The Moody Blues
On The Threshold Of A Dream

THE REVIEW

Originally hailing from Birmingham, England, the Moody Blues debuted in 1964 with the single "Go Now", followed a year later by the album "The Magnificent Moodies".

After various departures and new arrivals, in 1966 the band finally found what became its classic lineup throughout the '70s: Ray Thomas on flute, John Lodge on bass, Michael Pinder on keyboards, Graeme Edge on drums, and Justin Hayward on guitars. Transitioning from their early rhythm 'n' blues beginnings, the Moody Blues developed their own personal style in 1967 with the LP "Days Of Future Passed", in which they mixed rock and symphony to create quite an original work for the times. Notably, the album contains the classic "Nights In White Satin" (in Italy covered by, among others, the Nomadi a year later as "Ho Difeso Il Mio Amore").

After the eastern shift of "In Search Of The Lost Chord" (1968), in 1969 the band released their most successful album, "On The Threshold Of A Dream", which I would describe as a crossroads between classicism and psychedelia.

A spatial hiss catapults us into the spoken intro by Graeme Edge "In The Beginning", which soon gives way to the exciting rock piece "Lovely To See You", composed by Hayward, where guitars and drums dominate. The initial frenzy of the album is immediately subdued by the cautious atmosphere of "Dear Diary", written by Ray Thomas and beautifully adorned with the sounds of his own flute. It's Lodge's moment, who, with the driving acoustic guitar of "Send Me No Wine" and the pounding rhythm of "To Share Our Love", restores the album's playful spirit. The unison of flute/drums is the most characteristic moment of the lively "So Deep Within You" by Michael Pinder.

The second side of the LP opens with "Never Comes The Day", by Hayward. The piece begins with an ethereal verse, supported by acoustic guitar, and gradually transforms into a passionate chorus in the refrain. One of the most beautiful songs in the quintet's entire discography. It's followed by a classy British pop like Thomas's "Lazy Day", who, along with Hayward, composes the following piece "Are You Sitting Comfortably". The melody and sound of the track brush against the peace of the senses. The curtain is drawn again by a monologue from Edge, who, with "The Dream", opens the doors to Michael Pinder's magnificent final suite, which splits the track "Have You Heard" into two parts to insert an orchestra and a piano, "The Voyage", worthy of the best classical music.

One of the most unknown masterpieces of the '60s.