LasVegasSun.com Melina Robinson English rock band The Moody Blues elevated an era with their trademark surrealist rock sound that paved the playground for a new genre of musical artistry. At a seasoned 51 years, The Moody Blues made their timeless flight to Pearl at the Palms for a thought-provoking performance Sunday night. This moody flight began their 90-minute voyage with “Gemini Dream” and touched a variety of hits spanning four decades. While The Moody Blues are music veterans, they played as assiduously as the perfectly coiffed hair adorned by all three mainstay band members. Guitarist-vocalist Justin Hayward, bassist-vocalist John Lodge and stickman Graeme Edge have been a solidified trio since 1966. Edge proudly said to the audience, “Yesterday was the 51st anniversary, and March 30th was my 74th birthday. since my hair was brown and my teeth were white,” which Edge humorously followed by making a Viagra joke. As The Moody Blues musical arrangement requires a more complex composition than many bands of their generation, accompanying band mates helped complete their dreamlike musical texture. Norda Mullen brought her breadth of talent with an array of flute, guitar, percussion and vocal contributions. Julie Ragins added her element of percussion, guitar and saxophone, with Alan Hewitt on keys. Edge is the only original band member, having joined The Moody’s in 1964, and drummer Gordon Marshall joined in 1991 to assist Edge. Edge has said the most difficult part about being an older drummer is maintaining his speed, and having a second drummer allows him to “cover all the spots.” The Moody Blues covered all their musical spots playing classic hits “Tuesday Afternoon,” “Isn’t Life Strange” and “I’m Just a Singer.” “Wildest Dreams” was accompanied by a flashback of photographs, album covers and concert billings spanning their career. In addition to the music, the stage was reminiscent of a 1960s LSD trip. As four of the 1967 band members self-admittedly took LSD before the release of their third studio album, the digitalized psychedelic stage enveloped by smoke transported the theater to an incremental high of visual stimulation. As this moody flight began its gradual descent back to reality, The Moody Blues concluded their trip with “Ride My See-Saw.” The fans who demonstrated their appreciation with a standing ovation between every song rejoiced in seeing these legends of rock. “From The Moody Blues, thank you for keeping the faith. … I wish you all a wonderful life.” The Moody Blues contributed to a wonderful life for many, but more importantly they contributed to the musical wonder that influenced many artists to come.

OCRegister.com Justin Hayward might be in his 50th year as lead singer in the Moody Blues but the 68-year-old Englishman says there’s still no place he’d rather be than on stage with a guitar and a microphone. “We’re together for the sake of the music,” says Hayward of the band, which plays the Greek Theatre in Los Angeles on Tuesday. “We share the music in common and that’s something I’d never want to give up.” Hayward seems like he should be an original member of the band but in truth he joined two years after it started, though before the group found its biggest success with a style of rock ’n’ and roll that incorporated hints of classical music in the mix. The Moody Blues today include founding drummer Graeme Edge and bassist John Lodge who joined with Hayward in 1966, and the singer says they along with their current touring players are get along wonderfully on the road. “I have to say this incarnation of the band is the happiest I’ve seen,” Hayward says. “All of us on stage really want to be there, and I’m not sure that was always the case in the past. “The first guy to leave was (founding keyboard player) Mike Pinder. I’m his biggest fan, but he didn’t want to tour anymore.” Playing live shows has always been of great importance, Hayward says. “We learnt really early on that that the bands that play together are the ones that are going to survive,” he says. “And it’s a pleasure to be together, a relationship to be celebrated.” It’s been a dozen years since the Moody Blues’ last studio album, the Christmas-themed “December,” but their current tour does find them on the road partly to promote the recent box set “The Polydor Years: 1986-1992” which includes six CDs and two DVDs. “It’s never a problem what to play,” Hayward says. “It’s a problem what to leave out. There’s probably three-quarters of the show that we can’t leave out.” This time around, the first half of the show focuses on songs from the box set and the band’s latter-day resurgence which included hit singles such as “I Know You’re Out There Somewhere” and “Your Wildest Dreams.” “To have two hit singles in your late 30s or 40s, I kind of missed it the first time,” Hayward says. “I was a bit too stoned and a bit too preoccupied the first time. So it was really good fun, but it was also a time that really cemented our career and even brought more fans in. “I think the ’80s are the reason we’re still able to be here now. Otherwise we’d just be a nostalgia act now.” After spending time on those late-period tunes, the show finishes firmly in the heyday of the Moody Blues. “The second half is things like ‘Nights’ and “Tuesday’ and ‘Singer,’” he says, referring, of course, to a few of the even bigger hits the band scored in the ’60s and ’70s: “Nights In White Satin,” “Tuesday Afternoon,” and “I’m Just A Singer (In A Rock and Roll Band). “I hope there’s something for everybody,” Hayward says. “There’s certainly something there for every incarnation of the band.” While the Moody Blues haven’t released new material since 2003, both Hayward and Lodge have new projects out this year. Lodge’s “10,000 Light Years Ago” arrives on Tuesday as his first solo album since 1977, and features guest performances by former Moody Blues band mates Pinder and flutist Ray Thomas. Hayward’s “Spirits ... Live” came out last year, a live version of 2013’s “Spirits of the Western Sky,” and serves as the basis and the title of a live concert film released this year by PBS. “On the PBS special I had three other musicians,” Hayward says. “I’d already filmed it (in Atlanta) and the PBS people came to see me and suggested I be part of pledge drive.” After this run with the Moody Blues wraps later this year, Hayward says he plans to play a series of acoustic shows similar to one he did a year or so at the Troubadour in West Hollywood. “I loved every moment of it,” he says. “The place was absolutely jam-packed and I could hear every guitar. I love the Moody Blues productions but it was special to bring out the guitars I used to write the songs.”

UltimateClassicRock.com CLICK HERE TO LISTEN! Moody Blues singer and bassist John Lodge is about to release 10,000 Light Years Ago, his first solo album in 38 years. We’re pleased to present the premiere for “In My Mind,” which you can listen to above. Lodge tells Ultimate Classic Rock that he’s been planning the album for nearly a decade and began writing songs for the project two and a half years ago. Once he had decided that he wanted to make a new album, he knew what the songs would be about. “I had this saying that kicked around in my head for ages, of how the future is always in reach, but the past is gone forever. I know they’re only words, but I was trying to think, what does that actually mean? I suddenly realized that it is about who we are now and who I am now and there’s nothing you can do about the past,” Lodge explains. “The past has brought us to where we are today. The future is what’s important.” Lodge says as he started writing the songs, “the influences have been may have been what’s happened to me in my past, but I wanted to do it as of today. I think the analogy I’ll use is that if you look at the sky in the night, what you see up there may not even exist. We’re only seeing what happened from the light emission millions of years ago, so who knows? So what’s important is what’s there today, what you see and that’s how I approached the album.” “In My Mind” was the first track that he wrote for the album. “I wanted the song to say that this whole album is in my mind. That was what it was about, really,” Lodge says. “This whole album was in my mind and it’s got to come out of there. … It’s about what you can see in the world if you keep your eyes open for everything. It’s in your mind, but if you look outside of your mind, you can see everything else as well. That’s really what the song is about.” The new album, which will be released on May 5, reunites Lodge with his former Moody Blues bandmates Ray Thomas and Mike Pinder. The reunion with Thomas is especially surprising, but as Lodge notes, the pair never fell out of contact. “I met Ray when I was 14 and we put a band together called El Riot and the Rebels. We were together for about four years and actually during that time, Mike Pinder came and played keyboards for a while with us,” he says. “Ray lives not far from me in England — he lives a mile away and we’re still best of friends. We share the same doctor, we send birthday cards to each other and everything else. I’d written this song called ‘Simply Magic,’ and I thought, It’s perfect for Ray. If this was a Moody Blues song, Ray would be playing flute on this.” Read More: Listen to John Lodge's New Song 'In My Mind': Exclusive Premiere | http://ultimateclassicrock.com/john-lodge-in-my-mind/?trackback=tsmclip

UTSandDiego.com After 38 years, the bassist and singer has released his second solo album. He and the Moody Blues play two san Diego concerts over the next 8 days.

