DailyNews.com Fifty years ago, singer-songwriter-guitarist Justin Hayward, singer-songwriter-bassist John Lodge and drummer Graeme Edge and their fellow members of England’s Moody Blues, keyboardist Mike Pinder and singer-songwriter-flutist Ray Thomas, recorded their “Days of Future Passed” album that time has shown to be a pioneering classic of classical rock music. Now, once and future Moodies Hayward, Lodge and Edge and their longtime touring backup members performed that landmark album in its entirety for the first time in eons, and backed by The Hollywood Bowl Orchestra under the baton of conductor Thomas Wilkins. Saturday night at before a full house of 17,500 devoted fans at the Hollywood Bowl, the result was spectacular. To hear the band perform songs by retired member Thomas and do so magically was nothing short of delightful. The militaristic cadence of Thomas’ “The Morning: Another Morning,” and the propulsive “Twilight Time,” that rocked far harder than on record, all surrounded by English composer-conductor Peter Knight’s rich, lush orchestrations that tied everything together, was a special treat for fans. The band might consider including these songs in its standard concert repertoire. Of course, while the crowd treated each moment with great appreciation, the biggest response was naturally saved for the album’s two all-time classic hits, “Tuesday Afternoon” and their signature song, “Nights in White Satin.” The first half of the evening was a showcase of 10 post-‘60s hits, beginning with 1972’s “I’m Just a Singer (In a Rock and Roll Band)” and including 1981’s “The Voice,” 1988’s “I Know You’re Out There Somewhere,” 1991’s “Say It with Love” and the song that continues to receive radio airplay perhaps more than any other, the wistful “Your Wildest Dreams.” Perhaps the biggest surprise is how powerful and effect Lodge’s 1972 Top 30 hit, “Isn’t Life Strange,” is realized in concert. The band turns this slow, mournful ballad into a full-blown epic. The band ended the evening with their 1970 hit, “Question,” that was enhanced by the Bowl’s patented fireworks. They then returned for one more, “Ride My See Saw,” from 1968. As with many of the artists from the ‘60s and early ‘70s, the most incredibly creative era in pop music history, Hayward, Lodge and Edge are now in their 70s. And, as with many of the artists from that period that are still out on the road after all these years, these three Moody Blues continue to delight their fans with outstanding performances.

Variety.com by: Shalina Dore The Moody Blues brought their 50th anniversary tour for “Days of Future Passed” to Los Angeles on Saturday and kicked off the Hollywood Bowl’s 2017 season. The evening also marked the 10th anniversary of Youth Orchestra Los Angeles, which performed Shostakovich’s “Festive Overture” with the Bowl orchestra. YOLA is the LA Phil’s music education program and was the beneficiary of the funds raised during “Opening Night at the Bowl.” Maestro Thomas Wilkins, who conducted on Saturday evening, said, “What’s cool about the Moody Blues is they really get it. They know they’re not here just as performers but as partners for music education. It is that gift that is life-changing.” As performers, however, the Moody Blues – Justin Hayward, John Lodge, and drummer Graeme Edge along with flutist Norda Mullin — gave the audience the kick start the evening deserved as hit after hit rolled out starting with “I’m Just a Singer ,” “The Voice,” “Steppin’ in a Slide Zone,” “Nervous,” and “Once Upon a Time.” Other hits that had the audience dancing in the aisles included “Wildest Dreams” and “Question.”

LATimes.com

Never mind what the calendar tells us about the seasons. In this city, according to Los Angeles Philharmonic Assn. Board Chairman Jay Rasulo, summer starts on opening night at the Hollywood Bowl.

is a fun event.” There too were Los Angeles County board supervisors Kathryn Barger, Janice Hahn and Hilda Solis and Los Angeles City Councilman David Ryu. Title sponsor Kaiser Permanente was represented by Greg Adams and Julie Miller-Phipps, while Teena Hostovich, Doug Martinet and Michael Martinet served as gala co-chairs. VIP guests mingled over cocktails and hors d’oeuvres on the Hollywood Bowl’s Box Office Terrace (above the newly renovated Main Plaza), before adjourning to their tables for dinner. In keeping with the Bowl’s tradition of elegant dining, guests enjoyed Moroccan chicken tagine on tables covered in linens, topped by centerpieces of rosemary, mint or lavender plants. As the Hollywood Bowl Orchestra’s Thomas Wilkins conducted Peter Boyer’s “Silver Fanfare,” the big screens facing the audience showed off 17 years of opening nights with clips of Reba McEntire, John Legend, Josh Groban, Jack Black, Kristin Chenoweth, Liza Minnelli, Plácido Domingo, John Williams and other past headliners. Members of the YOLA All-Stars then performed Shostakovich’s “Festive Overture” with the Hollywood Bowl Orchestra, followed by a set of Moody Blues hits, including “Say It With Love,” from what lead singer Justin Hayward jokingly called the “pretentiously named” album “Keys of the Kingdom.” After intermission, the band performed its entire “Days of Future Passed” album, accompanied by the Hollywood Bowl Orchestra, and at evening’s end, by a dazzling display of fireworks. “What’s really cool about the Moody Blues,” said Wilkins, “is that those guys get it,” meaning an understanding of music education as a “gift that can be life-altering … the endeavor to give a voice through music …” He later added, “We have to be in the business of painting doors onto brick walls, and that’s what YOLA is all about.” Said Hayward, “It’s a special night for us because it’s the first time we’ll be doing our very first album, ‘Days of Future Passed,’ live in such esteemed company with the Hollywood Bowl Orchestra and the fabulous, gorgeous Thomas Wilkins.”

OCRegister.com It’s been 50 years since the Moody Blues went into the studio for a week and came out with “Days of Future Passed,” the British band’s iconic concept album that mixed progressive rock with an orchestral score and blazed a path that many bands would soon follow. Surely many will remember such lushly scored singles pulled from the album including “Tuesday Afternoon” and “Nights In White Satin.” Though if you do, well, you might be surprised to hear bassist John Lodge describe “Days Of Future Passed” as the band’s attempt to make a blues record. But hang on, Lodge – who with the rest of the Moody Blues comes to the Hollywood Bowl to play the full album with an orchestra on Saturday, June 17 – can explain. “I’d been working with (future Moodies) Ray Thomas and Mike Pinder for a while, playing lots of songs on stage, American songs mostly, covers of the blues from the Delta and Chicago and Detroit,” says Lodge, who with singer-guitarist Justin Hayward and drummer Graeme Edge is one of three members of the classic lineup still in the band. Still in his teens, Lodge eventually went off to college while Thomas and Pinder joined Graeme Edge, Denny Laine and Clint Warwick to form the first version of the Moody Blues, one that carried on in the vein of many English bands at the time, young Brits inspired by American blues. In 1966, Lodge and Hayward replaced Laine and Warwick, and this best-known lineup of the Moodies decided to try something different. “We talked and said, ‘We don’t want to keep playing the same songs forever,’ ” Lodge says. “I’d never been to America, I’d never been to the Delta, I’d never been to Chicago. “Blues is about growing up and what influenced your life,” he says. “We thought, ‘Let’s do it from an English point of view. Let’s do it from where we are.'” Three months of rehearsals produced enough music to play a 45-minute set of original music on stage, Lodge says, those songs the earliest version of much of what would end up on “Days Of Future Passed,” though written for performance by a typical mix of rock and roll instruments. Then the band’s record label, Deram, an offshoot of Decca, came to the band with an unusual proposal. “They wanted a way of showing how you can combine an orchestra, and, as they called us then, a pop band,” Lodge says. “The record company was coming up with an idea to sell their new record player with this record, because they had hardware and software at the same time then. I think we were the cheapest band they had on their label then so they asked us to do it.” The original request was for the Moody Blues to write lyrics for Antonin Dvořák’s “New World Symphony” and record it with conductor Peter Knight and a studio orchestra, Lodge says. Once in the studio, though, the band recorded “what was basically our stage show,” he says. “Peter Knight was listening to our songs and said, ‘You should do your songs.” So they did, with Knight adding orchestration to an album built on the concept of the passing of a day from sunrise to nightfall, Knight adding orchestral interludes and arrangements to link and expand the songs the Moody Blues had already written, recording and mixing the album in a single week. “And at the end of the week we invited the record company people to come along, and we had girlfriends and friends in for a playback in the studio,” Lodge says. “We set up speakers, turned all the lights and played the album back. “At the end of it there was a deathly silence,” Lodge says. “I was wondering, ‘Why are they silent?’ And suddenly there was this great reaction. We were all so taken aback. They said, ‘Play it again!’ So we played it again. And at the end of it everyone stood up and applauded except for some of the record company people. They didn’t understand what we’d done.” What they’d done was both create a new kind of sound for rock bands to emulate but also make it quite difficult to recreate large parts of their album live on stage, given the impracticality of carrying an orchestra along on tour. Which means that the performance at the Hollywood Bowl – with a full orchestra unlike other stops on the Days Of Future Passed 50th Anniversary tour – will be the first time that some songs from the album have ever been played live in the same way that they were recorded, Lodge says. “‘Another Morning,’ never played that live,” he says. ” ‘Time To Get Away, never played that, ‘ ‘Dawn Is A Feeling,’ never played that. I think we played ‘The Sunset’ – no, I don’t think we’ve played that live either. So there’s four songs on there that other than when we played them in the studio 50 years ago we’ve never played live.” The Moody Blues have played as many as 200 concerts with orchestras over the past 25 years, Lodge says, so he knows how special the Bowl show – which is also the venue’s opening night for the 2017 season – should be. “There’s a very special feeling when you’re on stage with an orchestra,” he says. “Just the quality and the harmonic structure of an orchestra leads you to perform to the best of your ability. “We really want to play this album as if it was yesterday but doing it today, if that makes sense,” Lodge says. “We want to try to get back to where we were at that particular time, so we can get back to the exact feeling we had at that time. “And hopefully drift people away and take the audience on a journey.”

