Oldish Psych and Prog

From ProgressiveRock :
The Moody Blues were originally an R&B-inspired group who scored a No. 1 hit in 1964 with "Go Now". Years later they recruited John Lodge and Justin Hayward, but it took a change to the Deram label and a purchase of a Mellotron before they’d find success again. To quote the liner notes from the album, "The Moody Blues have at last done what many others have dreamed of and talked about: they have extended the range of pop music ...where it becomes one with the world of the classics." Okay, whatever, rich cinematic productions were already a production treatment du jour. But the Moodies were attempting something more: Symphonic Rock. A dubious distinction, but it reflects another tenant that would weigh heavy on Prog: the attempt at musical respectability. The album’s concept was about the passing of a day: the cover sported a rich, surreal painting, adorned with poetry and oh-so-serious liner notes from the producer. Dropping the needle, the record played out: lush orchestral accompaniments segued the songs together, while a god-like voice recited poetry. Pretentious, of course, but one thing is certain, this wasn’t really rock-n-roll. Ultimately the Moody Blues wrote marginally psychedelic pop tunes. The second side cranked up the Mellotron and fares better, culminating in the classic "Nights In White Satin". It’s a great song, and along with "Tuesday Afternoon", both rightly became FM radio staples. Moreover, the album's production is rich and immaculate for any era. So whatever the content, the right accoutrements would mean everything when speaking "progressive". The album sold well, reaching No. 23 in the UK and No. 3 in the US. The Moodies would repeat this formula to continual success over the ensuing years, before taking a rest in 1973.

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