John Lodge, the esteemed bassist, vocalist, and songwriter of The Moody Blues, has embarked on a remarkable journey back to the band’s seminal album, Days of Future Passed. In a recent interview, John Lodge delves into the inspiration behind his reimagining of this classic work, offering fans a fresh perspective on timeless music. This new rendition, titled Days of Future Passed – My Sojourn, not only celebrates the album’s enduring legacy but also reflects John Lodge’s personal passage of time and his deep connection to the music.
From Live Stage to Studio: The Genesis of Days of Future Passed – My Sojourn
The seeds for this ambitious project were sown during John Lodge’s live performances. As he explains, “during Covid I recorded stuff in my own studio and it was rather insular. But I thought what am I going to do when Covid’s gone and back on the road.” This contemplation led him to revisit the iconic Moody Blues catalog and consider a live performance of Days of Future Passed. Discussions with his keyboardist, Alan Hewitt, and his daughter Emily, who also manages him, solidified the idea, especially as the album’s anniversary approached.
John Lodge sought the blessing and participation of original Moody Blues drummer, Graham Edge. “I went to see Graham and said, Graham, ‘I’m thinking of doing Days of Future Passed on stage. Would you record your poetry for me?'” Edge’s enthusiastic agreement and recording of his poetry, including Late Lament, became a poignant and integral part of the project, ensuring his presence on stage both in spirit and visually through film. Although Edge sadly passed away before seeing the live performance, his contribution was a crucial catalyst for John Lodge’s endeavor. The positive audience reception to the live shows further encouraged John Lodge and his band, The 10,000 Light Year Band, to record this new interpretation of Days of Future Passed.
A Timeless Album Re-Energized for 2023
Reflecting on the passage of time, John Lodge notes the emotional depth Graham Edge’s poetry gains with age. Comparing the new album to the 1967 original, John Lodge aimed to maintain the imaginative essence of Days of Future Passed while injecting it with “more 2023 and probably more energy, because today’s music is more energy.” This approach breathes new life into familiar tracks, offering both longtime fans and new listeners a revitalized experience.
One notable aspect of Days of Future Passed – My Sojourn is the opportunity to highlight songs that might have been somewhat overshadowed in the original release. John Lodge specifically mentions “Evening Time to Get Away,” a track that, in its original form, was integrated with Tuesday Afternoon. In this new version, “Evening Time to Get Away” stands alone, allowing its musical and lyrical nuances to fully resonate. John Lodge expresses his satisfaction with his band’s rendition, stating they “really nailed it musically.”
Jon Davison’s Guest Vocals and a Family Connection
Adding another layer of richness to the album is the guest appearance of Jon Davison, the current vocalist for YES. Davison’s vocals on Nights In White Satin and Tuesday Afternoon are particularly noteworthy. John Lodge recounts how their collaboration began during a YES tour where Lodge was the supporting act. Sharing the stage for encores – YES performing Imagine and John Lodge performing Ride My See-Saw with Davison – forged a musical bond and a personal one, as Davison later married John Lodge’s daughter. John Lodge praises the new version of Tuesday Afternoon as having “something special about it… a fantastic drive on this version.”
The Moody Blues’ Songwriting and Studio Evolution
Looking back at the original Days of Future Passed, John Lodge shares insights into The Moody Blues’ creative process. Prior to the album, the band spent time in Mouscron, Belgium, writing songs. However, the concept of Days of Future Passed became the central focus, dictating the direction of their songwriting for that project. Earlier compositions were set aside as they dedicated themselves to crafting the narrative and musical tapestry of Days of Future Passed.
John Lodge vividly remembers the recording of Nights In White Satin and the band’s collective surprise upon hearing the finished track for the first time. In the studio, musicians focus on their individual parts. John Lodge, hearing only his bassline during recording, describes the revelation: “when we went into the control room and listened to the finish, no one, none of us, had ever heard what the actual song sounded like. We were actually taken aback. It was wow, what have we done?!” This anecdote underscores the collaborative magic and unexpected brilliance that defined The Moody Blues’ creative journey.