The Moody Blues’ Graeme Edge

Nineteen-sixty-seven was a transitional year for the former beat group and its drummer, who recalls a time when musical history was routinely made without warning.

, so we would record from midday to five o’clock,” Edge tells MD. “Not even on ‘Nights in White Satin’ did we record with the orchestra. It was always with the Mellotron. And you didn’t want to do any busy fills, because you had to let the orchestra speak. So the fills were powerful but with plenty of space.” Now, fifty years later, the Moody Blues are going out on the road to perform Days of Future Passed in its entirety, including several dates where they’ll be joined by an orchestra. “We toured with a live orchestra before, for ten years, so there’s no secret with that,” Edge says. “And you have these tiny mics that you place on each instrument in the orchestra. Not like the old days, where you hung a mic above the whole thing and hoped for the best.” And though Edge is still up to the task, some auxiliary sidemen are always welcome. “I can still do it. But I do have a young man up there with me. There are two drummers and I do take some rests.” Looking back at 1967, Edge reflects on the London scene and his place in it. “We saw lots of groups around that time, like the Graham Bond Organisation with Ginger Baker,” he says. “We were suitably impressed. But when the Moody Blues would play, thank God for the teenyboppers, because all they did was scream. Our failings were covered by the screaming, so we were all right.” When asked about the gear he used back in the day, which in general was still evolving to accommodate the increasingly heavier playing of classic rock’s early drummers, Edge suggests he managed just fine. “Ludwig was first-class drums,” he says, “although the fittings did rattle. But that wasn’t a problem on stage, just for recordings. We were always tightening and taping. And I always used the Premier bass drum pedal. The Ludwig pedal was made for guys who were swivelling their foot back and forth. But rock drummers stamp on it. And only the Premier pedal could suffer that.” Edge is also sometimes credited with helping to invent and using the first electronic drums on record, for “Procession,” on 1971’s Every Good Boy Deserves Favour. Was that something the drummer was imagining back in 1967? “Oh yeah, I imagined more than that,” Edge says. “I was always conscious of the drum’s ring being out of tune. So I wanted a drumkit that you could tune to the key of a song. That’s why people started to tape cigarette packets to drums and all that—to eliminate that ring so it wouldn’t mess with the guitars. And that kit was a dismal failure—but a heroic failure.” What wasn’t a failure, though, was Edge’s accomplished drumming. Mid-’60s London was quite the place for legendary musicians to gather, and opportunity knocked one evening in a local bar. Edge recalls a special occasion where he found himself on stage with royalty of a different kind. “There was a club called the Scotch of St. James,” Graeme says. “We all used to go down and jam. I had one memorable night there where, when the house band was done, we just went up and took charge of their instruments. It was me on drums, Jack Bruce on bass, Eric Clapton on guitar, and a black kid from Seattle who played his guitar upside down. He was just introduced to us by Chas Chandler of the Animals. And I sat there and drummed behind two guys who fell in love musically. Jimi Hendrix and Clapton were swapping 12s and 24s backwards and forwards. Just fantastic blues. And there wasn’t a single cell phone in the audience. It was one of those occasions where you play a lot better than you normally could because you’re inspired so much. Me and Jack were just laying it down solid. I assume so at least, because no one moved us off.” Beyond his drumming, Edge has written a significant amount of poetry over the years, including some of the spoken-word sections and lyrics on Days of Future Passed. Around this time, he wrote a line that would be used on the Moodys’ next record, In Search of the Lost Chord: “Between the eyes and ears there lie the sounds of color and the light of a sigh.” Edge explains, “You can listen to your favorite piece of music fifty times and still get something from it. But the best movie you’ve ever seen, you get ten, eleven , and it’s done. Because music is hot and the visual is sort of cold. Music is tempo, form, and pitch. Through the eyes, you’ve got color, perspective, and form. So you get through the eyes the same way you get through the ears, with really creative vibrations.”

Sandiegouniontribune.com It’s no coincidence the Moody Blues recorded “Legend of a Mind” — their suitably trippy tribute to LSD guru Timothy Leary — while making their landmark concept album, “Days of Future Passed,” in 1967. That was the same year four of the five members of the English rock band took LSD for the first time. Their early acid trips had a major influence on the group’s music and on the now 50-year-old “Days of Future Passed,” which they are now performing for the first time ever in its entirety in concert. “As almost everybody did when we first started tripping, I thought it would be mind-expanding and all of that,” said drummer Graeme Edge, now 76, who performs with the Moody Blues Sunday at Pala Casino Spa & Resort and June 17 at the Hollywood Bowl. “I can tell you exactly how many trips I had. Eight. And by the seventh, I was thinking: ‘Here we go again — the walls are breathing, and I’ve got another 12 hours to go. Oh, my god!’ It got sort of boring. Fortunately, we were so attracted to the music that we didn’t have to (keep taking) acid; we just got high on the audiences. So, maybe, we were lucky.” Did the Moody Blues believe using LSD would push them into uncharted new musical territory? “Yes, in a way,” said Edge, who had a stroke last year and whose sole remaining vice is tobacco. “We did record a couple of times on acid — and it was rubbish. What acid did was give you the ambition to have the music you were making sound like the music you listened to like when you were on acid. So it gave us the ambition to strive to give that experience to listeners. But performing on acid was absolute rubbish.” In 1967, three of the Moody Blues’ five members accepted an invitation to visit LSD champion Leary at his home, north of San Francisco. Edge and bassist-singer John Lodge declined. Guitarist-singer Justin Hayward, flutist-singer Ray Thomas and keyboardist Mike Pinder accepted.

"Last week I dashed over to London to record, film (and direct !) Jeremy Irons performing 'Morning Glory' and 'Late Lament' from The Moody Blues 'Days Of Future Passed' album.

Jeremy is the new 'voice' of these two spoken word pieces, originally performed on the 1967 LP by keyboard player Mike Pinder and written by Graeme Edge, and he will feature on giant video screens on our upcoming tour when we will be performing the album live for the first time".

"Jeremy, who arrived on his motor bike for the session at Metropolis studios in West London, had let me know the day before that he had a 'window' of a couple of hours free to do the recording before taping his voice for a children's e-book.

It was an absolute pleasure and a joy for me to record him. Jeremy has the perfect voice and presence for these two beautiful poems. His performance is powerful, and extremely moving, and he brilliantly compliments Peter Knight's orchestral arrangements that lead us into 'Dawn Is A feeling' at the opening of the piece, and 'Nights In White Satin' at the close".

Justin Hayward

Live Nation / Kennedy Street are delighted to announce that legendary singer-songwriter Justin Hayward will tour the UK in support of his latest album release All The Way. The possessor of one of the most recognisable voices in rock, Justin will be performing new songs from the album as well as Moody Blues favourites. Tickets go on sale Friday, May 12^th at 10am from Tickets available from Ticketline.co.uk , Ticketmaster.co.uk or the venues direct. Support on all dates will come from Mike Dawes. VIP merchandise packages will be available beginning Thursday, May 11th All The Way includes the newly released single The Wind of Heaven, a heartfelt song about a wounded warrior who has left his soul on the battlefield and is having a difficult time adjusting to being home. The song is dedicated to all of those who have served their country. The song has received standing ovations worldwide. Justin himself said, “I’m always so thrilled to have the opportunity to tour in the UK, particularly at this time in in my career when no one knows what the future holds. I’m bringing my ‘song writing’ guitars from home on the road with me, so the gigs will have the feel and sound of my music room along with the vibe I was feeling as I wrote the songs. I look forward to singing and playing new songs and old songs, particularly Forever Autumn, which I only get to perform in my solo show, and The Wind Of Heaven from the forthcoming movie, and also to tell the real stories behind all the songs and the events that surrounded them at the time. It’s a joy to share a stage with such wonderful young and inspiring talents as Mike Dawes (one of a new generation of brilliant young guitar masters – worth the price of admission alone) and Julie Ragins, a truly exceptional musician and singer. She and I have shared stages all over the world for many years, loving the music we play, both with the Moody Blues and solo. I look forward to seeing you on the road”. As the driving force behind The Moody Blues, Justin penned classics like Nights in White Satin, New Horizons, Question, The Voice and Your Wildest Dreams. Justin’s solo career began in 1977 with Songwriter. In 1978 Justin had a worldwide hit with the timeless Forever Autumn from the War of the Worlds. In 1980, Justin released his second solo album Night Flight, a mixture of his own songs and those of other writers. His last solo studio album was the critically-acclaimed Spirits of the Western Sky in 2013, his first since 1996’s The View From The Hill. SEPTEMBER 2017 Mon 18^th Southend Cliffs Pavilion Tues 19^th Guildford G Live Weds 20^th Bournemouth Pavilion Fri 22^nd Barnstaple Queen’s Hall Sat 23^rd Worthing Assembly Halls Mon 25^th Weston Super Mare Playhouse Theatre Weds 27^th Hull City Hall Thurs 28^th Wrexham William Aston Hall OCTOBER 2017 Sun 1^st Liverpool Philharmonic Hall Mon 2^nd Cardiff St. David’s Hall Tues 3^rd London Union Chapel Thurs 5^th Birmingham Town Hall Fri 6^th St. Albans Alban Arena Tickets prices from £31 – £37.50 (booking fees or venue levies may also apply) These dates represent a rare chance for Justin’s fans to connect with one of music’s keenest talents and to hear the music that he loves presented with a truly personal touch.