Few rock stars can beat John Lodge when it comes to taking their time. In 1977, 11 years after he joined The Moody Blues, the bassist and singer made his debut solo album, “Natural Avenue.” Now, four decades later, he’s released his second solo album, the aptly titled “10,000 Light Years Ago.” Why such a long gap? “Um, aah,” replied Lodge, who performs here with the Moody Blues Saturday at Pechanga and Wednesday at Humphreys Concerts by the Bay. (Ticket information for both concerts appears at the conclusion of this article.) “Almost immediately after ‘Natural Avenue,’ we recorded the (1978) Moody Blues’ album, ‘Octave.’ And, every couple of years, I’ve been writing and recording with the Moody Blues. That is what I wanted to do; I am a Moody Blue... But we haven’t recorded an album in, what, 10 years?” Eight songs strong, “10,000 Light Years Ago” finds Lodge reflecting — lyrically and musically — on his more than 50 years as a musician. The ‘70s styled album reunites him with keyboardist Mike Pinder and flutist Ray Thomas, who left The Moody Blues in 1978 and 2002, respectively. “When it came to writing the album, it’s about: ‘Here I am today,’ how I got here, and all the influences I’ve had over the years,” noted Lodge, 69. Thos influences include, on the gently swinging ballad, “Love Passed Me By,” European jazz legends Django Reinhardt and Stéphane Grappelli. “One of the first albums I was ever given was by Django and Stéphane,” said Lodge, who earned a degree in engineering before he joined The Moody Blues in 1966. “And when we started touring Europe in the late ‘60s, we did a lot of concerts with Stéphane. It was a great combination.” Bonus Q&A with John Lodge Q: Chris Speeding played guitar on your “Natural Avenue” album in 1977, and now he's featured on your new album, “10,000 Light Years Ago.” Can I assume that's no coincidence? A: Yeah. I always liked Chris' guitar work. He played with Bryan Ferry and comes from the same generation as me, a rock 'n' roll era. He made a fantastic album, years ago, with Robert Gordon. And, also, Chris plays a lot of Cliff Gallup, Gene Vincent's guitarist. So when I discussed these (new) songs with Chris, and said: 'It needs Cliff Gallup or Scotty Moore (style guitar-playing), he knew exactly what I was talking about. And he has the ability to throw in a blue note here and there, which tweaks an emotion that I love. When I decided to make the (new) album, he was the first person I wanted to be involved with. Q: The CD booklet for “10,000 Light Years Ago" has two very nice pictures of you, one as a teenager, one recent, and you're holding the same Fender Precision bass guitar in both. A: That bass is my very first real bass. I bought it in 1960. It was in the window of Jack Woodruffe, a music instrument store in central Birmingham, I never knew what electric bass was before that; I had been playing all my bass parts on the bottom four strings of an electric guitar. I never knew what an electric bass was until I saw (the band) The Treniers, and saw a guy playing what I thought was a Fender Telecaster, but I realized it had only four strings. I went into Jack Woodruffe's in Birmingham. As budding musicians, we'd all go in music instrument shops and share the latest chords we'd learned. In the window was a sign that said: 'Direct from Amercia, a Fender Precision sunburst bass. I thought: "Yes! That’s it!" I took the bus home and said to my father: "You've got to come with me, please." He came with me and signed the papers, and I was the proud owner of a Fender Precision. That bass has been on nearly every recording I've made. READ THE FULL INTERVIEW HERE.

WhatsUpTemecula.com As part of the British musical invasion of the mid-sixties, legendary rockers the Moody Blues brought to the United States a uniquely layered, sometimes complicated, but always rich and defining sound that set them apart from the rest of their musical colleagues from across the pond. Fast forward a half century and Justin Hayward, John Lodge, and Graeme Edge, the Moodies, as they call themselves, are currently on a tour to promote their career-spanning box CD and DVD set, “Timeless Flight,” which not only references their epic hits like “Nights in White Satin,” and “I’m Just a Singer (In a Rock in Roll Band),” but also introduces lifelong Moody Blues fans to never-before-released tracks and concert footage. I recently had the chance to speak with Hayward about the current tour, the legacy set by the Moody Blues’ five decades of musical history, as well as his career as a solo artist and songwriter; a duel musical identity that creates a difficult, yet welcome problem, when it comes to Hayward’s schedule. “It means I work twice as much,” Hayward said. “Having said that, it’s the perfect balance because I love the big production of the Moody Blues but I also love my acoustic guitar and the sounds that I hear when I first write the songs in my own music room. You can hear every nuance of the music in the solo show, yet a Moody’s show is quite grand, so I’m very lucky to have that balance between the two.” Hayward joined the Moody Blues in 1966, just two years after the original members first performed together. But it was his original writing talents that landed the band on the musical map. “When I first joined the Moody Blues and we were doing cover versions, it really didn’t happen for us,” he said. “I was writing songs and Mike Pinder was writing and, as soon as we started doing our own songs and really being honest about our own music, then it started to work for us. Because, really, I think it all starts with a song.” Though their popularity has seen its share of peaks and valleys, the Moody Blues always found ways to reinvent their sound while still retaining their loyal following. “A lot of our audience came to the band in the eighties, when we had ‘Your Wildest Dreams’ and ‘I Know You’re Out There Somewhere,’ and I think they are still with us today,” Hayward said. “I think the people who came to the group at that point stuck with us and the people of our own generation keep coming back to us. Then, there’s a lot of young people who come to see the Moodies who are enjoying the stuff we made when we were young ourselves. We are very lucky, in that way.” Though the current tour does include selections from an extensive album catalog, Hayward reassures ticketholders that they will hear the songs they came out to hear – the hits – played by gracious members of a veteran band still at the top of their game. “There are definitely songs we can’t get off stage without playing and playing them is something I will never give up easily. Performing is like a kind of drug and every moment of it is precious to me,” he said. “It’s a wonderful thing to be able to share with our audience every night because the audience brings the magic. Otherwise, it would just be another sound check and that would be very boring.” With his new solo album, “Spirits of the Western Sky,” soaring up the charts and a concert special filmed at the Buckhead Theatre in Atlanta, called “Justin Hayward: Spirits -Live,” currently airing on PBS (check local listings), Hayward truly enjoys having the best of both worlds; a band that will live on in music history for generations to come as well as his own identity as an artist and a songwriter. Though he does hope to one day create the score for a mainstream feature film, Hayward could not be more grateful and humbled by his personal success as well as that of the Moody Blues, and despite a few twists and turns on the road to rock and roll immortality, he wouldn’t have had it any other way. “Youth is the most valuable commodity in the music industry, that’s for sure, but it’s wasted on the young,” Hayward said. “So I can look back on everything and see what I should have done differently. But, in the end, it all turned out okay. I still have dreams I want to accomplish but, until then, I’m just going to keep playing, enjoying being onstage and having fun with my friends.”

BackBeatSeattle.com Still sounding amazing, The Moody Blues brought their Timeless Flight 2015 Tour to the Paramount Theatre last week for what was likely a sold-out show. Celebrating 51 years as a band, core members Justin Hayward, John Lodge and Graeme Edge are now joined by Norda Mullen, Julie Ragins, Gordy Marshall and Alan Hewitt. I’ve been a fan of The Moodies ever since first hearing them in 1968. . . their second album, the acclaimed Days Of Future Passed, was released the prior year. Since then, I’ve seen them nearly 20 times and being able to shoot their set was a real treat. Still going strong after all these years, their voices sound as good as their original recordings and they show no signs of slowing. During the second set, Edge got off his drums and took center stage to speak the beginning lyrics of “Higher and Higher” and mentioned that he was 74 years old. There are a few things The Moodies continue to do. Hayward and Lodge still do “the walk” (sans Ray Thomas) during “Story In Your Eyes,” and “Question” is still the last song and “Ride My See Saw” is still the encore. Traditions are great! VIEW PHOTOS HERE.

