Moody Mistress's Journal

Wednesday, March 10, 2004

I'm such a liar! I said I wouldn't buy anything else, and I just bought a t-shirt. Worse, a "Pirates of the Carribbean" t-shirt. Well, it had Johnny Depp on it. How was I supposed to resist that?

OK! Here's Part 1 of my review. It's not really a review--it's a song-by-song analysis. Just thought I'd warn you, since I got extremely...carried away.


Moving Mountains Review (Part 1)
Moving Mountains is probably not most people's favourite solo album by the Moody Blues's lead singer, Justin Hayward. That's not to say, of course, that it's not worthy of notice. Released in 1989, it was his third solo album at that time. Mr. Hayward utilized several different producers, resulting in a somewhat varied sound. Here is what you may notice when going through it song-by-song...

The album kicks off with an upbeat song called "Takes Your Chances"; just try not to be misled by the introduction, which relies heavily on horns. This is an energetic and, overall, a well-done song, although somewhat unlike what you might expect of JH if you're only familiar with his works within the Moody Blues. (Note: If the only song you know if his is "Nights and White Satin", you should probably try The View from the Hill as your first JH solo album. Better yet, buy a Moody Blues album...) His lilting voice rises up for the chorus--the message of which, in essence, is to seize the moment. Two people love each other deeply and should not deny it, as that kind of shared emotion is so rare. "Let's not pretend...cos we may never pass this way again." This is a good, solid opening track, although I would much prefer a version sans the brass section.

"Is it Just a Game" is a bit more like what you would expect from Justin; the intro features his characteristic guitar playing and the short, halting strums of the acoustic guitar during the verses provide a constant rhythm. The melody is unique as only he could write it. This one is a number worth giving a listen to.

A change of pace with "One Again". The producing of Tony Visconti seemed to have had a big influence here, and it has a sound strongly reminiscent of reggae. The lyrics predict a time when all people will live as one and the world will be at peace--not a surprising theme for a sensitive songwriter.
"No troubles, no hunger, no heartache, no pain...
I know that we're going to be one again."

Next comes the title track, a slow, calming song that will most likely make you want to simply drift away "on a wave of love." Once again, Justin Hayward has written the most poetic, gorgeous, nature-inspired lyrics that you will ever hear.
"The cool of the evening, the strange unknown of the night,
the warmth of the morning, the graceful bird in its flight.
Well don’t be afraid of the world, let me take you by the hand--
we can move mountains."
If the words alone don't do it for you, his voice might. It’s almost whispery on this one, as if he's singing you a lullaby but carefully keeping it soft, so as not to wake you. Like "One Again," the beat is slow and steady, and will gently roll along until the end.

Your sleep is now over; "Silverbird," another fast-paced song, is to follow. It is debatably the best number on the album. It is co-written and produced by Jeff Wayne, the man responsible for Justin's hit single "Forever Autumn." The riff of the haunting, almost Spanish-sounding guitars will linger with you after the song has ended. That, paired with the strong bass, contributes to the incredibly well-done music in this song. The guitar solo near the end has a unique, ringing sound as Justin's guitars harmonize. The lyrics express a fear that his "silverbird" is going to leave him: "...and baby in my dreams I see...I see you walking away." In the end he decides that he will let her fly where ever she desires, knowing that she will return to him one day. He, however, will no longer fly; he is "home to stay" and will always wait for the one he loves. "And I see the power of love like an ocean today...."
Jeff Wayne's major production mistake was the nearly-operatic group of voices backing Justin. They disturb that sultry sound of the song with their layered choir singing. Justin could have easily handled the task on his own; his vocals are confident, and as usual, his voice is a beautiful balance of emotion and control. The final touches are his improvisations at the fade-out.

Slowing down again with "Lost and Found," a sweet song about how he's found his place with the one he loves after being alone and confused for so long. The piano is emphasized in this one, but the best parts of it would probably be the words, not to mention the catchy internal rhyme--but more, the way the words are sung. The song has a personal feel, as if he is singing about emotions and events very dear to him. This is not the best on the album, but certainly not bad.
(To be continued)