HoustonPress.com BY BOB RUGGIERO

Of all the hits that the Moody Blues have charted over the past 50-plus years of existence, the one big calling card for the English band is probably “Nights in White Satin.” Atmospheric, classically orchestrated, mysterious and featuring Justin Hayward's dreamy vocals, it’s not just a hit, but a classic-rock anthem.

that don’t work inside the loud context of the Moody Blues.”

The Moody Blues arrive at Schipol Airport, The Netherlands, 1970: Mike Pinder, Graeme Edge, Justin Hayward, Ray Thomas, John Lodge. Clausule/Wiki Commons

Leading off the CD is the original version of “Blue Guitar.” And while it later appeared on record in a different, highly orchestrated version, this is the original mix, done with members of 10cc. Long thought lost, it was recently located in a tape storage unit. “I was overjoyed to find that. I knew it was good, in the original form and mix. But the record company didn’t want to credit 10cc, which weren’t on their label at the time,” Hayward explains. “So Graham Gouldman and I went to try and find that original Eric Stewart mix. It was unadulterated, clear and brilliant.” Hayward also cops to a bit of male musical bonding with Alberto Parodi, who mastered the track. “We sat like silly old men and held each other’s hands during the playback,” the singer notes. “Then again, he is Italian. And they are very emotional.” Also on the CD is Hayward’s biggest solo hit, the enchanting “Forever Autumn.” While not written by Hayward, it was done for the 1978 concept album Jeff Wayne’s Musical Version of the War of the Worlds. Though — as the singer explains in the liner notes — after he recorded it, he heard nothing more for a year, until he was informed by a record promotion man that it would be the single off the album! Hayward would reprise his version on several tours staging the story. “Honestly, I had forgotten all about it. I did the song and we had a lovely day and then Jeff Wayne asked me back for another song and some backing vocals,” he says. When I tell Hayward that – as a nine-year-old – I was obsessed with the song and played my 45 single endless times, he’s momentarily speechless. “That is really incredible you said that. Because after I recorded it, I went home and my wife heard it, and she said, ‘What’s that all about? Who’s going to buy that?’ and I said, ‘I don’t know, probably nine-year-old boys.’ So Bob, I finally met you!” In the MTV era of the ’80s, the Moody Blues had something of a resurgence on the heels of much-played videos, somewhat like fellow ’60s prog-rockers Yes. In their case, it was for the songs “Your Wildest Dreams” and “I Know You’re Out There Somewhere.” The first clip shows the story of an English girl in the ’60s who follows the “young” Moody Blues (actually actors) and then, years later, encounters the “current” band at a show. “Well, we had to do that. We were about 45 at the time, so we weren’t going to play younger versions of ourselves!” Hayward laughs.

“But I would have to say that was the happiest time that the group has had and in my life as well," he continues. "I was straight and fully conscious and made sure I enjoyed every moment. And to have a hit record in the American charts and Germany and people recognize you from the video…that was great. But it lasts about three weeks and people move on!” After the current solo tour winds up, there will be more activity with the Moody Blues, who also host their own cruise. But as with any band with a 50-plus-year (or even much less) history, there’s some dropoff in membership. The current version of the Moody Blues includes original drummer Graeme Edge, and classic lineup members Hayward and bassist John Lodge. When the Houston Press spoke with Edge in 2011, he said that the band could not exist without the utterly distinctive vocals of Hayward, though the man who owns the pipes in question disagrees. “Well…there’s always another kid that can come along and do those songs. Graeme and I love each other dearly, but I’ve seen so many bands where they got a new guy singing and just carried on!” he says. As for memories of Houston, Hayward says the city’s name is “bittersweet” to him, due to the fact that his daughter’s first boyfriend, a lawyer, was from the city and that the relationship “ended badly.” But he has far better memories of Lubbock, home to his hero Buddy Holly. “One of the first things I did when I came to America was to go to Lubbock, to walk the streets that Holly did," he offers. "That part of the world is legendary, particularly for English boys." He also has fond memories of Stevie Ray Vaughan, who at one point spent nearly a year and a half opening shows for the Moody Blues. “He was the quietest man I ever knew," Hayward says. "But what a player!” The Moody Blues themselves will tour the country this summer to commemorate the 50th anniversary of their breakthrough album, Days of Future Passed. The band is usually on a short list of acts that are not currently in a certain Cleveland-based Hall of Fame but that many fans feel should be. And with the inclusion of more classic and prog-rock bands in recent years — Chicago, Yes, Electric Light Orchestra, Deep Purple — might it be time for the Moody Blues? “I don't care,” Hayward offers. “It doesn't mean anything in my life, but it does to the American fans. In Europe, it doesn't even make it to the news channel. But it must be tough for the fans. I hope it happens for them one day.” Justin Hayward performs Saturday, March 4 at the Heights Theater, 330 West 19th. Doors open at 7 p.m.; $44-$64.

The Moody Blues will unite with Sweet Relief Musicians Fund, in an effort to help aid musicians during their upcoming special live tour celebrating the 50^th Anniversary of their iconic, landmark album, DAYS OF FUTURE PASSED, which kicks off on June 3 in Rancho Mirage, California, and runs through July 23 in Atlanta, Georgia. The Moody Blues will donate $1 per-ticket sold at each show on the tour to Sweet Relief Musicians Fund, an organization which lends financial assistance to career musicians, venue workers, production staff, crew members and their families suffering from injury, illness or disability. Funds raised from the tour will pay for medical procedures, doctor visits, prescriptions, and vital living expenses. On the tour, titled DAYS OF FUTURE PASSED – 50^TH ANNIVERSARY, the band will reflect back on five decades of some of the most well beloved music in pop culture history this summer, when they perform live onstage, for the first-time ever, their epic album recorded in 1967, which marked the first time a rock band had fused their sound with a symphony orchestra. The tour will bring the live excitement of seeing the band perform their greatest hits in the first half, and then finish with DAYS OF FUTURE PASSED performed in the second half. The tour will hit 25 cities (and 28 performances), including Los Angeles, New York, Chicago, Boston, Philadelphia, Minneapolis, Milwaukee, Seattle, Baltimore, Denver, Cleveland, Nashville, and many more. Says Moody Blues guitarist/vocalist Justin Hayward, 'We are pleased to be associated with Sweet Relief, and are very much looking forward to this tour. It will be a joy to return to this music - live, after all these years." Adds Bill Bennett, President of Sweet Relief Musicians Fund, “Sweet Relief is enormously grateful to the Moody Blues for this incredibly generous donation, and the funds raised will help hundreds of desperate musicians and music industry workers in critical need.” For a full list of dates, click HERE From the time the British band first hit the rock scene, The Moody Blues have continued to produce music that bridge the gap between rock, classical and pop-rock genres. Featuring guitarist/vocalist Justin Hayward, bassist/vocalist John Lodge, and drummer Graeme Edge, The Moody Blues’ sound has held its ground in a genre of music that is ever-changing. The Moody Blues have sold in excess of 70 million albums worldwide and have been awarded 14 platinum and gold discs. Their roster of hits include: “Nights In White Satin,” “Tuesday Afternoon,” “Ride My See Saw,” “The Story In Your Eyes,” “Isn’t Life Strange,” “Question,” “I’m Just A Singer (In A Rock And Roll Band),” “Your Wildest Dreams,” and “I Know You’re Out There Somewhere,” to name a few. The Moody Blues’ No. 1, Top 5, Top 10, Top 20, Top 40, Multi-Platinum, Platinum and Gold albums and singles, have generated sold-out tours on a consistent basis over the course of several decades, making them one of the top-grossing album and touring bands of all time. For more information on Sweet Relief Musicians Fund, please visit: www.sweetrelief.org

