The Moody Blues
Seventh Sojourn

*NOTE: Side two of this record was not noisy enough to rate our M-- to EX++ grade, but it's not quite up to our standards for Mint Minus Minus either. If you're looking for quiet vinyl, this is probably not the best copy for you.

This vintage import pressing is excellent on both sides. It has lovely vocals -- sweet and breathy -- so critical to the Moodies sound. It's also spacious and energetic, two qualities that the average copy simply has very little of. To top it all off, this copy rocks about as much as this album, in our experience, can rock. Most pressings are shockingly compressed, recessed and murky.

And the domestic copies are made from dubs; they're brighter but grainy and transistory as hell. They convey none of the Moodies magic.

Moody Blues records have a marked tendency to sound somewhat murky and muddy; that's obviously the sound these guys were going for because you hear it on every album they released.

Compound their "sound" with bad mastering, bad pressing or bad vinyl -- not to mention vinyl that hasn't been cleaned properly -- and you will find yourself trying to wade through an impassable sonic swamp. With anything but a Hot Stamper the result is going to be sound so fat, thick, and opaque that it will confound any attempt you might make to hear into it.

What The Best Sides Of Seventh Sojourn Have To Offer Is Not Hard To Hear

• The biggest, most immediate staging in the largest acoustic space
• The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1972
• Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
• Natural tonality in the midrange -- with all the instruments having the correct timbre
• Transparency and resolution, critical to hearing into the three-dimensional space of the studio

No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.

Achieving just the right balance of "Moody Blues Sound" and transparency is no mean feat. You have to be using the real master tape for starters. Then you need top extension -- a very rare quality of these imports -- and finally, good bass definition to keep the bottom end from blurring the midrange. No domestic copy in our experience has ever had these three qualities, and only the best of the imports manages to get all three on the same LP.

What We're Listening For On Seventh Sojourn

• Energy for starters. What could be more important than the life of the music?
• The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
• Then transient information -- fast, clear, sharp attacks for the guitars and drums, not the smear and thickness common to most LPs.
• Tight, note-like bass with clear fingering -- which ties in with good transient information, as well as the issue of frequency extension further down.
• Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
• Then: presence and immediacy. The vocals aren't "back there" somewhere, way behind the speakers. They're front and center where any recording engineer worth his salt would have put them.
• Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.

Vinyl Condition

Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)

Those of you looking for quiet vinyl will have to settle for the sound of later pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.

If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.

Side One

• Lost in a Lost World
• New Horizons
• For My Lady
• Isn't Life Strange

Side Two

• You and Me
• The Land of Make Believe
• When You're a Free Man
• I'm Just a Singer (In a Rock & Roll Band)

AMG Review

Despite the presence of a pair of ballads -- one of them ("New Horizons") by Justin Hayward the latter's most romantic number since "Nights in White Satin" -- Seventh Sojourn was notable at the time of its release for showing the hardest-rocking sound this band had ever produced on record.

It's all relative, of course, compared to their prior work, but the music is comparatively stripped down here, and on a lot of it Graeme Edge's drumming and John Lodge's bass work comprise a more forceful and assertive rhythm section than they had on earlier records, on numbers such as "Lost in a Lost World," "You and Me," and "I'm Just a Singer (In a Rock & Roll Band)." The latter, authored by Lodge, was -- along with Lodge's "Isn't Life Strange" -- one of two AM radio hits that helped drive the sales of this album, issued in early November of 1972, past all previous levels.

Indeed, it was with the release of this album that the Moodies achieved their great commercial success in America and around the world, with a "Grand Tour" that kept them on the road for much of the year that followed. The irony was that it was all about to end for them, for years to come, and the signs of it were all over this record -- Seventh Sojourn took a long time to record, and a lot of the early work on it had to be junked ("Isn't Life Strange" was one of the few early songs to get completed); it was clear to all concerned except the fans that, after six years of hard work in their present configuration, they all needed to stop working with each other for a time, and this was clear in the songs -- many have a downbeat, pensive edge to them, and if they reflected a questioning attitude that had come out on recent albums, the tone of the questioning on songs like "Lost in a Lost World," "You and Me," and "When You're a Free Man" had a darker, more desperate tone.

Perhaps the group's mostly youthful, collegiate audience didn't notice at the time because it fit the mood of the times -- the album hit the stores in America the day before Richard Nixon's landslide presidential re-election victory (the culmination of events behind the scenes that would subsequently drive him from office). But the members were not working well together, and this would be the last wholly successful record -- difficult as it was to deliver -- that this lineup of the band would record, as well as the last new work by the group for over five years. And oddly enough, even amid the difficulties in getting it finished, Seventh Sojourn would offer something new in the way of sounds from the group -- Michael Pinder, in particular, introduced a successor to the Mellotron, with which he'd been amazing audiences for six years, in the form of the Chamberlin, which is all over this album.