We are delighted to announce that John's Krisemma 2011, his red wine from Bordeaux, is now available to purchase in the US exclusively via 'The Wine Merchant'. The wine will retail at $100 a bottle (plus applicable taxes and/or shipping), and all the bottles have been personally signed by John! Shipping costs are 1-2 bottle $12.00, 4 bottles $20.00, 6 bottles $30.00, 12 bottles $45.00. The wine will be sold on a pre-order basis, so if you are interested contact Charleen Bridgett at The Wine Merchant via info@thewinemerchant.net or on 239-592-0000, who can process the order. Orders will be taken for the next three weeks until 14th May with the shipments being sent out the following week. The shop is in Naples, Florida, if you wish to collect, although again this will need to be pre-ordered with collection after the 18th May (date to be confirmed). For the UK, there are still a few bottles left - go to www.krisemmawine.com to order, and if you'd like a fun and practical 'wineskin' they are also available on the website or via http://www.ebay.co.uk/itm/John-Lodge-039-s-Krisemma-2011-WineSkin-Bottle-Transport-Bag-/261863013739? We hope you love John's wine as much as he does! Krisemma Wine Team

John Lodge, bass player singer songwriter for The Moody Blues, talks with Artisan News about his new, solo album, 10,000 Light Years Ago and what inspired the new collection. The interview took place on the gorgeous roof terrace of the Strand Hotel in New York.

crypticrock.com Through the years, English Rock band The Moody Blues have been one of the most innovative in the genre. Setting course over five decades ago as one of the pioneers in Progressive Rock, fusing in Classic elements, The Moody Blues have sold over fifty-five million record worldwide and achieved an amazing eighteen platinum and gold albums. While the faces of the members may have changed through the years, original drummer Graeme Edge, along with long-time vocalist/bassist John Lodge, as well as guitarist Justin Hayward, remains the band’s nucleus as they continue to tour internationally. Despite having not released any new material since their final album in 2003, entitled December, the band still captures the imagination of a range of generations as they perform their classic material. Now in 2015, The Moody Blues return to North America for what they are calling the Timeless Flight — The Polydor Years tour in support of the The Polydor Years 1986-1992 collection released on November 24, 2014. Kicked off in Worcester, MA on March 19th, The Moody Blues found themselves at NYCB Theatre in Westbury, NY on Friday March 27th. A familiar surrounding for the band, they have graced the in-the-round stage many times prior, and see Long Island as a place of comfort. With the initial show selling out quickly, a second, as well as third performance was announced for March 28th and 29th. As vehicles arrived at the packed NYCB Theatre at Westbury on the opening night of The Moody Blues’ weekend stay, the parking lot was overwhelmed, and judging by the buzz of enthusiasm, no one seemed to mind as they were ready for a magical evening. Read the Complete Review HERE.

musiccourtblog.com When I went to go see the Moody Blues for the first time this past Friday, I quickly learned two important things about the band. One, as the dearth of parking at the NYCB Theater at Westbury – a theater that one does not often have difficulty finding parking at – suggested, the Moody Blues are pretty popular. Perhaps this speaks to the shows I usually see at the former tent in Westbury, but I have never seen the house more crowded than it was on Friday. Second, and most importantly, the Moody Blues effortleslly demonstrates the adage that you’re only as old as you feel; the band is lithe and youthful featuring potent instrumentation and billowy vocals. A product of additional band members? Sure, that does not hurt; however, Graeme Edge, John Lodge, Justin Hayward are just as ardent and inspired by music as I assume they were in 1967 when the uber-successful, gold record Days of Future Passed was released. And isn’t that just amazing? The band, which is celebrating its 51st anniversary this year, is still running on high and does not show any signs of stopping. So, as stated in the last paragraph, my father and I stepped into a jam-packed theater with a mixed crowd of mostly older women and men, who, when the Moody Blues walked down onto the revolving stage, all erupted and transformed into their younger selves. Sometimes when you see a classic band – and trust me I’ve seen a whole lot – the crowd of older individuals who grew up with the band, well, kind-of reflect their age. Terrible for me to say, but true. On the contrary in this show, the crowd reflected the Moody Blues, who played each song with intensity and soaked up the applause like a sponge, growing in size until almost spilling out with joy on songs like “Question,” “Nights in White Satin” and “Ride My See-Saw,” which the band concluded the night with. This was almost magical, a weird ethereal ambiance that lasted for the entire show and then faded as people left – if only for one brief concert, people were able to transform into their youthful selves and party with the Moody Blues – dancing with the tunes, yelling laudations at the band, and, in general, having fun, which the Moody Blues was doing as well! The Moody Blues are a forerunner of the classical music blend of progressive rock, a style in-part pioneered by the Blues, mixed with contemporaries like The Beatles, Procol Harum, and The Beach Boys (not too shabby). The airy, spacey sounds of “Nights in White Satin,” which blends orchestral sounds (part Mellotron, part London Festival Orchestra) with rock – and a wonderful poem (“Late Lament”), which was penned by Edge and read by keyboardist Mike Pinder, inspired so many progressive rock bands – Pink Floyd and King Crimson to name two. The band’s seminal 1967 album is always cited as one of the most influential albums of the 60s. The Moody Blues’ musical success ranges throughout the 70s and the 80s, where the band released “Your Wildest Dreams” in 1986 and “I Know You’re Out There Somewhere” in 1988. It is pretty impressive that the Moody Blues had hits in three decades, as not many bands can say that it had this success. All in all, the concert was a lot of fun and it was a joy experiencing The Moody Blues’ transcendent music with a jam-packed theater of fans of great music !

clevescene.com Given that most bands are lucky to celebrate a 10-year anniversary, it’s remarkable that the Moody Blues were still around to mark the 45th anniversary of Days of Future Passed, the concept album that put the British progressive rock band on the musical map. The group came through town in 2012 in support of that album’s anniversary, and it’s been plenty active since. The band has just embarked on a tour in support of a new box set Timeless Flight – The Polydor Years. It features their most memorable hits from 1986 to 1992 and even features the live recording of a 1986 Cleveland show that paired the band with an orchestra. In addition, singer-guitarist Justin Hayward has launched a new PBS show. Recorded live at the Buckhead Theatre in Atlanta, it features music from his current solo album Justin Hayward: SPIRITS….LIVE. Singer-bassist John Lodge will also release 10,000 Light Years Ago, his first solo album in more than 30 years titled. It which features him reuniting with Moody Blues alumni flutist Ray Thomas and keyboardist/mellotronist Mike Pinder, who make cameos on the record. It’s the first collaboration with all three members since the late ’70s. The Moody Blues first formed in 1964 as band members ditched their previous musical commitments with the hopes of building on the success they’d already had. “We formed the band out of survival,” says drummer Graeme Edge via phone from Florida, where he’s lived for the past 24 years. “We got a lot of gigs and our first gig was in May. In July, we were spotted in a club and we were down in London in September and were recording in November. The song ‘Go Now’ was a hit when it came out in January. From the band first forming to having out first hit record was nine months. It was a wild ride and it didn’t stop for ten years.” The band’s biggest hit was arguably 1967’s Days of Future Passed. The album, which yielded hits such as “Nights in White Satin” was originally commissioned to sell stereo equipment. The band’s label asked the group to do a rock version of Dvorak’s “New World Symphony” to demonstrate their stereo systems, which weren’t really getting off the ground, except with the classical market. Decca introduced them to Romantic string arranger Peter Knight. He suggested the band do its own songs and in they knocked out some songs in three days. And it worked — the trippy songs actually helped sell the stereo equipment. Within three days, the whole thing was presented as a fait accompli but the folks at Decca weren’t that pleased with it. They quickly changed their minds as it did sell their stereo systems and they had a lot of success with it. In 1974, the band decided to take a break, potentially derailing the momentum it had achieved. “We went into the studio to make an album, it would have been our eighth,” says Edge. “We recorded three or four songs and they were crap. We realized we had nothing to write about. For the previous seven years, we made seven albums. We had been on the road and were prisoners of our own success. We were in dressing rooms and on airplanes. We were having no new experiences and we were basically tapped out and exhausted, not so much physically because we were young but mentally. We didn’t break up. We just naturally went our own separate ways. We recharged our lives.” When the band reconvened in the late ’70s, it came out swinging and quickly ended up back on the charts. It would stay on the charts throughout the '80s as well. “We have one really good songwriter in John Lodge, the bass player, and one superb songwriter in Justin ,” says Edge when asked about the key to getting back on the radio. “We had the material, and that’s what made a difference.” Edge says he doesn’t think the band needs a “piece of product” to hit the road and admits that the group isn’t likely to record new material anytime soon. But he says the looming 50th anniversary of Days of Future Passed will be a reason to celebrate. “We need to do something for that but what it will be, I don’t know,” he says. “There are ideas about cruise ship shows or doing a special concert with an orchestra at Radio City Music Hall. We’re kicking around ideas to see which one we can afford to do, which one we want to do and which one we can get someone else to pay for.” Edge admits he has one tiny little regret. “There’s a certain part of me that wishes we had some really heavy balls-to-the-wall rock songs because drummers love playing that kind of thing,” he says with a laugh. “I wouldn’t want to do it all the time because it would drive me nuts. That just goes to show that no matter how well off you are, you’re never completely happy.” The Moody Blues, 7:30 p.m., Tuesday, April 7, E.J. Thomas Hall, 198 Hill St., Akron, 330-972-7570. Tickets: $45-$75, uaevents.com.