PERFORMING THEIR ICONIC ALBUM LIVE ONSTAGE IN ITS ENTIRETY – FOR THE FIRST TIME EVER LEGENDARY BAND TO BRING AUDIENCES ACROSS THE U.S. AND CANADA A FIRST-EVER LIVE TOUR OF THEIR ENTIRE LANDMARK ALBUM FEATURING “NIGHTS IN WHITE SATIN,” “TUESDAY AFTERNOON” AND MORE; PLUS GREATEST HITS TOUR BEGINS JUNE 3 THROUGH JULY 23 Los Angeles, CA (Feburary 16, 2017)-- The Moody Blues will launch a special live tour celebrating the 50^th Anniversary of their iconic, landmark album, DAYS OF FUTURE PASSED, which was originally released in 1967. The band will reflect back on five decades of some of the most well beloved music in pop culture history this summer, when they perform live onstage, for the first-time ever, their epic album that marked the first time a rock band had fused their sound with a symphony orchestra. The tour, titled DAYS OF FUTURE PASSED – 50^TH ANNIVERSARY, will bring the live excitement of seeing the band perform their greatest hits in the first half, and then finish with DAYS OF FUTURE PASSED performed in the second half. The tour begins on June 3 in Rancho Mirage, California, and continues through July 23 in Atlanta, Georgia, hitting 25 cities (and 28 performances), including Los Angeles, New York, Chicago, Boston, Philadelphia, Minneapolis, Milwaukee, Seattle, Baltimore, Denver, Cleveland, Nashville, and many more. Fans will have waited 50 years to experience this moment in time, as the band’s first full-length studio album, DAYS OF FUTURE PASSED, was a ground-breaking concept album when it was first released. So unique in its approach, the recording of their first studio album turned out to be piece of music history. Their record label, Decca Records, had requested that the band record an album to test “stereo recording,” which was in its infancy at the time. Being primarily a classical label, The Moody Blues were asked to record a rock version of Dvorak’s 9^th Symphony. The band complied, but wanted to record it on their own terms. Behind closed doors, they came up with the concept of fusing classical music with rock, but written to their own soundtrack. The result was DAYS OF FUTURE PASSED, an album that today, many consider a masterpiece – featuring one full album without breaks, chronicling “a day in the life of” a person with songs that include: “The Day Begins,” “Dawn: Dawn Is a Feeling,” “The Morning: Another Morning,” “Lunch Break: Peak Hour,” “Tuesday Afternoon (Forever Afternoon),” “Evening Time to Get Away"; Twilight Time” and “The Night: Nights In White Satin.” From DAYS, the song “Tuesday Afternoon” became a massive worldwide hit, and “Nights In White Satin” marked one of the first four minute songs played on the radio, going on to become one of the biggest selling singles in history, and hitting #1 three separate times on Billboard. The ultimate result: one of the greatest-selling albums of all-time. Says Hayward, "Little did we know when we made DAYS OF FUTURE PASSED that it would eventually change our lives -- it took five long years to make it the top of the charts. But we mustn't take all the credit for this remarkable project -- there were many creative minds who contributed at the time, and who believed in us when we were young and inexperienced. We just wrote the songs -- about every-man. My dearest wish is that maybe the album has made the world a better place. It will be a joy to return to it, live." Adds Lodge, “DAYS OF FUTURE PASSED...seven days that changed my world...” From the time the British band first hit the rock scene, The Moody Blues have continued to produce music that bridge the gap between rock, classical and pop-rock genres. Featuring guitarist/vocalist Justin Hayward, bassist/vocalist John Lodge, and drummer Graeme Edge, The Moody Blues’ sound has held its ground in a genre of music that is ever-changing. The Moody Blues have sold in excess of 70 million albums worldwide and have been awarded 14 platinum and gold discs. Their roster of hits include: “Nights In White Satin,” “Tuesday Afternoon,” “Ride My See Saw,” “The Story In Your Eyes,” “Isn’t Life Strange,” “Question,” “I’m Just A Singer (In A Rock And Roll Band),” “Your Wildest Dreams,” and “I Know You’re Out There Somewhere,” to name a few. The Moody Blues’ No. 1, Top 5, Top 10, Top 20, Top 40, Multi-Platinum, Platinum and Gold albums and singles, have generated sold-out tours on a consistent basis over the course of several decades, making them one of the top-grossing album and touring bands of all time. “DAYS OF FUTURE PASSED – 50^TH ANNIVERSARY TOUR” dates are as follows: 6/3/17 Agua Caliente Casino Rancho Mirage, CA 6/4/17 Starlight Theater Pala, CA 6/6/17 The Mountain Winery Saratoga, CA 6/7/17 The Mountain Winery Saratoga, CA 6/9/17 Edgefield Portland (Troutdale), OR 6/10/17 Chateau Ste. Michelle Seattle (Woodinville), WA 6/11/17 Chateau Ste. Michelle Seattle (Woodinville), WA 6/17/17 Hollywood Bowl Los Angeles, CA 6/18/17 Ironstone Amphitheatre Murphys, CA 6/20/17 Fiddler’s Green Amphitheatre Denver (Englewood), CO 6/27/17 Orpheum Theatre Minneapolis, MN 6/28/17 Milwaukee Summerfest Milwaukee, WI 6/30/17 Ravinia Park Chicago (Highland Park), IL 7/1/17 Fraze Pavilion for the Performing Arts Dayton (Kettering,) OH 7/2/17 Hard Rock Live Cleveland (Northfield), OH 7/6/17 Sony Centre For Performing Arts Toronto, ON 7/7/17 Sony Centre For Performing Arts Toronto, ON 7/9/17 Toyota Presents the Oakdale Theatre Wallingford, CT 7/10/17 Blue Hills Bank Pavilion Boston, MA 7/12/17 Nikon at Jones Beach Theater Wantaugh, NY 7/13/17 PNC Bank Arts Center Holmdel, NJ 7/15/17 Mann Center for the Performing Arts Philadelphia, PA 7/16/17 Saratoga Performing Arts Center Saratoga Springs, NY 7/18/17 Sands Bethlehem Events Center Bethlehem, PA 7/19/17 Pier 6 Pavilion Baltimore, MD 7/20/17 Wolf Trap Vienna, VA 7/22/17 Ryman Auditorium Nashville, TN 7/23/17 Chastain Park Amphitheatre Atlanta, GA For ticket and VIP Package information visit: www.MoodyBluesToday.com/tour.

John performs on Fox35's Good Day Orlando in preparation for his upcoming tour dates in Florida. Watch the performance here: http://www.fox35orlando.com/good-day/233005759-video

From The Moody Blues to the High Seas, the legendary bassist discusses his career & upcoming Cruise to the Edge ArtistDirectInterviews.com BY: CHRISTOPHER FRIEDMANN The Moody Blues are a band synonymous with the progressive rock sound of the 1960's and 1970's. Their hits, "Nights in White Satin", "Question" and "Tuesday Afternoon" soundtracked an era of modern culture where music and politics collided with spiritual exploration. However, refusing to live in the shadow of a decade that many consider gave birth to counter-culture music, they are a band that has evolved through time, ever-exploring the boundaries of rock, and they now represent an element in the culture of music that extends beyond the genre which they helped define. John Lodge, songwriting partner and bassist for the band has been with the Moody Blues since 1966, has recently released 10,000 Light Years Ago, a solo project that continues the spirit laid out by his band. Lodge is also set to embark on Cruise to the Edge - a cruise tour to Mexico, with a line-up of iconic Prog Rock artists; YES!, Kansas, Steve Hackett, John Wetton and Mike Portnoy - where he will be performing with a band assembled to bring his solo project and classic Moody Blues songs to an intimate audience of die hard fans. John spoke with ARTISTdirect's Christopher Friedmann ahead of the tour, looking forward to seeing what the prog-rockers are up to these days, to reflect on the defining moments of the Moody Blues and to recapture the tranquility that only being at sea can bring. Christopher Friedmann: We are talking to you ahead of your stint as part of Crusie to the Edge, and you just finished your first solo tour in the U.K. How is the mood in camp? John Lodge: Fantastic! I mean, it’s been really good! I recorded a new album 10,000 Light Years Ago, which I released about a year ago, and I really wanted to get on the road to promote the record. When I released my album before, Natural Avenue, I never went on the road with it, and I thought, “If I’m going to release an album I really want to go and share the music with everyone.” So I decided to put a band together and put an English tour together to see what would happen. We had a great time, a really great time. It was really different because from a Moody Blue point of view - when we first started it was like a rocket ship going off; one night we were playing to 500 people and then within a month it was 5,000 people, and then it was stadiums. We missed out, I missed out, I think, on going to a lot of the towns that I’ve never even been to. One of the great things for me about being a musician is about really being a bit of a gypsy, and it’s nice to be able to go and visit towns and countries and take on the whole atmosphere of where you’re visiting. CF: You previously recorded an album - The Blue Jays - with fellow Moody Blues bandmate, Justin Haywood. So you’ve had side projects away from the Moodys, but can you speak a little on the decision to embark on your entirely solo project? JL: It appeared to be the right time. I’ve really tried to conduct my life in a way that, when something feels right, do it. I don’t try and push the envelope, y’know? I never try to push something to go the way I want it to go, because it’s always very difficult, I think, to try and do that. But if it feels exactly right, and it did feel right, so I was very excited about my album - 10,000 Light Years Ago - and I wanted to perform it. It was almost like going back to the sixties when there was no record industry - you had to go out and perform your songs to an audience and then the audience decided there and then if they liked your music or not. It was that approach really; I wanted to go out and see… When you write a song you’re sitting in your music room or wherever it is, and you’ve got a blank piece of paper and pencil and you write a song, then you make a demo, and then you record it and then you release the album. But there’s nothing better than getting a real reaction from an audience who are there, listening to a song in exactly the same time as you’re performing it. CF: You were just talking about the ‘gypsy feeling’ of being a musician. There’s an element of a traveling circus with this cruise that you’re about to embark on. What do you think about the atmosphere that lends itself so well with your music? JL: I think it’s because you get a very huge cross section of like-minded people, and it becomes like the days of a festival where you can be from any walk of life, but you went to that festival to listen to the music. You could go back to the days of the Isle of Wight (Festival) in England, there were people who could come from Eastern Europe just to go to the festival. It was a different way of life for them, compared to what we were experiencing in the west, but really when you come to think about it we’re all the same people. We all have our own dreams and those dreams all end up pretty much the same as everyone else’s, it’s just some people have more opportunities, and a festival was like bringing together of like-minded people from every walk of life and I think on a cruise it’s the same. You get people there for one reason only… well, 90% of the reason is the music, and of course you get 10% of people who just love cruising (Laughs) so that’s always good anyway. What captured it for me on a Moody Blues cruise once… it was about midnight and I was going back from the restaurant and I was walking along the very top of the ship, looking down onto where the swimming pool should have been, but of course that’s all covered over and there’s a stage there, and it was midnight and people were still sitting down looking at the sky, and watching the Moody Blues Montreux Jazz Festival - the moon was up, the stars were going and the music was playing and the ship was just cruising along across the Mediterranean and I thought ‘God, how tranquil is that!’ That’s really difficult to achieve that tranquility in life, wherelse can you achieve that? If you’re on the 405 you’ve got no chance! (Laughs) CF: So, you clearly enjoy being on the water... JL: Oh yes, I love the water - I’m a Cancerian anyway, and any chance I get I love going on boats. I also think with the cruise, it’s not like you’re just cruising around ad-hoc, wandering around everywhere, lonely as a star. The ship is actually going to Mexico, and I’ve never been to Mexico and I thought" "well, this is great!" I’m really into ancient history and archeology and I’m going to get a chance to spend the day wandering around some ruins, and hopefully be inspired and enjoy that moment just for me! READ THE FULL ARTICLE

As many of you maybe aware John embarked on his first ever solo tour of the UK throughout September 2016, and is delighted to be bringing the show to Florida in February 2017 for a Special Limited run. Joining John on stage will be his 10,000 Light Years Band, including Alan Hewitt (keyboards/music director), Norda Mullen (flute) and Gordon Marshall (drums) together with 20 time Detroit Music Award nominee guitarist Duffy King (guitar) and Jared Burnett (six-string violin). This band has been specially put together for these U.S. dates, and together they will be creating an amazing sound that will bring John’s solo album 10,000 Light Years Ago, and his songs from the Moody Blues, to life in a way you’ve never heard before. February 3rd, The King Center in Melbourne, Member Presale taking place between December 12-15, and a public sale starting Friday, December 16 at Noon. http://www.kingcenter.com/schedule-of-events/4699-john-lodge-and-the-10000-light-years-band February 4th, House of Blues, Orlando, tickets will go on sale on Friday, 16th December at 10am. Tickets available from http://concerts.livenation.com/event/2200517CE576B838?_ga=1.198052079.1906062253.1481038861 They will also be appearing on the Cruise to the Edge from Tampa from 7th - 11th February, with the pre-show party on the 6th, limited cabins still available! https://cruisetotheedge.com Hope to see you there!

