Moody Bluegrass: A Nashville Tribute to the Moody Blues

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Editorial Reviews

All Music Guide - James Christopher Monger
With all of the other countless tongue-in-cheek bluegrass renderings of classic rock radio staples, it's hard not to toss off producer/mandolin player David Harvey's irony-free reimagining of the Moody Blues' greatest hits as just another campfire novelty meant to be pulled out during the more inebriated portion of the evening. However, when the project attracts a session band that includes Alison Krauss, Sam Bush, Lionel Cartwright, and Tim O'Brien -- just to name a few -- what was once an exercise in high camp turns into a lovingly crafted tribute that's as reverent as it is whimsical. Harvey's love for the group is obvious -- he gets kudos for including ...
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Editorial Reviews

All Music Guide - James Christopher Monger
With all of the other countless tongue-in-cheek bluegrass renderings of classic rock radio staples, it's hard not to toss off producer/mandolin player David Harvey's irony-free reimagining of the Moody Blues' greatest hits as just another campfire novelty meant to be pulled out during the more inebriated portion of the evening. However, when the project attracts a session band that includes Alison Krauss, Sam Bush, Lionel Cartwright, and Tim O'Brien -- just to name a few -- what was once an exercise in high camp turns into a lovingly crafted tribute that's as reverent as it is whimsical. Harvey's love for the group is obvious -- he gets kudos for including overlooked gems like "Land of Make Believe" and "Late Lament" -- as the track order mimics the veteran band's typical live set, even utilizing their trademark opener, "Lovely to See You," as the leadoff cut. What follows is surprisingly heartfelt and poignant. Who knew that "The Voice" and "Your Wildest Dreams" were far better country songs than rock songs? Why does the druggy epic "Legend of a Mind" sound so much less insipid in the hands of a bunch of Nashville studio musicians? Probably because they saw past all of the Mellotrons, precious song cycles, and spoken word pretense and dug out the intangible spark that made these songs hits in the first place.
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Product Details

  • Release Date: 9/28/2004
  • Label: Rounder / Umgd
  • UPC: 011661055025
  • Catalog Number: 610550

Album Credits

Performance Credits
Alison Brown Banjo
Alison Krauss Vocal Harmony
Sam Bush Baritone (Vocal)
Lionel Cartwright Piano
Jane Harvey Vocals
Larry Cordle Recitation
Harley Allen Vocals
Fred Carpenter Fiddle
John Cowan Vocals, Tenor (Vocal)
Stuart Duncan Fiddle, Slide Mandolin
David Harvey Mandolin, Violin, Vocals, Baritone (Vocal), Lead
Jan Harvey Vocals, Baritone (Vocal)
Keith Little Banjo
Timothy May Guitar
Bob Mummert Percussion, Drums
Tim O'Brien Mandolin, Vocals
John Randall Tenor (Vocal)
Tom Shinness Harp Guitar
Russell Smith Baritone (Vocal)
Andy Todd Fiddle, Bass Fiddle
Aubrey Haynie Fiddle
Charlie Cushman Banjo
Barry Crabtree Banjo
Andrew Hall Dobro
Patty Mitchell Tenor (Vocal)
Harvey Allen Vocals
Daniel Carwile Fiddle, Mandolin, Strings, Violin, Vocals, Baritone (Vocal)
Calvin Settles Baritone (Vocal), Harmony
Ira Wayne Settles Harmony, Lead
Odessa Settles Tenor (Vocal), Harmony
Todd Suttle Bass, Harmony
Sam Rush Vocals
Technical Credits
Alison Brown Introduction
Justin Hayward Composer
John Lodge Composer
Ray Thomas Composer
Graeme Edge Composer
Mark Howard Engineer
David Harvey Producer, Audio Production
Jill Snider Contributor
Brent Truitt Engineer
Jon Weisberger Liner Notes
Ben Surratt Engineer
Richard Pimsner Engineer
Randey Faulkner Executive Producer
Hank Williams Mastering
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Customer Reviews