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John Lodge

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LongIslandweekly.com If you ever wondered which Moody Blues albums are frontman Justin Hayward’s faves, then read on. Days of Future Passed (Deram) – “It was the beginning of the album being the medium that people really wanted. They’d go to other people’s apartments and listened and enjoyed themselves, fell in love and got stoned. It was all to these albums and of course it was just absolutely wonderful for us. And the timing was right for our kind of band. I wouldn’t say Days of Future Passed> changed our lives, but it was a huge milestone.” Question of Balance (Threshold) – “It was a real attempt to get back to a live sound and it brought another dimension out into the group. We’d kind of got lost up our own backsides really with so much studio involvement and recording trickery. I thinkQuestion of Balance was a conscious effort to bring it back to more of a live feel.” The Other Side of Life (Threshold/Polydor) – “I met Tony socially and then we got on so well and he had such a great studio. I went down to his studio on Dean Street in Soho and we hit it off straight away and then it was a natural for us to go straight into doing an album together and it became The Other Side of Life. Like Days of Future Passed, it was a huge milestone.” To read the full Moody Blues feature, please click here.

LongIslandWeekly.com F. Scott Fitzgerald once famously said that there are no second acts. Apparently, the erstwhile Great Gatsby author never crossed paths with The Moody Blues, who are currently touring and playing long after their 1964 founding. Emerging out of Swinging London in the late ‘60s, the fivesome were known for recording symphonic conceptual albums like Days of Future Passed, In Search of the Lost Chord and A Question of Balance. Within the grooves of these albums, classical music arrangements were married to accessible songs that yielded a boatload of hits that included “Nights In White Satin,” “The Story In Your Eyes,” “Ride My See-Saw” and “I’m Just a Singer (In a Rock and Roll Band).” And while the band’s star dimmed somewhat in the early ‘80s, the band did enjoy that second act thanks to the success of 1986’s Tony Visconti-produced , which introduced this Baby Boomer favorite to a new generation of fans through some memorable music videos and hit songs like “Your Wildest Dream” and the title track. And all throughout, the band’s loyal fan base has ensured demand for live shows year in and year out. It’s all a fact that Moody’s frontman Justin Hayward is well aware of when he’s asked about the band’s ‘80s comeback. “It was a time when Polydor and Polygram had taken over Decca and all the old masters and they had a very different kind of ethic. It was very whizzy where they wanted to go . There were all sorts of promo guys doing that kind of stuff and they gave us a budget to make a couple of great videos and it really paid off for us,” Hayward recalled on the phone from his office in France. “We had the right song with ‘Wildest Dream’ and we had the right video director and everything just fell into place. It was a great time and to have success the second time around in your life was really a great gift.” That kind of ardor for what The Moody Blues have been doing all these years extends to Hayward’s work as a solo artist whose 1977 debutSongwriter came out two years after Blue Jays, a project he recorded with band mate John Lodge during a Moody Blues hiatus. Fast forward to 2015 and PBS is currently airing Justin Hayward’s Spirits…Live, a special that finds him mixing his own material with classics from his musical day job, with help from guitarist Mike Dawes and keyboardist Julie Ragins. Approached by the public television network after a solo acoustic show he did in Minneapolis, Hayward was thrilled to jump aboard the fundraising train when asked. “I’ve always been a fan of Austin City Limits and live music programs like that. I also like the fact that these shows don’t involve massive production and it’s usually something quite intimate. It rolled on from there and the next thing I know, they’d given me this great gift of this PBS show, which is absolutely wonderful. I’m really impressed with them. Their production has been really great,” he explained. “It’s based on a DVD that I did last year called Spirits Live. So it’s a lot of the material from the solo album of new songs that I had out called Spirits of the Western Sky. There’s a bonus DVD that PBS is using for their pledge drive of another concert where I do a whole different load of songs that are interesting too. So is based on Spirits and the original versions of Moody songs the way that I played them to the other guys. But right now, Hayward is on the road with fellow Moodys Lodge and Graeme Edge in support of the 8-CD The Polydor Years: 1986-1992 box set. And while he declined to help compile it, “I was so busy with my own solo stuff, so I told I was taking a pass…,” the 68-year-old rock legend is thrilled with the end result. “There were a couple of young guys over at Universal and they did a great job finding stuff that I thought I was the only person that ever had it. It was in my cave and I wasn’t going to let anybody else have it, but they found copies of it. I’m very pleased I can’t claim anything to do with it, I’m very pleased that it’s out there,” he said. With the last proper Moody Blues album of all original studio material being 1999’s Strange Times, Hayward is unsure if and when the band will be releasing an album of new material. “I’ve got a feeling that the next big Moodys project will be a sort of audio/visual thing,” Hayward explained. “But I think that it will be that kind of thing because I think that’s what we feel is wanted from us. I don’t think any of us want to put another album out that’s kind of lumped onto another greatest hits. Everybody says the is great, but let’s talk about what you did in 1967.” One thing the former member of The Wilde Three is grateful for is a fan base that continues to allow him and his band mates to do what they love most. “We’ve had so many ups and downs and we’re at that stage in our lives and careers where it’s like a gift now for everyone to be able to have the opportunity to come out with a great band like the Moodys to do the music properly,” Hayward said. “And for me, as a solo player as well, to have promoters want to book me and to do solo tours, I’m very grateful. But the music business has changed so much and we have no right to be here, but I’m certainly glad we are.” The Moody Blues will be appearing on March 27 through March 29 at NYCB Theatre in Westbury, 960 Brush Hollow Rd., Westbury. For more information, please call 877-598-8497 or visit www.livenation.com. (To see Justin Hayward’s favorite Moody Blues albums, please click here)