Justin Hayward's new album All The Way is a true testament to the scope and spirit of Justin’s impressive solo career. The broad selection of the album’s 30 tracks demonstrates the plethora of styles and sounds we’ve all come to love in Justin’s nearly 40 years as a solo artist, and also includes some rare tracks which will especially appeal to longtime fans of Hayward. Over the past five years, Justin has seen his solo career really take off. In addition to playing sold out shows with the Moody Blues, which he’s been doing for over 50 years, Justin has been regularly seeing sold out crowds on his recent solo tour too, in part due to the exposure he’s been getting from his nationwide PBS concert special which began airing in 2015. What becomes evident when you see Justin live is his pure love of the craft of songwriting and music itself. This is the sense that’s so vividly captured on All the Way, an album that has been thrilling fans worldwide. As mentioned earlier, some rare and new tracks are included on All the Way, including one which, up until recently, was lost for 42 years. "The Wind of Heaven" Newly released, "The Wind of Heaven" is a heartfelt song about a wounded warrior who has left his soul on the battlefield and is having a difficult time adjusting to being back home. It is dedicated to all of those who have served their country. The song has received standing ovations worldwide on Justin's solo tours. Co-written by David Minasian, an accomplished musician in his own right. "Blue Guitar" Justin originally recorded this song with English rock band 10cc. The original recording, produced by 10cc's Eric Stewart, went missing but was recently recovered from an old tape vault. Hayward fans have been asking for this original Justin/10cc version for years and now it’s included on All The Way. This is the first time it's been heard since 1974. The track is noted for it's beautiful guitar riffs and solos with Justin and his friend, 10cc guitarist Eric Stewart. "I Dreamed Last Night" One of Hayward's most requested songs, it was originally on the Blue Jays album. Justin includes here a rare live version, recorded at the Capitol Theatre in Clearwater, FL. Justin is joined by vocalist Julie Ragins and guitar virtuoso Mike Dawes, who plays along with Justin's 12-string to create one incredibly rich sound. "Gypsy" This classic was recorded with an Italian string quartet. The combination is quite unlike anything you've heard before. Justin's vocals jump out like he's performing in your living room! This same quartet was also featured in a new video of "The Story In Your Eyes", which can be seen at justinhayward.com. "It Won't Be Easy" Released for the first time, this song was written by Justin and produced by Grammy Winner Tony Visconti (who also produced David Bowie, amongst others). It was the theme song on the BBC Sci-Fi series Star Cops. There are also several signature Justin Hayward hits including “Gypsy”, “Forever Autumn” and “Nights In White Satin”. All The Way is available at justinhayward.com or online retailers such as Amazon or iTunes. The digital version contains 30 tracks and the CD contains 15 tracks.

DiscussionsMagazine.com QUESTIONS: While The Beatles, The Rolling Stones, The Who and The Kinks may have received more press coverage over the years, there is no denying that The Moody Blues are one of the greatest British Rock bands of all time. From their rough and raw R&B roots in the mid ‘60s to their Symphonic Rock masterpieces in the latter part of that decade, The Moody Blues reinvented themselves while also inventing Progressive Rock. Their continued success throughout the ‘70s, ‘80s, and beyond has ensured that new generations of fans have been able to experience their well-crafted Rock and Pop first hand. The simple fact that they are not in the Rock & Roll Hall Of Fame is an embarrassment to Rock Music itself. One of the band’s driving forces, Justin Hayward, composed and sang the band’s biggest commercial hits ("Nights In White Satin,” “Your Wildest Dreams,” “Tuesday Afternoon,” etc.) and has managed to balance a solo career in between his Moody Blues commitments. Hayward remains an exceptional songwriter nearly 50 years after he scored his first Moodies milestone (“Nights In White Satin”) and is arguably one of the finest vocalists in British Rock/Pop history. Though not a prolific artist these days, Hayward’s solo material is just as emotionally powerful as anything he has released with The Moody Blues. Under-appreciated by mainstream press for too long, Justin Hayward certainly deserves to be mentioned in the same breath as Ray Davies and Pete Townshend if not Jagger/Richards or Lennon/McCartney. Released just weeks apart, there are two Justin Hayward titles that focus on his solo material… with just a pinch of The Moody Blues to entice you. The first, ALL THE WAY, is a CD that collects fifteen solo recordings and offers a great introduction into his non-Moodies catalog. The second release is a most excellent DVD, LIVE IN CONCERT AT THE CAPITOL THEATRE. Filmed in 2014 during Justin’s tour for his SPIRITS OF THE WESTERN SKYalbum, the DVD finds Justin in great form performing solo and Moodies hits with equal amounts of love and passion. Aided by guitarist Mike Dawes and keyboardist/backing vocalist Julie Ragins, this trio breathes new life into Hayward’s back catalog including some of his biggest and best-known tracks. To see an artist perform a fifty year old song with as much conviction as a new composition is inspiring. Expertly captured by director/film-maker/composer David Minasian, LIVE IN CONCERT AT THE CAPITOL THEATRE is a warm and wonderful experience to behold. As an added bonus, the DVD features the video to the brand new song “The Wind Of Heaven,” which is also featured on the ALL THE WAY CD collection. The beautifully photographed "Wind of Heaven" music video, co-directed by David Minasian and Trinity Houston, is a prelude to an upcoming major motion picture by the same producing duo. The song itself is a rare collaboration for Justin who co-wrote the epic piece with David. Justin, who readily admits he's never really been successful writing with other people, believes "The Wind of Heaven" to be one of the nicest things he's ever done. Stephen SPAZ Schnee was able to spend some time chatting with Justin Hayward about the new DVD, The Moody Blues and more… STEPHEN SPAZ SCHNEE: How are you feeling about the release of the LIVE IN CONCERT AT THE CAPITOL THEATRE DVD and the reaction to it so far? JUSTIN HAYWARD: The show is a real pleasure for me. I’m working with the two musicians that I treasure most in my life – Mike Dawes and Julie Ragins. They are the best musicians I’ve ever played with on record or anywhere. It’s a joy every night to be with them. I’m very pleased that David took this opportunity to record and film this show. I’m so glad he did. Read the Full Interview HERE.

MOODIES CRUISE 2018 FIVE-NIGHT FAN CRUISE SET FOR JANUARY 2-7 VISITING GRAND CAYMAN AND COZUMEL

THE MOODY BLUES, ALAN PARSONS, THE ORCHESTRA, LITTLE RIVER BAND, DAVE MASON, JEFFERSON STARSHIP, AMBROSIA & MORE CONFIRMED FOR 4^th ANNUAL EXCURSION

CRUISE GOES ON-SALE TODAY (8/23) AT 12 NOON ET/9AM PT

So much more than a rock festival at sea, the immersive MOODY BLUES CRUISE 2018 is poised to be the best in their five-year history. The January 2-7, 2018 trek will feature the flagship MOODY BLUES plus ALAN PARSONS LIVE PROJECT, THE ORCHESTRA, LITTLE RIVER BAND, DAVE MASON, JEFFERSON STARSHIP, AMBROSIA, RICHIE FURAY, STRAWBS, CARAVAN, LIGHTHOUSE, IDES OF MARCH, SHAWN PHILLIPS, MIKE DAWES, RANDY HANSEN, MELLOW YELLOW and special guests YOUNG DUBLINERS, with more acts to be announced. The 2018 excursion dubbed Sur la Mer goes on sale today at 12 Noon ET/9am PT at MoodiesCruise.com.

We are delighted to announce that on Wednesday 21st September from 6pm to 8pm, in the middle of John's 10,000 Light Years Ago Tour, John will be hosting a special party at Hampton Court Palace in the beautiful Garden Room, with private access out onto the Tiltyard Gardens. There will be a maximum of 150 guests. Please join us for a Prosecco Reception with John, a chance to taste our award winning Krisemma wines, meet some special guests, and, of course, the thing you are most looking forward to, a very special and intimate acoustic session by John and his 10,000 Light Years Ago Band. This is an absolutely 'not to be missed' special event. Tickets available from http://www.krisemmawine.com/#!shop--cart/c1lnj Ticket Costs Ticket only £80 Ticket plus a signed bottle of John's Award Winning Chardonnay £120 Ticket plus a signed bottle of John's Award Winning Red Bordeaux £130 The first 100 tickets will also be given a pass to enjoy Hampton Court for the day! Please note that following requests on the River Cruise llast year we are also able to offer those of you attending the chance to pre-order additional bottles of wine, and also signed copies of John's album. Watch a clip from last year’s River Cruise: Go to Krisemmawine.com for more information.