Early Days in Birmingham and Bass Guitar Inspiration
John Lodge’s solo work, particularly the track “Those Days In Birmingham” from his album 10,000 Light Years Ago, offers a glimpse into his formative years. He fondly recalls Eddie’s Cafe, a local haunt where, as a teenager, he immersed himself in rock and roll via the jukebox. It was the bass lines in songs by Fats Domino, Little Richard, and Jerry Lee Lewis that ignited his passion for the bass guitar. He started learning these boogie piano patterns on guitar, focusing on the lower strings, drawn to the energy he found in rock and roll music, even in slower songs. This energy is something John Lodge consciously brought to his bass playing, including his iconic bassline in Nights In White Satin.
“Ride My See-Saw,” another signature John Lodge composition, exemplifies his driving bass style. He reveals that this track was played on his Fender Precision bass, a guitar he believes was the first of its kind in Birmingham. His discovery of this bass, inspired by seeing The Treniers’ bassist playing one, led to a pivotal purchase. This very bass has been his trusted instrument on countless Moody Blues recordings and now on Days of Future Passed – My Sojourn. John Lodge describes a unique quality in this instrument, attributing it to years of touring and playing, a “magic in that bass.”
Evolving Soundscapes: From Orchestration to Band Dynamics
Following the orchestral grandeur of Days of Future Passed and In Search of the Lost Chord, The Moody Blues’ sound evolved. Albums like To Our Children’s Children’s Children showcased a move towards a tighter band-oriented studio sound. John Lodge explains this shift as being influenced by their first American tour. Experiencing the vastness of America, its vibrant music scene, and touring with bands like Canned Heat and Jefferson Airplane broadened their musical horizons. This exposure led them to prioritize a more band-centric approach in the studio, capturing their live energy and interplay.
“Isn’t Life Strange,” another pivotal John Lodge track, delves into philosophical themes, a hallmark of his songwriting. He describes his songwriting approach as incorporating “homespun philosophy” and layering meanings into his lyrics, carefully pairing them with complementary music. The line “I’m just a singer in a rock and roll band” encapsulates a sense of humility and self-awareness that resonates throughout John Lodge’s work.
Navigating Challenges and Finding Inspiration: Steppin’ In A Slide Zone
The Moody Blues’ late 1970s comeback saw further sonic evolution, incorporating synthesizers and a more contemporary sound. Steppin’ In A Slide Zone, a key track from this era, reflects the tumultuous circumstances surrounding the Octave album. Recording in America for the first time, the band faced a series of setbacks: the Record Plant studio catching fire, John Lodge breaking his arm, personal challenges within the band, and the departure of their producer. The song title and theme, Steppin’ In A Slide Zone, metaphorically capture this period of upheaval and struggle, yet ultimately, Octave emerged as a successful and well-regarded album, a testament to their resilience. John Lodge sees it as a “great learning experience,” paving the way for the even greater success of Long Distance Voyager and Gemini Dream.
Gemini Dream itself was born from a desire to return to live performance. John Lodge wanted to write a song that expressed this longing to be back on the road, performing for audiences. The initial idea, even tentatively titled “Touring America,” became Gemini Dream, serving as the catalyst for Long Distance Voyager and reigniting their touring momentum.
Street Cafe: A Happy Song Reflecting Musical Memories
Before revisiting Days of Future Passed, John Lodge re-recorded “Street Cafe” for his best-of album. He describes it as a “happy song,” featuring Kenney Jones on drums, creating a joyful and celebratory vibe. “Street Cafe” evokes musical memories from various street cafes, from London to his youth, connecting personal experiences with the universal joy of music.
The Cover Art: Days of Future Passed – My Sojourn
The album cover for Days of Future Passed – My Sojourn is deeply personal and resonant. It features John Lodge and his wife, captured in Painshill Park in Cobham. The photo, taken by his daughter-in-law, perfectly encapsulates the album’s themes of time, reflection, and personal journey. John Lodge immediately recognized the photo’s significance, declaring it the album sleeve, appreciating its calm and timeless quality, representing “a passage of time with no time going through.”
John Lodge’s reimagining of Days of Future Passed is more than just a revisit to a classic album; it’s a profound reflection on time, music, and a remarkable career. Days of Future Passed – My Sojourn offers both a nostalgic journey for longtime Moody Blues fans and a compelling entry point for new listeners to discover the enduring genius of John Lodge and the timeless magic of Days of Future Passed.
Further Information
Days of Future Passed – My Sojourn – stream and CD available now, vinyl November 24:
USA https://shop.johnlodge.co
UK https://burningshed.com/store/john-lodge_store
Interviews also available:
Ray Thomas
Alan White podcast