CTNow.com Few bands get to enjoy a first act, let alone a second one. Somewhere near the post-"Sgt. Pepper" intersection of psychedelic and progressive rock, U.K.'s Moody Blues crafted memorable album-length statements like "Days of Future Past" (1967), "In Search of the Lost Chord" (1968) and "On the Threshold of a Dream" (1969), while cracking the charts with "Nights in White Satin," a pocket symphony that still sounds futuristic. But like a lot of 1960s bands, the Moodys struggled in the early 1980s. Producer Tony Visconti, who had already worked with Wings and David Bowie among others, was brought on board for 1986's "The Other Side of Life," their Polydor Records debut, and it worked; the album was a surprise smash, scoring two hits with "Your Wildest Dreams" and the sequencer-heavy title track. A couple of catchy videos later, the Moodys had recaptured their fans while reeling in a younger, MTV-primed crowd. Those crucial Polydor years are the focus of the current Moody Blues tour, which brings them to the Toyota Oakdale Theatre in Wallingford on Sunday, March 22. CTNow spoke with singer and guitarist Justin Hayward about the band's struggle to rebuild in the '80s as well as the legacy of the Moody's earlier prog-rock epics. CTNow: The current tour celebrates the Polydor years in the mid-1980s. What can you tell me about that time? Justin Hayward: Of course, it was wonderful to have success the second time around in your life like that, and to have such big success with a couple of really big hit singles. There's no doubt, from where I was standing, that we were in decline in about 1983. Ticket sales had really gone down. There was nothing really fresh in the band. The music business was moving so fast. It was very transient. One day, I had the good fortune to meet Tony Visconti, who I knew vaguely as a producer. We got together and did something for the BBC, and we hit it off so well that I persuaded the other guys that he would be the right producer for the band. The first thing we did with the band was "The Other Side of Life," and it gave us a huge record. The sound of the record, I think, just changed everything, and the way the people saw the group was in the sound. Suddenly we weren't a dated '60s and '70s band anymore. Sonically, the group had come right up to date. It was a wonderful time for us. I think a lot of people who came to the band in that period, around 1985 to 1987, are the people who are still with us today. That's the core audience for us. With "Your Wildest Dreams" and "The Other Side of Life," our audience grew immensely. We got back into big venues and selling out places, and we haven't looked back since. CTNow: What was it about Visconti's approach that made the band sound so good? JH: He was one of the first people who understood programming. I was doing things on MIDI in my own music room, and I was able to bring my own demos into the studio. Instead of remaking them from scratch with the group, I was able to use them as the basis for the songs, because I had time codes on them and everything. He was a keyboard player and a bass player, and he could see the value in keeping the spark and the original magic of any of our demos of any of our songs and including them in the final recordings. It was magic. He worked very, very quickly. The album before, which was called "The Present," there was one song on it that took 13 weeks to record. With a lot of cocaine going down, or whatever, it was just insane. We needed a big shake-up. Tony worked from 11 in the morning until 7 at night, and that was it, and it was intense. At five past seven, he'd be out the door, and you'd be thinking, "I'm actually exhausted, but I've had a great day." That's what he brought to the band. He was like a time-and-motion-study bloke of the perfect order. He was a legend. He would come in at 10 a.m. every morning to meet people who'd made the pilgrimage to come and meet him, obviously because of the work he'd done with David Bowie and Marc Bolan. He had a lot of young fans of his own who'd make the pilgrimage to come and see him. I'm pleased to still be very close to him today. CTNow: Looking back even further: the Moody Blues worked with orchestras and made gestures toward classical music. Does the band get credit for those innovations? JH: I'll leave that one alone. I don't have any feelings about it, and I don't have any regrets about it, because getting credit for something is not what I really yearn for. The fact is that we've gotten to the age we're at and we can still sell out venues. I'm very lucky to have a great solo career and a great label for my solo stuff. I'm not really worried about that. But I'm very grateful that, after all these years, I'm still there and able to do it, and to have a choice of what to do with my own solo acoustic show and the big productions of the Moodys. It's absolutely wonderful. CTNow: Rock musicians in the late 1960s were suddenly doing things that were previously unheard of. What gave you that license, that feeling that you could take rock music a little more seriously? JH: The most valuable commodity — still — in the music business is youth, and we had that on our side. We had a generation that we could rebel against, the one that was immediately before us, so that was hugely convenient. Also, it was the perfect combination of the days of the record companies having big recording studios with fantastic technicians and engineers. We found ourselves like the Beatles with EMI and Abbey Road with a label. After "Days of Future Past," our first record, there was a whole series of accidents. Nobody can claim that it was planned or anything like that. It just worked out that way. But it caught the imagination. Decca, our record company, had these wonderful recording studios, mostly to do with classical music and middle-of-the-road artists. But literally, the chairman of Decca, Sir Edward Lewis, who was a lovely man, did come and see us, and he said, "I don't know what you're doing, but people really love it, so just get on with it. Here's the studio. Just do what you want. You can have lunch, dinner and tea in there. It's yours all day long." For us, it was like being kids in a toy shop. It was wonderful for us. I think a lot of groups in the 1960s who were given that great gift — the Beatles, of course, were like that, and the Kinks — had these wonderful places available to them, and it gave you time and space to think about creative kinds of things. And of course, the album was becoming the format that people really loved. CTNow: Was there a sense that you had a bigger canvas — the album — to express your ideas? JH: It was certainly the turning point of people buying stereo systems, and albums became the thing to record. I feel for artists nowadays. I'm guilty of it myself, just buying singles again, like I did when I was a kid, listening to Buddy Holly or the Everlys or something, and not really giving enough attention to people's albums, or buying them as a unit. We tend to buy singles again now, don't we? A lot of times we don't even know who they're by. We just Google the first line, or something, that we like, and we buy it. But the 1960s and '70s — and we were lucky to be in the forefront of that — was the time when people were interested in albums. You'd go around to somebody's house or apartment and you'd play the whole album. It was a great time, and we were very lucky to be a part of it. CTNow: The upcoming tour: you're going all the way through June, and you're going to be in both the U.S. and the U.K. You've mentioned in interviews that U.S. audiences tend to be louder. Is that true? JH: Yes, I think that's a cultural thing, which is very nice. You're a member of the greatest nation on Earth: speak up! I'm doing a solo tour in the summer, just me and my guitar player Mike Dawes, who's a fabulous player, and I'm a little bit worried to be in Europe and the U.K. I know how quiet they are. You can hear a pin drop. But it's always refreshing; America is the land of our heroes. It's the home of rock and roll music, and I think people are used to going to concerts and experiencing that energy in the U.S., and that's a wonderful thing to share.

Justin Hayward spoke with Alan Thompson on BBC Radio Wales which originally was broadcast on March 15th. Alan explores Justin Hayward's new album and celebrates the seventieth birthday of guitarist Eric Clapton. Justin's segment begins at about 21:38. LISTEN HERE.

Be sure to listen to the broadcast of Judi Spiers' show on BBC Radio Devon as she speaks with Justin Hayward about his solo record and tour. Justin's interview begins about 1:10:35. CLICK HERE TO LISTEN.