Listen to the latest interview with John Lodge on BBC Radio Solent on Alex Dyke's Wall of Sound show. John discusses new single, solo tour, The Moody Blues and more. Listen here (John's interview starts at 1:11 into the show): http://www.bbc.co.uk/programmes/p03zvc5q Alex Dyke's Wall of Sound: with Moody Blues frontman Joh

I've listened to what the fans have been asking for - and am really excited to announce the release of my new unplugged version of the Moody Blues classic, Isn’t Life Strange, available on 7” vinyl and cd single. Released on August 19th just prior to my UK solo tour we have made signed copies available from today to pre-order from Pledge Music. So please pre-order your copy today…I hope you will Enjoy. http://www.pledgemusic.com/projects/john-lodge

Examiner.com Click HERE for photos from the concert

VCStar.com A rock ‘n’ roll icon, Justin Hayward, is coming to the cavernous Canyon Club in Agoura Hills, offering a musical alternative to must-see Sunday night cable TV. Unlike bonding with the remote, going to a show requires some actual motivation and movement, but the reward will be the opportunity to see and hear many of the awesome songs from one of the grossly underappreciated bands of all time, the Moody Blues. A band since 1964 and a great band since 1966, Hayward is the guitar player, who also wrote a bunch of the band’s hit tunes. Fifty years later the Moody Blues remain the answer to the unasked question: Why ain’t they in the Rock `n’ Roll Hall of Fame? The Moody Blues have sold more than 70 million albums or about a trillion more than the Sex Pistols. The British Invasion was sort of a musical version of selling the Brooklyn Bridge to a sucker, in that young Brits took an indigenous American art form — the blues — added their own spin and sold it back to the colonies. Almost all those early bands — the Beatles, the Rolling Stones, the Animals, Fleetwood Mac — all started as blues bands. Perhaps the band’s name — the Moody Blues — was a hint as their first hit, “Go Now,” although not a straight up blues song, certainly is nothing like what followed. Hayward, with a recommendation from none other than Eric Burdon of the Animals, along with another new guy, bass player John Lodge, joined the original trio of Mike Pinder, Ray Thomas and Graeme Edge in 1966. As one, they soon realized they were tired of trying to be the flavor the week and decided to play original songs. Their first hit album, “Days of Future Passed” from 1967 was the result. It includes two songs that even to this day live long and prosper on classic rock radio — big hits written by a teenage Hayward, “Tuesday Afternoon” and “Nights in White Satin.” The Moody Blues got into a groove almost without equal in the history of rock ‘n’ roll. “Days of Future Passed” in 1967 kicked off a seven-album avalanche of unparalleled talent through “Seventh Sojourn” in 1972. Yeah, seven albums — seven great albums — in five years. The band clearly was not on rock ‘n’ roll time. Allowing themselves to be themselves was aided and abetted by starting their own label, Threshold Records as Decca was getting all whiny about their elaborate arty album covers. Then there’s the music. Just as way too many bands have no good singers, although some lucky ones have a good one, the Moody Blues had four — Hayward, Lodge, Thomas and Pinder — maybe five — Edge, the drummer, could also hold his own. These guys also knew what a good song should sound like — especially Hayward, who penned many of the band’s memorable songs, including “Question,” “Lovely to See You” and “Never Comes the Day.” So, there’s no screaming, no endless, mindless and senseless drum solos or for that matter, guitar solos. This stuff has had many names — progressive rock or prog rock, art rock and classical rock. Whatever it is, Mike Pinder’s Mellotron — a high tech keyboard capable of all sorts of trippy stuff — surely played a large role in Moody music. The Mellotron moment in “Melancholy Man” will threaten the life of your speakers whenever you’re feeling dangerous (or even melancholy) and crank up the song. Genesis, King Crimson and even the Beatles created their own Mellotron magic. The Moody Blues didn’t do the “sky-is-blue-I-love-you-whoop-dee-doo” stuff, but rather attempted to answer the big questions — the same ones you’re asked to consider in Philosophy 101. Hayward in — imagine this — “Question,” left us with this to ponder: “Why do we never get an answer when we’re knocking at the door. There’s a thousand million questions about hate and death and war, when we stop and look around us, there’s nothing that we need in a world of persecution that is burning in its greed.” If you value the power of ideals, and voted for Bernie, you’ll love the Moody Blues, if you don’t already. With the soaring harmonies and musicianship tighter than your boss, it was just a matter of time before the obvious came to pass — sort of like when those dense Hollywood whistleheads finally decided that a “Star Trek” movie might be a good idea. The Moodys played a bunch of gigs with local symphonies, including a memorable show at the Santa Barbara County Bowl in 2009. Don’t recall that Sex Pistols symphony tour. Of course, it was well-crafted art rock like this, along with Ronald Reagan, and too much time on their hands that originally pissed off the punks, inspiring them to embrace the DIY ethic. Thus far Black Flag has never covered any Moody melodies or vice versa. Never a bunch of hopeless hippies, dazed and confused in perpetual pursuit of Groovy, Farout and Bitchin,’ the Moody Blues were more than some geezers of rock living in the ’60s. They had several hits in the ’80s, including the albums, “Long Distance Voyager” and “The Other Side of Life.” The Moody Blues still tour now and again with three of the originals — Hayward, Lodge and Edge plus a stellar backup band. But as to Hayward, he’s living proof that blonds — at least this one — have more fun. He also won’t run out of tunes to play in Agoura — in addition to all the band stuff, Hayward has half a dozen solo albums. What follows are the obvious limitations of an email interview as Hayward was under the weather and could not do a phoner. His songs are longer than his answers or the patience of those creepy dead people on “Game of Thrones.”

What’s the latest in your world as to the Stage Door Tour?

So, still doing this for 50 years — think you might give it another week or two?

The road is 90 percent boredom and 10 percent frantic activity (your words), so what’s your survival formula?

Any place you haven’t been to yet that might be fun?

What’s up with the band — last time I saw you guys, there was three originals — still at it?

What was it like being a rock star in those silly ’60s?

John Lodge to perform at the Rock 'n' Horespower event in June. Details below. Rock ‘n’ Horsepower – now in its third year – is Prostate Cancer UK’s flagship music event, put on by Kenney Jones and his wife Jayne to raise much needed funds and awareness for the disease. Prostate cancer kills over 10,000 men in the UK every year and over 42,000 are diagnosed, making it the most common cancer in men. The day will once again offer the traditional properties of polo with the added benefit of a high array of high performance super cars on display. Prostate Cancer UK is the leading UK charity supporting men with prostate cancer and prostate disease. Prostate cancer kills over 10,000 men every year in the UK and each year almost as many men are diagnosed with prostate cancer as women are diagnosed with breast cancer. They have reached a tipping point where they can dramatically reduce the number of men dying from prostate cancer within the next ten years. To turn this ambition into a reality will take focus and a determination to succeed. Be a part of winning the fight against prostate cancer!

TICKETS:

• Adult General Admission £40 +booking fee
• Child General Admission (8yrs-15yrs) £20 +booking fee
• Under 8’s go free (no tickets required)
• Classic Car (for 2 people including the driver) £40 – Booking forms below
• Premier Parking (for up to 10 guests) £600 – SOLD OUT
• Return Bus Ticket from Guildford Station (Timings TBC) £18 +booking fee
• VIP £175

—— TO BOOK YOUR TICKETS CLICK HERE —— TIMINGS:

• 12pm – Gates Open
• 3pm – Polo Match
• 4pm – Prize Giving
• 4.45pm – Concert
• 10pm – Carraiges

Please note there is no dress code.

LINE UP:

• Kenney Jones & The Jones Gang
• Boomtown Rats
• Paul Young and Los Pacaminos
• Mike Rutherford
• Cregan and Co
• John Lodge
• Noah Francis Johnson
• Daphne Guinness HOUSE BAND:

• Jim Cregan
• John Thirkell
• Neil Sidwell
• Mick Donnelly
• Josh Phillips
• Johnson Jay
• Geoff Dunn
• Ben Mills
• Pat Davey
• Sam Tanner
• Rock Chicks – Susie Webb and Zoe Nicholas

GlideMagazine.com

Justin Hayward, the voice of The Moody Blues for the past fifty years, is quite happy about his current solo tour. Hitting intimate theatres across the US, Hayward is taking audiences on a history of his music. From “Nights In White Satin” to “Your Wildest Dreams” to a lovely new song called “The Wind Of Heaven,” Hayward – along with guitarist Mike Dawes and keyboardist Julie Ragins – is springing new life into some of his favorite compositions.

A songwriter first and foremost, Hayward ended up playing guitar for former British teen idol Marty Wilde in 1965 for about a year after spending time in some local bands. Joining the Moodies as a replacement for the departing Denny Laine, the band’s musical direction began to change with his (and returning member John Lodge’s) presence and influence from a blues-based band to a magical ride on a psychedelically-melodic carpet. “We were singing blues and we were little English guys and had never even seen a bale of cotton, let alone picked one,” said Moody drummer Graeme Edge during a 2014 interview with me for Glide about the band’s earliest years with Laine. “And suddenly it seemed that that was all phony.”

1967’s Days of Future Passed would cement their popularity with the hits “Tuesday Afternoon” and “Nights In White Satin.” For many years, the Moodies held true to intelligent lyrics amidst mind-expanding musical journeys into the ethereal sides of the brain. “We were exploring music and we were not content to write ‘I love you, you love me, how happy everyone’s going to be,’ that type of song,” explained Lodge in a Glide interview last year. “We wanted to explore other avenues, lyrically and musically.”