Average Rating 4
( 4 )
Rating Distribution

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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    The chemistry is dynamic and engaging

    Playing Time – 48:31 -- Before reviewing this bluegrass album, I cued up my turntable with my vinyl copy of the Moody Blues’ 1969 album “On The Threshold of a Dream.” It brought back some great memories of the 70s. Then, I rediscovered a booklet inside with all the lyrics, and I sang along with Harley Allen and John Cowen on their bluegrass renditions of “Lovely to See You” and “Never Comes the Day.” Both has the songs’ signature licks down, and both also featured quartet harmony of Odessa Settles, Ira Wayne Settles, Calvin Settles, and Todd Suttle. Wow, that was fun. Now I’ll probably spend an hour trying to find my old vinyl copies of “Days of Future Passed” and “In Search of the Lost Child.” It just goes to show how timeless the Moodies’ music is. If we only had more time in our lives, we could continually retrieve decades old music to revisit and reinvent in a new genre. Mandolinist David Harvey produced Moody Bluegrass as a tribute to the progressive rock band formed in 1964 in Birmingham, England whose music was once described as “psuedo-philosophical music to get stoned by” and “mood music for the permissive generation’s lazy ears.” The Moody Blues really launched their career with their most famous song (in 1967), “Nights in White Satin.” It brought goose bumps to hear John Cowan, Sam Bush and Alison Krauss now sing this song accompanied by guitars, mandolins, violins, violas, cello, dobro and bass. In the old days, it was Mike Pindar’s Mellotron (a type of synthesizer) that enabled the Moodies to tour without orchestra. Another big hit, of course, was “I’m Just a Singer in a Rock & Roll Band,” and the new acoustic cover featuring Cowan, Bush and John Randall’s vocals is a splendid happening. On other tracks, additional lead vocalists Tim O’Brien (“Land of Make Believe” and “Legend of a Mind”), Larry Cordle (“The Other Side of Life” and recitation on “Late Lament”), and Jan Harvey (“It’s Up To You”) expertly interpret the music. Jon Randall, Jill Snider, Russell Smith and Patty Mitchell are some other vocalists who sing nice harmonies. Besides the snappy mandolin of David Harvey, the charged-up instrumental support for this project includes some phenomenal Nashvillians like Stuart Duncan (fiddle), Alison Brown (banjo), Aubrey Haynie (fiddle), Andy Hall (dobro), Tim May (guitar), Daniel Carwile (various strings), Barry Crabtree (banjo) and Andy Todd (bass). Bob Mummert’s laid-back percussion finds its way into the mix on three tracks. Like the original Moodies’ music, the songs continue to cast a magical spell that will free you of life’s repressions. In the accompanying booklet with the original “On The Threshold of a Dream,” David Lymonds wrote, “The problem about reactions is that they tend to need a catalyst to trigger them off, and that’s why the Moodies are so important in my life. Their music catalyses. Words, instruments and voices….a controlled power that is all their own.” A group of acousticians exhibiting special chemistry have now reacquainted us with the substances and reactants to put their own creative stamp and interpretive twists on the musical process. The resulting chemical reaction is a dynamic and engaging one. (Joe Ross, staff writer, Bluegrass Now)

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 1, 2010

    A gem

    On the surface you wouldn't think bluegrass versions of Moody Blues songs would work. Don't be deceived. This is a delightful and enjoyable CD that offers fresh voices and sounds to classic songs.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted October 1, 2010

    Three words can describe this CD

    Abhorrent, awful and a waste of your hard-earned money. "Late Lament" is a joke. Save your money and wait until the Moodies release their SACDs sometime after the first of the year. This CD isn't even a good "novelty" item.

    0 out of 2 people found this review helpful.

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  • Anonymous

    Posted November 25, 2011

    No text was provided for this review.

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