Telegram.com By Richard Duckett TELEGRAM & GAZETTE STAFF It wasn't 10,000 light years ago that John Lodge joined the Moody Blues. Still, a lot has happened since 1966 when Lodge and Justin Hayward became Moodies just as the band was about to change mood, music and direction. The future has become the past, but the Moody Blues are still present. The British progressive rock band will be at The Hanover Theatre for the Performing Arts in Worcester for a show at 7:30 p.m. March 19 that kicks off its 2015 "Timeless Flight — The Polydor Years" U.S. tour in support of the recent release of six retrospective CDs and two DVDs. "When the Moody Blues are on stage, we bring together everything we've learned over the last 50 years," said Lodge, bassist and vocalist and one of three core Moodies (with vocalist and guitarist Hayward and drummer Graeme Edge) performing March 19 with other musicians rounding out the sounds. "We're not looking back when we perform. When we perform this we're playing this today with everything we've learned about it," Lodge said. Later during the tour, on May 5, "10,000 Light Years Ago," Lodge's first solo album since "Natural Avenue" in 1977, will be released. This atmospheric album has guest contributions from former Moody Blues members flutist Ray Thomas and keyboardist/mellotron player Mike Pinder. Veteran guitarist Chris Spedding is also speedily and pleasingly recognizable. "Days of Future Past," the Moodies' big album smash from 1967 with hits such as "Nights in White Satin," explored time, and Lodge, a prodigious songwriter ("Isn't Life Strange") continues in that vein with "10,000 Light Years Ago." "I think that this theme has continued in the music of the Moody Blues and in my music, and it's a musical record of our generation traveling through life. With '10,000 Light Years Ago,' I have continued this theme of constant evolution, as everything in the future remains in reach, and although the past is behind us, it once was our future." Lodge, 69, is originally from Birmingham, an industrial city in the Midlands and England's second-largest (to London). But he was quite a long way from Birmingham rain when interviewed by telephone last week. He spends a lot of his winters in Barbados, where he can "get away from the inclement weather in the UK," as he put it. Hopefully, some of Worcester's snowbanks will have disappeared by March 19. But let's go back to the past again. The Moody Blues had been formed in Birmingham in 1964 as an R&B group (Edge is the only original member) and had a hit that same year with a cover of the Bessie Banks classic song "Go Now." The personnel changes in 1966 (Lodge and Moodies co-founder and flutist Ray Thomas were old friends) were indicative of a band pondering its future. "Yeah, because I'd been playing in clubs everywhere since I was 14, 15," Lodge said. "And they were all cover songs — what was the latest fad coming out of the United States, really. And we felt we needed to find our identity. We all felt that — that we needed to find our way as musicians." The Moodies hung out in Belgium for a few months, writing new material and bonding. "Whenever anyone writes it becomes our song." Trying it out publicly, "In a very short time we realized the audience preferred our own songs. We dropped all the covers," Lodge said. "Days of Future Past" was a concept album taking the listener through a day ("The Day Begins," "Tuesday Afternoon," "Nights in White Satin") as rock (sometimes psychedelic) and lyrics that could be called moody were accompanied by full orchestration and the London Festival Orchestra. It was a rich and persuasive mix, but Lodge recalled that promoters used to the old sound needed to be persuaded that this was the Moodies' future. Not all were. "We had to find different promoters because everyone wanted to dance, and some said, 'They rock and roll and then there's a waltz.' " The Moodies started appearing on campuses. "Colleges and universities were perfect. People would sit on the floor and it didn't matter. Then there was FM radio." Other "high pop concept" albums would follow, including "On the Threshold of a Dream" and "A Question of Balance," with total sales in excess of 70 million. Another big hit was "Isn't Life Strange." Asked if there was anything that sparked that song, Lodge said, "It's an acceptance that sometimes the truth is right in front of your eyes." As for "10,000 Light Years Ago," "I've been wanting to record a new album for probably the last 10 years. Either the Moody Blues or myself," Lodge said. (The Moodies haven't released a studio album since "December" in 2003.) "I wanted to make an album as we would have done in the old days where all the musicians contributed.…For me it sounds like a group album." Getting people together as a group can be a challenge, which isn't such a bad thing in Lodge's eyes because when like-minded musicians do contribute, you know what the mood is going to be. "It's very important that we have our own independence. The reason you're together is to make music. We all have our own lives and come together as the Moody Blues," Lodge said. For his part, "There was a saying in the '60s, 'Have guitar, will travel.' That's who I am, to be honest. I do enjoy playing every day. Even in Barbados, I'll go and play in a jazz band because I'm asked and I enjoy playing." In the present.

10,000 Light Years Ago - Available May 5

John Lodge

1. In My Mind
2. Those Days in Birmingham
3. Simply Magic
4. Get Me Out of Here
5. Love Passed Me By
6. Crazy
7. Lose Your Love
8. 10,000 Light Years Ago

Justin Hayward’s “Spirits...Live” PBS television show is just around the corner. As the producer of the show, I can tell you it is AWESOME! Justin has assembled a collection of five DVD’s, called “The Ultimate Collection”, that will be yours when you pledge to PBS. Included here are Justin’s two newest DVD’s “Watching and Waiting” and “The Story Behind Nights in White Satin”, both of which are exclusive to PBS. (See previous postings for more information on these DVD’s). Also part of this package are “Justin Hayward Live at San Juan Capistrano”, “Justin Hayward Live at the Rock and Roll Hall of Fame” and of course, “Spirits...Live” DVD’s. “San Juan” and “Hall of Fame” have been out of print for many years. They are considered collector’s items by many. In these DVD’s you will experience what Justin calls the ‘time-capsule’ effect of dozens of his songs, both electric and acoustic, along with an incredible interview of Justin, with rare home movies! Again, this “Ultimate Justin Hayward Collection” of five DVD’s is a big ‘thank you’ from PBS and Justin when you pledge to become a Member of PBS (or renew your support to PBS). Continue to Watch and Wait for Justin’s show to air on your local PBS station, beginning February 28th! (As a note, if you are outside the US, we will be posting a website where you can order these DVD’s.)

During a recent interview between Justin Hayward of the Moody Blues and Michael Pinkus, executive producer of Justin’s upcoming PBS special, Justin told an amazing tale. Captured in a new PBS Exclusive DVD titled “The Story Behind Nights In White Satin” by award-winning director David Minasian, Justin reveals the circumstances surrounding his world-renown mega-hit. Without being a spoiler, it seems the fate of The Moody Blues may have been forever altered by a delayed flight carrying The Supremes back in 1967! Really? As it turned out, the release of ‘Nights’ in 1967 was so controversial, a top record executive at Decca Records resigned over it, exclaiming, as he cleared out his desk, that “the song would never work”. Yet others at Decca loved it. The song’s polarizing effect puzzled it’s young composer. “It was an odd thing”, Justin exclaimed, as if he were talking about something as simple as the weather. YOU can receive this amazing DVD and we promise you, it will be something you’ll want to watch over and over again. Featuring rare vintage footage of ‘Nights’ first ever live performance caught on film, ‘The Story Behind Nights in White Satin’ is just one of five Justin Hayward videos PBS is making available to its viewers. All you need to do is tune into your local PBS station starting February 28th, watch the incredible “Justin Hayward Spirits...Live” TV special and become or renew your membership with PBS. It’s that simple. NOTE: IF YOU ARE OUT OF THE US, THESE NEW JUSTIN DVD’S WILL BE MADE AVAILABLE TO YOU. WE WILL BE POSTING A SPECIAL WEB SITE SOON!

We are very excited to announce that Justin Hayward has provided PBS with a beautiful collection of new DVD’s featuring never-before-seen materials. These DVD’s are exclusive only to PBS Members. During Justin’s upcoming PBS concert “Spirits…Live” you will have the opportunity to become a Member of your local viewer-supported PBS station. As a Member you will be given a choice of “thank you gifts” from Justin’s show, which are simply outstanding! One such DVD is titled “Watching and Waiting”. Here you’ll get to see Justin live in concert--recorded recently before a sold out crowd--performing a magical set of songs. One of the classics here includes the 1970 Moody Blues’ “You Can Never Go Home”, performed live for the very first time. Even Justin agrees this DVD captures one of his BEST performances. “Watching and Waiting” is part of PBS’s “Ultimate Justin Hayward Collection”, a five DVD set, which you will be hearing more about soon. Remember, you need to tune into Justin’s show on PBS starting February 28th, 2015 and pledge to become (or renew) your Membership with PBS, to receive this awesome package!

We’re getting a great response, lots of buzz on PBS’ Justin Hayward’s Spirits...Live television special. Here are some of the questions we’re fielding: When: Starting February 28, 2015 and throughout the month of March, 2015. Where: Your local PBS station. Note: The PBS Network consists of 350+ affiliates nationwide. Each affiliate or local PBS station determines their own schedule. They are all in the process RIGHT NOW of determining their schedule for March, 2015. So check your local listings. If you are wondering, you can call your local PBS station to find out if they are airing Justin’s show. Please be courteous as the local PBS programmers are busy putting their schedule together. They do like your feedback however and your call may help them decide to air the show! What: Justin Hayward’s Spirits...Live is a 90 minute show for PBS’ special programming. Justin and the Moody Blues have a long history of supporting PBS and this show is doing the same. As PBS is viewer-supported television, they depend on having us become PBS Members. Justin has put together an AWESOME package of “thank you gifts” to those who pledge to become new PBS Members or Members who renew their support to PBS. This package will be announced soon. We can tell you that you’ve never seen anything like this, in the almost five decades Justin has been with the Moody Blues! How: Your job is to TELL EVERYONE! Share, Email, Tweet, Text, Skype, Tattoo (think twice about this) or even make a phone call! Get this PBS BUZZ going even more! We support Justin, his music, The Moodies and of course, PBS!