Shades of pop entered into their 1980’s music and they scored more hit records, starting with 1981’s Long Distance Voyager and 1986’s super-successful The Other Side Of Life. But surprisingly, they have yet to be inducted into the Rock & Roll Hall Of Fame. “They always have been a little touchy about the kind of Progressive kind of rock,” Edge surmised. But that overlook has yet to stop the band nor their fans, their Moody Blues Cruises the past few years laying proof to that.

For Hayward, being able to bring his compositions out in a separate forum has certainly been satiating over the years. In 1977, he released his first solo album, Songwriter, which featured the song “Stage Door” that now lends its name to Hayward’s current tour. “When we were small boys, my brother and I could not afford to go to the shows at the Empire Theatre in Swindon,” Hayward said just prior to the tour’s start on May 11th. “In fact, we were regularly chased away from the lavish entrance by the fat commissionaire who stood guard there. But we loved the stage door. We saw many artists come and go and we believed it was the place the real magic entered and left the building. Which of course, it is.”

With the tour running until the latter part of June, there are still plenty of opportunities to catch Hayward, his still lovely voice and excellent guitar melodies reigning supreme. We talked with Hayward recently about his music, tour and the Moody Blues.

Can you tell us about this Stage Door tour that you’re on?

I’ve got some new music to present and a new video and a new song from a movie that’s going into production later this year called The Wind Of Heaven. That’s one of the nicest things I’ve ever done, even though I say so myself (laughs). But I’m with Mike Dawes, a fabulous acoustic guitar player. I go out and watch him every night and wonder how on earth he does that. And Julie Ragins, a multi-instrumentalist, and she’s been with me for a while now. She’s got the voice of an angel and a great player. So we present these songs as I wrote them, with my guitars from home, and it’s a lovely show. We do things from most of the albums over the years and I do believe there is something there for everybody. And I get to do “Forever Autumn,” which is quite nice too. I never do that.

Have you done any major rearrangements to any of the songs?

Well, what I did is I chose things that we sort of never did with the Moodies or maybe deeper kind of album cuts that people have liked but we’ve never got round to doing onstage. So it’s interesting from that point of view because I’m not hampered by a big two drummer version, loud version, of something. So it’s a very interesting show. You can hear every nuance of it. So like I said, I hope there’s something for everybody cause there’s songs from all of the eras down through the years, stuff that I’ve written and the Moody story and my own story of solo things as well.

It’s like your history of being a musician

I think so. You could put it that way, yeah. Songwriters kind of have to do that because it is a kind of diary of their lives.

Tell us about your new song “Wind Of Heaven.”

A friend of mine is David Minasian and he’s a movie director, or movie producer, and he’s produced a couple of videos for me. I mean, he’s in this big time movie business as well but he just happens to be a friend. And he told me about this movie that’s going to be in production called The Wind Of Heaven and it’s about a Veteran that comes back home from Afghanistan and really loses himself, can’t pick up the life he had before he left. Eventually, he gets work on a ranch and he finds that he has kind of a communion with the wild horses and he finds himself through horses. It’s such a beautiful story. David and I got carried away with it, and my recording partner Alberto too. We loved the whole story and the concept and we wrote the theme for the movie.

I hadn’t thought about this but just about every show there’s a Vet in the audience. I suppose that’s kind of the audience that knows the Moody Blues and know my songs and they always tell me afterwards, share their sort of thanks, and this song sort of expresses some of that stuff. So it’s a very emotional thing. It’s one of the nicest things I’ve done. I’m really pleased with it.

When you went to do your first solo album, did you have any hesitations about doing it?

Well, I came to the Moodies as a songwriter and rather ambitiously my purpose was to get my songs done. The only other guy writing was Mike Pinder, the guy who brought me to the band originally. I suppose I also had too many songs in a way that even though we were under a lot of pressure to get albums done, by the time it came round to the seventies, I had a lot of songs that I’d been working on that I had never got the opportunity to do. So I’ve made, what, seven solo albums now since the seventies and I find it so wonderful. It’s given me a wonderful kind of world of imagination to work on it. It’s very precious and I’m very lucky to have always had a label that’s not insisted on having an A&R guy standing over me telling me what to do.

So you know, I fell into it, making solo records, as easy as anything. It was just an outlet for my songs. Originally, I wasn’t even thinking about being a singer myself but then it just worked out that way. I was lucky enough to get the gig with the Moodies and then become the singer of things that people know, like “Nights” and “Tuesday” and “Wildest Dreams” and that kind of stuff. But no, I’m very lucky I always had labels that said, “Listen, we’re up for whatever you want to do.”

When you first started writing songs, were you able to be yourself or were you trying to mimic your idols or favorite musicians?

That’s an interesting thing because I think you have to try and find your own style and trust your own judgement. You know I was a professional musician at seventeen and I got a job playing guitar for a rock & roll singer and he said to me then, and he was writing his own songs, and he said to me, “You have to develop your own style. You have to sound like you. So try and discard all that stuff that doesn’t reflect your own personality.” I’ve always borne that in mind and I’ve failed a lot because of that too. Along with trusting your own judgement, doing what you want, comes a lot of failure as well cause a lot of people don’t always agree with you. But that comes with the territory, really. If you want to always succeed then you have to make yourself into some kind of commercial product, I suppose.

I’ve heard you say that you have never had a day job so how did you get your first guitar?

(laughs) That’s right, that’s funny. Yeah, I never did but I was earning enough money when I was at school just through semi-pro gigs working in clubs and stuff like that to get a decent guitar. And my parents were willing to go guarantor for the payments on the guitar. So that’s the truth of how it happened.

You didn’t have to cut grass?

(laughs) No, no, no, I didn’t. I had very understanding parents.

When you first started learning how to play the guitar what was the most difficult thing to get the hang of?

I think you have to have a desire to play, a real desire, because it hurts. It’s going to hurt your fingers, it takes a lot of wear and tear on your hands and you have to really persevere. And that’s the thing that a lot of people are unprepared to give. They too easily say, “Oh, I don’t have any talent. I couldn’t do it.” But really it’s about desire. If you really want it, you can do it. Any musician will tell you, if you put the effort in you can really do it. So you’re going to have a little bit of pain to get to the pleasure of it.

What was the most unique thing that inspired you to write a song?

Well, songs are usually about relationships and I think sometimes also it’s about places. I was brought up in the West Country in England and it’s full of ancient sites that are marked by standing stones or strange sort of mystical places. My brother and I, when we were little, we would go to these places and we’d always figure, it’s not because the standing stones are there, it’s because the vibe is really there first. That comes first and then they put the stones there, because there was a tremendous feeling. But I think one of the luckiest for me was I had a little dog called Tuesday in the sixties and we knew that Decca wanted us to make this album about the day in the life of one guy and I went back to where I was born with my little dog Tuesday and sat in a field and I got my guitar out and wrote the song “Tuesday Afternoon.” And that has always stayed in my mind so I have to give my little dog some credit for that one (laughs).

What can you tell us about the song “Never Comes The Day,” cause it has some beautiful guitar work on it.

Mike and I, we went out together and bought, when we could afford it, when we had a few bob, we ran out and bought a couple of nice, but not expensive, Yamaha guitars. The first thing I did on mine was write “Never Comes The Day.” You know the sixties was a very ambitious time in the group but it was a difficult time for me. I was from a different background to the other guys in the group and I was losing people, there was a lot of grief around my life. It was a tough time for me, a time when I should have been enjoying the success we were beginning to have with the group. I think there was a lot of frustration that went into that song as well. I was looking for something, searching and kind of seeking for love as well as some kind of happiness and some kind of enlightenment, I suppose. That’s what the song is about.

Which song in the Moody catalog do you think should have gotten more attention than it did?

Well, there’s a song that was the first song on our label called “Watching & Waiting” and when we recorded it, me and Graeme and Mike, we thought, this is finally the answer to those people who’d been saying to us for the last three years, “Can’t you just write another ‘Nights In White Satin.’” And we thought that that was going to be the one that was going to be a big hit all over the world and of course we were spectacularly wrong. It came out as the first single on our label and it sold about ten copies. But funny enough, since then it’s become kind of a favorite and I now do it in my solo show. We never managed to do it onstage with the group but I do it in my solo show and people really love it.

Why didn’t you do it with the band?

It didn’t seem to work. You know, we recorded in a very unique way in the recording studio and it was always difficult for us with amplifiers and drums and big PA systems to do some of this stuff onstage. Some of it worked, some of it just didn’t. “Watching & Waiting” was one of those things that never worked in a live setting. But in my acoustic setting, in the way that I do my solo show, it works perfectly so I’m very pleased with that.

Long Distance Voyager was your first album without Mike and your first with Patrick Moraz. How did you feel about that situation?

I missed Mike very much. He was the one who brought me to the group and the relationship between Mike and a couple of the other guys had changed and I think it became irreparable. Things were said that couldn’t be unsaid. And it was very sad for me but I think he wanted to do other things in his life. And Patrick came along, a very different character, very outgoing and very demonstrative, but a great musician. I think he contributed greatly to the things we had in the eighties. Sometimes it was only myself and him and Tony Visconti on some of the recordings so he contributed a lot and I think if I could only have one era of music that I could listen to I think it would be the eighties. That time in the eighties was the most fun I ever had, it really was.

What sticks out in your mind the most about it?

We had a label that jumped on “Wildest Dreams” as a single and they gave us carte blanche to do what we wanted with the video. The video got on MTV and I had never ever been recognized before. But I could walk down the street while that video was a hit and while that song was being a hit and people would say, “Oh, you’re the guy in the Moody Blues who sings that Moody Blues song!” (laughs). That was the most fun I’d ever had. That and the song that came after, “I Know You’re Out There Somewhere.” It was a great time, a great time in my career, and it was a great time for the Moodies cause a lot of people thought, “Well, they had their thing in the sixties and seventies.” But we were able to prove them wrong.

