If you’ve ever done a shootout between domestic pressings of the Moody Blues and good imports you know that the imports just kill the American LPs. Domestic pressings are cut from sub-generation tapes, tend to sound more smeary, yet they’re thinner, brighter and more transistory, and overall have a fraction of the Tubey Magic the good imports have.
Moody Blues albums on import are typically murky, congested and dull. Listening to the typical copy you’d be forgiven for blaming the band or the recording engineer for the problem.
Of course the album is never going to have the kind of super clean, high-rez sound some audiophiles prize, but that’s clearly not what the Moody Blues were aiming for.
It isn’t about picking out individual parts or deciphering the machinery of the music with this band.
It’s all about lush, massive soundscapes, and for that this is the kind of sound that works the best.
Days of Future Passed (1967)
In Search of the Lost Chord (1968)
On the Threshold of a Dream (1969)
To Our Children’s Children’s Children (1969)
A Question of Balance (1970)
Every Good Boy Deserves Favour (1971)
Seventh Sojourn (1972)