Justin Hayward, the legendary lead singer, guitarist and songwriter for The Moody Blues, recently embarked on a series of solo concerts across the United States. His rich vocals and incredible guitar playing served to highlight classic Moody Blues tunes plus songs from his latest solo album Spirits of the Western Sky. Justin’s PBS show was recorded live at the Buckhead Theatre, Atlanta’s premier intimate theatrical venue. This new concert special showcases a powerful performance from an artist who has played a significant role in the history of rock. JUSTIN HAYWARD: SPIRITS…LIVE is part of special programming premiering on PBS stations beginning Saturday, February 28, 2015 (check local listings). For almost fifty years, Hayward and The Moody Blues have been musical mainstays on concert stages, recordings and the airwaves. The band has sold more than 70 million albums worldwide and has been awarded 18 Platinum and Gold Discs. And just recently, The Moody Blues were inducted into the Ultimate Classic Rock Hall of Fame. JUSTIN HAYWARD: SPIRITS…LIVE features Moody Blues classics including “Tuesday Afternoon” and “Nights in White Satin,” (one of the biggestselling singles of all time) plus other gems from the band’s catalog, along with Hayward’s newest songs from his solo career. The program also features two keyboardists currently touring with the Moody Blues, plus a virtuoso performance by extraordinary guitarist Mike Dawes. Usually, Hayward plays to huge halls or arenas with a much larger band. But the Buckhead Theatre is a smaller venue that enabled the four performers to play with an intimacy rarely experienced before. As a result, viewers are treated to a performance that has both excitement and a rich sense of connection to the legendary performer. PBS special programming invites viewers to experience the worlds of science, history, nature and public affairs; hear diverse viewpoints; and take frontrow seats to worldclass drama and performances. Viewer contributions are an important source of funding, making PBS programs possible. PBS and public television stations offer all Americans from every walk of life the opportunity to explore new ideas and new worlds through television and online content.

Read the latest Q&A with Justin Hayward. 1. The first part of 2015 looks pretty busy for you and the Moodies, what do you feel are the major concerns as you get ready to embark on the new tours? No concerns – apart from wanting to stay healthy – but I am looking forward to the years work. 2. Is there any particular location you'll be going to in 2015 that you are especially looking forward to? The Greek Theatre and Red Rocks are the standouts – lovely. 3. What can you tell us about upcoming setlist changes? Um…All in good time. 4. When touring solo, how difficult of a mental adjustment is it to play acoustic rhythm with Mike Dawes playing the lead licks on an electric that are parts you would normally play? Is it sort-of like playing to a recorded track of yourself as you add more instruments to a demo, or does that 'live' element change everything? The solo shows for me are as I initially wrote the songs. Mike and Julie do the parts I would add at home or in the studio. I love both the solo and the Moodies touring groups. I’m very lucky to be able to do both. 5. Can you name a song from each of your non-Moody albums that would especially benefit from an acoustic version in your solo shows? ‘Raised On Love’ – ‘Crazy Lovers’ – ‘Moving Mountains’ – ‘Vincent’ – ‘Troubadour’. 6. In what way have you experienced the use of the delightful spice, cardamom? I enjoy it in sweet dishes and savoury – and I’m told it’s medicinal. It’s great coming across a whole pod in a dish. As you know it can be expensive and I remember being quite taken aback seeing a large display in a street market in the middle East a couple of years ago. 7. Does touring solo now differ wildly from The View From The Hill's tours? What has changed, and what hasn't? It’s quieter of course, and I can hear my voice and Julie’s much better. I love doing the songs this way. I really enjoyed The View From The Hill tour – this is just different, and I love it just the same. 8. European fans are very happy about the 8-date solo tour in that part of the world this year. While you've had a number of single solo UK appearances over time (usually benefitting worthy causes), this appears to be your first formal tour sans the Moodies in your former stomping grounds. What does that mean to you now, as opposed to when you began gigging as a teen? I’m kind of nervous about it. American audiences are so vocal and enthusiastic – but I really want to see how it goes so I’m relying on UK and Euro fans to be there for us. I wish I was covering more of the country and doing gigs in Europe, but Live Nation chose the venues and I’m completely in their hands. Anyway, it means a lot to me because this music is important in my life. I’m really looking forward to it – it’s going to be fun. 9. The last scheduled tour for the year ends in July. Any particular plans for August-December? I’m sure there will be some action! 10. Is Mike Dawes' new Tom Anderson electric guitar identical to your custom one that he borrowed? Yes, Tom made another guitar identical to mine, apart from the colour of the purfuling. 11. Has there been any talk of when your solo PBS show recorded in 2014 will air? Very soon –in fact it’s already started in Minneapolis on TPT. 12. According to Forbes.com, America alone streamed 164 billion songs in 2014, which amounts to an average of 514 songs per person. The streaming music industry grew 54% last year, and the overwhelming success of this has forced even Billboard to take streaming into account when evaluating the relative success or failure of an album of songs. Conversely, and somewhat surprisingly, vinyl LP sales grew 38% in 2014, with 8.3 million being sold, which is 4.3 million more than 2013, and nearly double the numbers sold in 2012. In your opinion, what do you think this data says about the future growth of the music industry overall? It suppose it means we all love music just as much as we always did. I don’t have an opinion about the way music is bought. I use iTunes because the quality is at least consistent, if not always great, but the young groups will show us the way. 13. Are there any songs you've performed on your solo tours whose audience response honestly surprised you? ‘Watching and Waiting’. It’s very emotional. 14. You had a chance to reunite with some of your Nashville friends at a memorable performance last year, did any discussions occur at that time about future collaborations? Oh yes – we would all so love to play together again. I do hope we have the opportunity. 15. Did you and the band ever play the club "Klooks Kleeks" that was next door to Decca Studios? No, we never did. It was pretty much exclusively a blues club and I don’t think we fitted their style. There were ‘lines’ going directly into the pub for live recordings, and some great records were made there no doubt. But we were comfortable being in the greatest studio in London – next door. 16. At the 1970 Isle of Wight festival were you ever out in that audience watching other bands for awhile? Some people swear they think they saw you out there. Yes, I think I did go for a wander, or did I just think I did? I hadn’t slept the night before, and I was pretty stoned – but we had to wait so long before we went on, and things were very rough and a bit violent backstage with some groups getting angry and demanding to get paid (we didn’t), that I think I must have. 17. Do you feel there was a turning point when the band had mostly male followers and then it turned to mostly female followers and now may be making a swing back the other way again? I love the girls – and they arrived in force in 1986 with ‘The Other Side Of Life’ – thank goodness. Please stay! 18. Have you ever seen a Moody Blues tribute band play live? Can’t say I have. 19. How long have you owned the Olsen guitar that was originally destined for James Taylor? Since James Olson made it in around 1990 -91. I got it directly from him, from his workshop. I think it is on ‘Red Rocks’. 20. Do you recall what you played for your 'audition' for Marty Wilde? Mart’s song ‘Danny’(my favourite) and ‘Teenager In Love’. 21. What is the feeling immediately after a show ends? Is there any usual ritual? It’s a wonderful mood around the whole group – solo show or Moodies. I think that feeling is what made me commit to life on the road. We all feel great and it’s a huge release of tension. It’s nice to be together too. I don’t think I would want to be completely alone then. I can’t think of any ritual though. 22. Any reason why you play the white Strat. now on Tuesday Afternoon during concerts? It sounds nice and ‘speaks’ a bit better for those chords and the finger picking sounds good. John and I decided to try a few different guitars on ‘Tuesday’ a couple of tours ago, to see what they sounded like, and we liked the Strat. 23. Do you feel music can make a difference in the world today as much as say in the 60s? I’m not sure it has the same power, (do you?) but I hope so. It’s still such an important part of our lives, and it does make the world a better place. Boys and girls are still falling in love to their ‘own’ music and I love that. 24. What is your guitar tuning for New Horizons? ... it seems to some you are not using normal tuning on that song? From the bottom (low string) to top: DADFAC 25. Is there a 'wrap party' at the end of tours? Er… not really. 26. What are your thoughts on those MFSL Ultra Disc Gold cds made of the band's first seven albums? I don’t have an opinion `I’m afraid. I wouldn’t say they were better than the normal re-mastered versions unless you have a super duper system. 27. Do you ever get bored? Like now do you mean? Nooo… 28. Can we look forward to more solo material from you being released? Yes 29. What's your favorite pastime on the tourbus? Seeing America 30. What do you do if you're find yourself having a "off" day and just not feeling it? Pull myself together and get up for it. 31. Would you call yourself a skilled horseman? No way. I love horses though and I still have my Kieffer saddle so I’m always ready. 32. Do you recall playing New York's Central Park in 1981? There is a supposed boot of such a gig around. Can’t say I do. But I think we did do something in the park that was part of a TV show, maybe not a gig as such. 33. What's the strangest gift you've ever received from a fan? A Les Paul 34. What's the best piece of information anyone's ever given you? Write songs: Marty Wilde 35. With "Spirits..Live" dvd debuting at Number Two on Billboard and the successes of your solo shows, do you envision keeping this fabulous solo career going You bet. 36. Are you a sushi eater? Er… Well, I’ve liked sushi since we went to Japan in 1974. 37. Is there any way you could help facilitate a re-release of your solo album "Moving Mountains: which newer fans are having much difficulty finding? Ah.. I didn’t know that. I’ll look into it. 38. On your Gibson 335 guitar is the wiring as original and the 'nut' standard? I changed the bridge to metal bridge pieces years ago, and some of the wiring that had aged was replaced back in the seventies, but that’s about it. 39. If you could change any song you've written and recorded which one would you change and how? I would make the recording of ‘The Day We Meet Again’ simpler and less cluttered – but it seemed right at the time. I do like the song and it was a joy to do again on recent tours. 40. What do you miss most while out on tour? Driving. 41. Have you seen the 2009 dvd "My Dinner With Jimi (Hendrix)" in which The Turtles tell their crazy stories and you are portrayed by an actor in a scene where they meet you, too? No. Sounds like fun though. 42. Has it been difficult balancing your professional career with your personal life? No. 43. What do you like the most about Christmas-time? Church.