What was your first “I can’t believe I’m her” moment?

You know, success is something that kind of creeps up on you. You don’t really realize that it’s happening. But I think for me it was in about 1972 and we did Madison Square Garden. We played it twice in the same day. Ray Thomas and myself, we went out between the shows, nobody knew who we were, they just didn’t. They knew the music but not the personalities. And we looked up and we saw this giant sign outside of Madison Square Garden with our name on it and we both looked at each other and we said, “Suppose this means we’ve kind of made it.” (laughs) And I remember distinctly we bought some tickets from a scalper and gave them away and people thought, “Who are these guys giving away tickets?” They must have thought we were like Hare Krishna guys or something like that. I often thought they must have realized when they saw us onstage like an hour later, “Hey, aren’t those the guys that gave us the tickets?” (laughs). That sticks out in my mind.

What do you remember most about playing the Isle Of Wight Festival in 1970?

It was a difficult day. Anybody who said it was peace, love and good vibes is clearly lying. The fences came down, the security disappeared. It was kind of dangerous. There were a lot of bad drugs going around. But fortunately, we had just had a song called “Question” and it got to number one in the UK charts and the audience was ready for us. There were a lot of people, artists, that took it all in the wrong kind of spirit and got a little bit aggressive but I think the whole crowd, 400,000 or something people, were kind of relieved when we came on because they thought, “Ah, it’s the Moodies and they’re going to play ‘Question’.” And suddenly everybody felt safer and more secure. It was a good night for us. It wasn’t so much for the rest of the artists. But I think that was the end of an era as well. That was the end of that great festival era.

Did you get to see anybody else play?

Oh sure. It was Jimi Hendrix’s last appearance and I saw Jimi play and Joni Mitchell and Richie Havens, who we had worked with before and he was wonderful. There were a lot of great artists on. But it was difficult for a lot of those people. And somebody jumped up onstage when Joni was on and banged the mic into her mouth. It was a difficult time but for us it was lovely.

After all these years with the Moody Blues, have you noticed that the fans’ song favorites have changed as everybody has grown older or are they still holding tight, or tighter, to the ones they’ve always loved?

That’s a very good question and very well put. I think they do hold tighter. I think things like “Tuesday Afternoon,” things like “Ride My See Saw,” things like “Nights,” “Wildest Dreams,” “I Know You’re Out There Somewhere” – they are still fan favorites because they resonate with people. It means something in people’s lives and I’m very pleased about that. But I think we’re creating new ones and I think “Wind Of Heaven,” and I’ve only done it like five times so far, but every time it’s been emotional for people. So I think I’m going to add that one to the list.

How long is the tour?

I go through until the 26th of June up on Washington state. So we’re going around in a big U shape all the way around the United States and looking forward to every moment of it.

Wait til you see what we have planned for you! One of Rock N Roll's most iconic bands, The Moody Blues, returns to the sea with their greatest cruise to date, Sur la Mer! Details are coming very soon...In the meantime join the mailing list at www.MoodiesCruise.com See you aboard! PS…Without question, we will be sailing aboard the most magnificent ship to ever feature a Music Cruise. We think it is only fitting that this wonderful vessel hosts our incomparable Moody Blues fans and the band. Stay tuned for more exciting announcements in the days to come!

Amazing news for John’s Krisemma Elgin Chardonnay 2014… we’ve just heard that it has been awarded TWO Trophies in the International Wine Challenge following its Gold Medal win last year! The wine won the Regional Award for Best Chardonnay in Elgin and also the Award for Best South African Chardonnay. John began this adventure with a desire to share wines that he loves, so you can imagine how honoured he is to hear that the wine has received such accolades by such a prestigious competition. We’re all surprised, stunned and utterly over-joyed and will be raising a glass tonight to celebrate! The wine is currently available in the UK from Handford Wines in London, RRP £38, either online at http://www.handford.net/product/krisemma-chardonnay-2014-elgin/ or visit/call them at 105 Old Brompton Road, SW7 3LE Tel : 020 7589 6113. Visit www.krisemma.com for more information

Plymouth, NH - The famous Flying Monkey Theatre was the first stop on Justin Hayward's Stage Door Tour, and also the site of the very first live performance of his newest song, The Wind of Heaven. Before performing, the legendary Moody Blues frontman relayed the story of how it all came about. "A few years ago I was lucky enough to meet a man named David Minasian. David is a filmmaker and he shot my Spirits Live DVD... filmed in Atlanta a few years ago. After that, we became firm friends. Recently, he told me about a movie that was in production - It's the story of a vet who comes back from Afghanistan and really looses his way and has to find his life again. And he finds it through horses... and the horses give him back his life. It's going to be a lovely movie and it goes into production later this year. David and I jumped the gun a little bit; we got so carried away with the story that we wrote a song together and we would like to do it for you now. This is called the Wind of Heaven." The enthusiastic crowd was captivated as Justin, backed by guitar virtuoso Mike Dawes and Moody Blues keyboardist and backing vocalist, Julie Ragins launched into the first few notes of the new song. It was clear the audience experienced something magical, as evidenced by the thunderous applause and joyful tears. While the applause continued, a man stood up in the middle of the crowd and spoke out clearly, "On behalf of all us veterans in the audience, we want to thank you for playing this song tonight." The crowd once again went wild.

Live In Concert at The Capitol Theatre DVD - Preorder Today

Watch and listen to "Isn't Life Strange" being played on this Wurlitzer.

In celebration of the kick off of his US solo tour, Stage Door, and the release of his new DVD Live In Concert at the Capitol Theatre, Justin Hayward will be in attendance at the World Premiere screening of his new epic music video at the Kendall Square Cinema in Cambridge, MA on May 9 at 7:30 pm. You are cordially invited to join him at this one-of-a-kind, one-night-only event. Also attending will be David Minasian, co-writer of Justin's newest song, as well as the director and producer of both Live In Concert at the Capitol Theatre and Justin's newest Music Video. We know David as the one that brought us Spirit's Live along with the award-winning documentary, The Story Behind Nights in White Satin. Come and spend an intimate evening with Justin and friends while enjoying highlights from the DVD and the unveiling of the new song and music video on the big screen. Followed by a Q&A session, this night is destined to be a cinematic experience unlike any other, and an event that should not be missed. All those who attend will receive a DVD copy of Live In Concert at the Capitol Theatre which includes the new music video as well as an autographed commemorative poster of Justin. If you can't be there in person, sign up to catch the unveiling online. Special bundles and package offers are available for the new DVD release as well as for the Live and Online Event. SEE BELOW. About Live at the Capitol Theatre: For Justin Hayward's latest DVD, Live In Concert at the Capitol Theatre, the legendary voice of The Moody Blues has joined forces with talented guitarist Mike Dawes and Moody Blues backing vocalist and keyboardist Julie Ragins to bring you a truly magical performance. It has been expertly captured on video by award winning filmmaker/composer David Minasian. All of Hayward's signature Moody Blues hits are here - including Tuesday Afternoon, Lovely To See You, Your Wildest Dreams, Question, I Know You're Out There Somewhere, and of course, Nights in White Satin. In addition, this intimate DVD features selections from Hayward's most recent studio album Spirits of the Western Sky along with Hayward's worldwide solo hit Forever Autumn from 1978's War of the Worlds project. Several rarely performed Moody Blues classics are highlighted as well, including It's Up to You, Watching and Waiting and the magical Blue Jays tracks I Dreamed Last Night, Who Are You Now and Blue Guitar. Also featured is the first ever live performance of the Hayward penned You Can Never Go Home from The Moody Blues' hit album Every Good Boy Deserves Favour. As an added bonus, Live In Concert at the Capitol Theatre also serves as the vehicle for the unveiling of his latest song, an epic composition co-written by Hayward and Minasian. This brand new studio recording has been transformed into an epic 8 minute music video and is sure to become another timeless Hayward classic. Justin Hayward: Live In Concert at the Capitol Theatre, recorded in breathtakingly beautiful surround sound, is arguably one of Justin's finest solo performances. And with the exclusive inclusion of the music video featuring Justin's newest composition, this DVD is a must have for all Moody Blues/Justin Hayward fans the world over. This new DVD is currently only available via the below options. The DVD is scheduled to be made available at his concerts on his upcoming solo tour. See below for special offers on how you can preorder the DVD today! SUPER DELUXE BUNDLE + LIVE EVENT: $145

• 1 Ticket/Access to tour kick off and DVD release party: includes world premiere of Justin’s newest song and music video along with a Q & A session with Justin in person.
• Live at the Capitol Theatre DVD
• Justin Hayward Autographed Commemorative Poster
• Exclusive Justin Hayward T-shirt
• Exclusive Stainless Steel Travel Mug
• Exclusive Tote Bag *DVD and Autographed poster given out on site. Remaining merchandise to be shipped by late May/early June.

• Access to the online broadcast of world premiere of Justin’s newest song and music video. He'll also be answering questions, maybe even yours! Be sure to register for the online event and type in your question!
• Live at the Capitol Theatre DVD
• Justin Hayward Autographed Commemorative Poster
• Exclusive Justin Hayward T-shirt
• Exclusive Stainless Steel Travel Mug
• Exclusive Tote Bag *DVD and merchandise to be shipped by late May/early June.

• 1 Ticket/Access to tour kick off and DVD release party: includes world premiere of Justin’s newest song and music video along with a question and answer session.
• Live at the Capitol Theatre DVD
• Justin Hayward Autographed Commemorative Poster *DVD and Autographed poster given out on site.