. To show the difference in the times,
the Moodies
even brought this extended suite successfully to their concert repertory, and audiences devoured it at the time. Amazingly,
was their first chart-topping LP in England, and remained on the charts for an astonishing 70 weeks, a feat made all the more remarkable by the fact that the accompanying single,
b/w
"So Deep Within You,"
never charted at all. ~ Bruce Eder
was the first album that
the Moody Blues
had a chance to record and prepare in a situation of relative calm, without juggling tour schedules and stealing time in the studio between gigs -- indeed, it was a product of what were almost ideal circumstances, though it might not have seemed that way to some observers.
The Moodies
had mostly exhausted the best parts of the song bag from which their two preceding albums,
Days of Future Passed
and
In Search of the Lost Chord
, had been drawn, and as it turned out, even the leftover tracks from those sessions wouldn't pass muster for their next long-player project -- but those albums had both been hits, and charted well in America as well as England, and had overlapped with a pair of hit singles,
"Nights in White Satin"
"Tuesday Afternoon,"
on both sides of the Atlantic. Their success had earned them enough consideration from
Decca Records
that they could work at their leisure in the studio through all of January and most of February of 1969; what's more, with two LPs under their belt, they now had a much better idea of what they could accomplish in the studio, and write songs with that capability in mind. Equally important, they'd just come off of an extensive U.S. tour (opening for
Cream
) and had learned a lot in the course of concertizing over the previous year, achieving a much bolder yet tighter sound instrumentally as well as vocally, and they could now write to and for that sound as well. So this album is oozing with bright, splashy creative flourishes in two seemingly contradictory directions that somehow come together as a valid whole. On the original LP's first side (which was the more
rock
-oriented side), the songs
"Lovely to See You,"
"Send Me No Wine,"
"To Share Our Love,"
"So Deep Within You"
all featured killer guitar hooks (electric and acoustic) and fills by
Justin Hayward
; beautiful, muscular bass from
John Lodge
; and vocal hooks everywhere. It's also a surprisingly hard-rocking album considering the amount of overdubbing that went into perfecting the songs, including cellos, wind and reed instruments, and lots of vocal layers -- yet it even found room to display a
pop-soul
edge on
(a number that
the Four Tops
later recorded).
Side two was the more overtly ambitious of the two halves -- after a pair of songs dominated by acoustic guitar and heavy Mellotron,
"Never Comes the Day"
"Lazy Day"
(the latter a piece of social commentary showing that
Ray Thomas
, at least, still remembered his roots in Birmingham), the remainder of the record was devoted to the most challenging body of music in the group's history.
's deliberately archaic
"Are You Sitting Comfortably?,"
a piece that sounds almost 400 years out of its own time, evokes images out of
medieval
Renaissance
history laced with magic and mysticism, all set to
Hayward
's acoustic guitar and
Thomas
' flute, leading into
Graeme Edge
's poetic contribution,
"The Dream,"
accompanied by
Mike Pinder
's Mellotrons in their most exposed appearance to date on a record. And all of that flows into
Pinder
's three-part suite,
"Have You Heard, Pt. 1"
/
"The Voyage"
"Have You Heard, Pt. 2,"
a tour de force for the band -- check out
Edge
's and
Lodge
's rock-solid playing on
"Have You Heard"
-- and for
, whose Mellotrons, in conjunction with
' flute and supported by some overdubbed
orchestral
instruments, push the group almost prematurely into the realm of
progressive rock
. This synthesis of
psychedelia
classical
music, including a section featuring
on grand piano, may sound overblown and pretentious today, but in 1969 this was envelope-ripping, genre-busting music, scaling established boundaries into unknown territory, not only "outside the box" but outside of any musical box that had been conceived at that moment -- perhaps it can be considered
's flirtation with the territory covered by works such as
Alexander Scriabin
's
Mysterium
, and if it overreached (as did
Scriabin
), well, so did a lot of other people at the time, including
Jimi Hendrix
,
the Doors
the Who
, et al. To show the difference in the times,
the Moodies
even brought this extended suite successfully to their concert repertory, and audiences devoured it at the time. Amazingly,
was their first chart-topping LP in England, and remained on the charts for an astonishing 70 weeks, a feat made all the more remarkable by the fact that the accompanying single,
b/w
"So Deep Within You,"
never charted at all. ~ Bruce Eder
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