Wow,what a year 2014 has been. Great Moody Blues concerts across America, I re released Natural Avenue in180 gramme Vinyl, I have recorded songs for the new Gene Vincent - Singer Album , a tribute to the Rebel in Leather which will be released early 2015 and in December.., after two years of writing and making demos I finished recording my new album at the The Mix Factory Studios in Florida. The title of the Album is 10,000 Light Years Ago and it will have a pre launch in April in New York, in between Moodies Tours. We are mixing the Album right now and I am really excited I can't wait for the album to be out there... The vibe for me is like recording one of the first 7 albums ..and with Ray Thomas and Mike Pinder joining me on a song, it's very special. I wish everyone a wonderful peaceful and Happy 2015.. See you on the road and as ever thank You for Keeping the Faith ...

Love
John

thatericalper.com

John Lodge of the Moody Blues

John Lodge's Krisemma Wine is available for purchase in the UK. Orders have now closed for delivery in time for Christmas however, the good news is that signed bottles will continue to be available for purchase in the UK via the new Krisemma Website at www.krisemmawine.com with delivery recommencing from 10th January. Updates about US availability will be made there too! Check it out. http://www.krisemmawine.com/

While John was in the studio last week, he performed an impromptu acoustic version of The Spirit of Christmas. As you know, there are many veterans out there that credit Johns & the bands music for getting them through tough times...so as a salute to these brave heroes, John is donating all proceeds to Wounded Warrior Project. We hope you will be a part of this moment & help out the veterans this Christmas. Merry Christmas!

THE BAND TO PERFORM LIVE ON THE ROAD FOR 25-CITY TOUR STARTING MARCH 19 IN SUPPORT OF NEW “THE POLYDOR YEARS 1986-1992” BOX SET RELEASE Timeless Flight – The Polydor Years” Moody Blues tour will launch next March 19-May 10, 2015, beginning on the East Coast in Massachusetts and concluding on the West Coast in Colorado, also hitting Westbury, NY, Columbus, OH, Seattle, WA, Portland, OR, Las Vegas, NV, Los Angeles, CA and Scottsdale, AZ, to name a few stops. The band will be touring in relation to their new box set, The Polydor Years 1986-1992, which was released November 24, on UMe. The eight disc THE POLYDOR YEARS 1986-1992 set includes six CDs and two DVDs which brings together, for the first time, remastered editions of all The Moody Blues’ Polydor era albums, spanning the period 1986-1992. The package - The Polydor Years 1986-1992 - includes 17 bonus tracks, 11 of which are being released for the first time, including a 1991 BBC radio session. The set also includes a previously unreleased concert recording from the group’s July 1986 appearance in Cleveland, Ohio, during their “Other Side of Life” tour, and a fully remastered edition of the September 1992 “Red Rocks” concert with the Colorado Symphony Orchestra. The DVD features the newly remastered and previously long-time unavailable release of the “Night at Red Rocks” concert, plus the rare, fan club-only documentary “The Other Side of Red Rocks”. Housed in a slipcase with an accompanying 64-page hardbound book, the entire set is topped off with the inclusion of a 7” blue vinyl single of “Al Fin Voy A Encontrate”, the rare Spanish version of “I Know You’re Out There Somewhere”. The Moody Blues have been at the forefront of the classic rock music scene for more than 40 years, with their multi-Platinum, Platinum and Gold albums and singles hitting Billboard at #1, Top 5, Top 10, Top 20 and Top 40. Their illustrious 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)” and “Your Wildest Dreams,” and many more. “Timeless Flight – The Polydor Years” Tour Dates Are As Follows: 3/19/15 The Hanover Theatre for the Performing Arts Worchester, MA 3/20/15 The Capitol Theatre Port Chester, NY 3/21/15 The Capitol Theatre Port Chester, NY 3/22/15 Oakdale Theatre Wallingford, CT 3/24/15 American Music Theatre Lancaster, PA 3/25/15 Rochester Auditorium Center Rochester, NY 3/27/15 NYCB Theatre at Westbury Westbury, NY 4/1/15 Fallsview Casino Resort Niagara Falls, ON 4/2/15 Fallsview Casino Resort Niagara Falls, ON 4/3/15 NJ Performing Arts Center Newark, NJ 4/4/15 Caesars Atlantic City Atlantic City, NJ 4/7/15 E.J. Thomas Performing Arts Hall Akron, OH 4/8/15 Palace Theatre Columbus, OH 4/9/15 Star Plaza Theatre Merrillville, IN 4/22/15 Paramount Theatre Seattle, WA 4/24/15 Arlene Schnitzer Concert Hall Portland, OR 4/26/15 Fox Theater Oakland, CA 4/28/15 City National Civic San Jose, CA 4/29/15 Wells Fargo Center For The Arts Santa Rosa, CA 5/1/15 Agua Caliente Casino Rancho Mirage, CA 5/2/15 Pechanga Resort & Casino Temecula, CA 5/3/15 The Pearl Concert Theater Las Vegas, NV 5/5/15 Greek Theatre Los Angeles, CA 5/6/15 Humphrey’s San Diego, CA 5/8/15 Talking Stick Resort Scottsdale, AZ 5/9/15 Route 66 Casino Albuquerque, NM 5/10/15 Red Rocks Amphitheatre Morrison, CO Check the Tour Page for Presale Tickets and VIP Packages.