Moody Blues - On The Threshold Of A Dream Super-Audio CD

On The Threshold Of A Dream album for sale Recorded live at the Fillmore East, New York, New York on March 12-13, 1971. Originally released on Capricorn. Ultradiscs are mastered from the original master tapes using Mobile Fidelity's proprietary mastering technique, then plated with 24-karat gold and housed in a stress-resistant lift-lock jewel box. The original Fillmore East album is one of the finest live documents of the rock era, capturing the original line-up of one of the '70s' tightest outfits before they were cruelly robbed of Duane Allman and Berry Oakley. Taken from five 1971 performances at New York's fabled Fillmore East, the extended and effortlessly melodic workouts of "In Memory Of Elizabeth Reed" and "Whipping Post" still have the power to rivet and move. On display here is the Allmans' fabled chemistry at its finest. The band not only rocks, it rolls, swings, and stretches out in exploratory, jazzy passages. The dual guitar interplay of Duane Allman and Dickey Betts glides effortlessly over the propulsive rhythm section of Oakley and twin drummers Jaimoe and Butch Trucks, while Greg Allman's powerful blues voice and melodic keyboard work provides the icing on the cake. Though the later-released THE FILLMORE CONCERTS presents these songs in their original entirety, AT FILLMORE EAST, with its seamless edits of multiple performances, may be the superior recording. It highlights all the glint and sparkle of what still ranks among the best jamming committed to record. The Allman Brothers Band: Gregg Allman (vocals, piano, organ); Duane Allman (guitar, slide guitar); Dickey Betts (guitar); Berry Oakley (bass instrument); Jai Johanny Johanson (drums, congas, timbales); Butch Trucks (drums, timpani). Personnel: Berry Oakley (bass guitar); Jaimoe Johnson (drums, congas, timbales). Recording information: The Fillmore East (03/12/1971/03/13/1971). Photographer: Jim Marshall . Arranger: The Allman Brothers Band. The Allman Brothers Band: Gregg Allman (vocals, piano, organ); Dickey Betts (guitar); Duane Allman (guitar, slide guitar); Berry Oakley (bass); Jai Johanny Johanson (drums, congas, timbales); Butch Trucks (drums, timpani). Additional personnel: Thom Doucette (harmonica).

On The Threshold Of A Dream songs "Melissa" plays squarely to Betts's strengths, while "Les Brers in A Minor" recalls the extended jams of the AT THE FILLMORE EAST album. The next three tracks on EAT A PEACH are taken from the Fillmore shows. Each selection represents the Duane-era Allmans at their best, especially the blistering "Trouble No More." The sound quality on these tracks, however, does not compare well to the analogous tracks on THE FILLMORE CONCERTS, an expanded reissue of the classic live album. The final three tracks, studio sessions featuring Duane, hint at what PEACH might have been had Duane lived. Released shortly after the death of guitar legend Duane Allman, EAT A PEACH occupies an important transitional spot in the Allman Brothers' discography. The leading three tracks, recorded after Duane's death, point the way toward the band's future. While still rooted in the group's blues-jam roots, these songs show the Allmans angling closer to the melodic country style that was guitarist Dicky Betts's forte. Betts acquits himself well on the opening "Ain't Wastin' Time No More," deftly handling a slide-guitar part that cannot help but evoke the group's departed member. The Allman Brothers Band: Gregg Allman (vocals, acoustic guitar, piano, organ); Dickey Betts, Duane Allman (guitar); Berry Oakley (bass guitar); Jai Johanny Johanson (drums, congas); Butch Trucks (drums, percussion).

On The Threshold Of A Dream CD music Though this 1971 release was issued at a time of enormous commercial success for the Moody Blues, EVERY GOOD BOY DESERVES FAVOUR contains some of the band's most adventurous music. The band had recently discovered the Moog synthesizer, and its presence is felt on much of the album. The opening "Procession" instantly sets this collection's experimental course, landing like a spacecraft among reams of cascading synthesizer before evolving into a soundscape of cricket chirps, thunderclaps, and tribal chanting. The next three minutes contain one of the most cathartic sonic explorations the band has ever put forth. Other standout tracks include "After You Came," which features tessellated vocal layering and bluesy guitar work; "Emily," a song that John Lodge wrote for his daughter; and the rapturously symphonic "You Can Never Go Home." Rich, complex, powerful, and beautifully produced, EVERY GOOD BOY DESERVES FAVOUR brings together all of the Moody Blues' best qualities in one album, standing as the culmination of their fine '60s work, and the standard-bearer for the music to come. Import-only SACD/Hybrid pressing. 2007 digitally remastered digipack edition of this 1971 classic featuring the original stereo mix and the 5.1 Surround Sound mix plus added tracks along with an expansive booklet containing sleeve notes and rare photographs. Features two previously unreleased tracks: 'The Story In Your Eyes' (Original Version) and 'The Dreamer'. 11 tracks total. Decca. Contains 2 Bonus Tracks. The Moody Blues: Mike Pinder (keyboards); John Lodge (bass instrument); Graeme Edge (percussion); Justin Hayward , Ray Thomas. Personnel: Justin Hayward (vocals, guitar); Ray Thomas (vocals, flute, harmonica, percussion); Michael Pinder (vocals, keyboards); John Lodge (vocals); Graeme Edge (drums). Audio Mixer: Paschal Byrne. Audio Remasterers: Justin Hayward ; Paschal Byrne; Alberto Parodi. Recording information: Tollington Park Studios, London, England (11/04/1970-11/09/1970); Wessex Studios (11/04/1970-11/09/1970). Photographer: Barry Plummer.

On The Threshold Of A Dream buy CD music This is a DTS CD, which features DTS 5.1 Surround Sound technology and is playable on a DTS-capable 5.1 Surround Sound system. While the Moodies were never exactly a rocker's delight, SEVENTH SOJOURN, the seventh recording with the post-Denny Laine lineup, is perhaps their most ballad-heavy album. Ironically, the album's biggest hit, which would become one of the group's signature songs, was the uncharacteristically uptempo "I'm Just a Singer in a Rock and Roll Band." Elsewhere, appearances are equally deceiving; interpersonal tensions had developed in the band to the point where there wouldn't be another Moody Blues album for six years, but the album is full of slow, romantic musings, not signs of strife. As usual, it's Justin Hayward, he of the silky voice and heart-on-a-sleeve lyricism, who excels at all this romantic balladry, his contributions being the most melodic and affecting. John Lodge's aforementioned "I'm Just a Singer" is far and away the most energetic tune, but it closes the album and doesn't disturb the contemplative mood. Ironically, though the band was coming apart, they were also reaching new heights. Keyboardist Mike Pinder had traded in his Mellotron for its more sophisticated cousin, the Chamberlain, which provided an improved overall sound on SEVENTH SOJOURN. Import-only SACD/Hybrid pressing. 2007 digitally remastered digipack edition of this 1972 classic featuring the original stereo mix and the 5.1 Surround Sound mix plus added tracks along with an expansive booklet containing sleeve notes and rare photographs. Features four previously unreleased tracks: 'Isn't Life Strange' (Original Version), 'You And Me' (Beckthorn's Backing Track), 'Lost In A Lost World' (Instrumental Demo) and 'Island'. 12 tracks total. Decca. Digitally remastered by Steve Fallone (Polygram Studios). All tracks have been digitally remastered. Contains 4 Bonus Tracks. Recorded at Tollington Park Studios, London, England. Recorded at Tollington Park Studios, London, England. Originally released on Threshold (7). Includes liner notes by John Reed. Audio Remasterers: Justin Hayward ; Paschal Byrne; Alberto Parodi. Recording information: Beckthorns (01/??/1972-02/14/1973); Decca Studios Tollington Park (01/??/1972-02/14/1973); Decca Studios, Tollington Park, London, England (01/??/1972-02/14/1973); Tollington Park Studios, London, England (01/??/1972-02/14/1973). Photographer: Barry Plummer. The Moody Blues: Mike Pinder, Justin Hayward, Ray Thomas, John Lodge, Graeme Edge.

On The Threshold Of A Dream songs The beautifully remastered version of the Moody Blues's 1970 back-to-basics album (translation: they cut way back on the overdubs) strips away the original aural murk at last, and includes informative liner-note interviews with the band about the recording process. Standout tracks include the classic sort-of protest song "Question" and "It's Up to You," one of singer/guitarist Justin Hayward's most authoritatively wistful riff-rockers. There is a clear attempt to pare back the lush excesses of their earlier work in favor of a leaner rock sound, as heard on cuts like John Lodge's pell-mell "The Tortoise and the Hare." Still, one of the album's standouts is Ray Thomas's "And the Tide Rushes In," a lovely psychedelic ballad of the sort that moved the Who's Pete Townshend to remark that the Moody Blues' albums were so gorgeously produced that listening to them was like "being in church." A QUESTION OF BALANCE is a fine album, and a clear preparation for its successor EVERY GOOD BOY DESERVES FAVOUR, one of the band's finest moments. Import only SACD/Hybrid pressing. Digitally remastered digi-pack edition with the the original stereo mix with added tracks along with an expansive booklet containing sleeve notes are rare photographs. 'A Question of Balance' features 6 bonus tracks. Universal. 2006. Includes liner notes by John Reed. All tracks have been digitally remastered. The Moody Blues: Justin Hayward (vocals, guitar); John Lodge (vocals, bass instrument); Ray Thomas (flute, harmonica); Mike Pinder (keyboards); Graeme Edge (drums, percussion). The Moody Blues: Justin Hayward, Graeme Edge, John Lodge, Mike Pinder, Ray Thomas. Engineers: Derek Varnals, Adrian Martins, Robin Thompson.

On The Threshold Of A Dream album for sale The Moodies were a prolific lot in the late '60s. This, the post-Denny Laine lineup's fourth album, was the second to be released in 1969. It was the group's most mature, fully realized effort to date, arguably surpassing even the milestone DAYS OF FUTURE PASSED in its elegance and vision. The Moodies were always capable of both songcraft and experimentalism, but this was the first time they combined them both successfully. Mike Pinder's dramatically arcing mellotron is the perfectly complement to the group's lush vocal harmonies, which are colored by rich acoustic guitar textures. Things open on a mind-bendingly psychedelic note with the electrical storm of "Higher and Higher," but soon the waters calm. Justin Hayward's brief acoustic ballad "I Never Thought I'd Live to be a Hundred" is among the band's loveliest tunes, and it leads into "Beyond," an ambitious instrumental that is the Moodies at their most progressive. Throughout the album, the mixture of winningly melodic balladry, poignant folk-rock and ambitious prog-rock leanings combine for what is one of the Moody Blues' most satisfying albums. Additional Tracks; Deluxe Edition All tracks have been digitally remastered. The Moody Blues: Graeme Edge, John Lodge, Ray Thomas, Justin Hayward, Mike Pinder. Engineers: Derek Varnals, Adrian Martins, Robin Thompson. The Moody Blues: Justin Hayward , Graeme Edge, John Lodge, Mike Pinder, Ray Thomas. Audio Mixer: Derek Varnals. Audio Remasterers: Justin Hayward ; Alberto Parodi. Recording information: BBC Paris Theatre (07/??/1969-12/17/1969); Decca Studio One, West Hampstead, England (07/??/1969-12/17/1969). Photographers: Derek Varnals; Barry Plummer. The Moody Blues: Justin Hayward, Mike Pinder, John Lodge, Ray Thomas, Graeme Edge.