Don's Blog

Why should anyone care about the Moody Blues? A couple reasons: The Seven Albums that they put together between 1967 and 1972 are all pretty good efforts. It should be noted that the production on these records (Tony Clarke) is ambitious and still still top notch. He was practically considered a member of the band. Hayward and I agree that the best one is To Our Children’s Children Children.

Secondly, they are an extremely Philosophical band with song titles like “Why is it We are Here?” and “Lost in a Lost World”. I recall that one friend thought the song “Gypsy” was about being in Hell. Actually, I have heard that at least two of the Moodies are professing Christians with one claiming to have been one for a long time. One of the songs that seems the least veiled to me comes from Hayward and Lodge’s dou album Blue Jays- “You don’t need to ask me if I’ll be your friend, I am, I am, You will find and answer at your journey’s end, I am, I am.” Of course many people are aware that “I Am” is the translation of the name God gives for himself to Moses. I thought that was a great album.

Warning: Then the 80′s came. The Moodies made a huge mistake when almost every song had a one minute synthesizer intro. The warmth of the acoustic guitar was gone or pushed very far back in the mix. There are a couple of engaging songs in this period but a lot of it in unlistenable. The good news is that they rebounded and stepped away from the synth in more recent projects.

In conclusion, I think that Justin Hayward is one of the greatest singer/songwriter/musicians in pop music. John Lodge is maybe a couple notches below, but still made important contributions. Find one of the many greatest hits collections to see if you like them.

For those who don’t know The Moody Blues were a British Invasion rock band (that means the 60′s with The Beatles and such) and one of only a handful who have survived to produce music in every decade since. The original band with Denny Laine (later in McCartney’s Wings) scored a big hit with “Go Now” but were unable to follow it up with any success. Laine and the bassist quit and were replaced by Justin Hayward and John Lodge. As it turned out, these two guys subsequently wrote the songs that became big hits. While vast majority of the hits are by Hayward, Lodge did pen the rocking “I’m Just a Singer in a Rock and Roll Band” and “Candle of Life” which though not a hit, is one of their most memorable songs.

There are a number of things unique about the Moodies. First of all, a key element of their sound was the Mellotron (a keyboard that utilized analog tape loops of orchestral instruments). Because they were one of the first bands to record with an actual Symphony Orchestra they wanted to continue the same sonic effect in practical manner. Though considered primitive by modern standards, it sounds more real to my ears than the digital synthesizers. Funny how no one criticized the Beatles for using one. The keyboard man, Mike Pinder actually came up with some really great parts with that machine. For some people, the Mellotron was reason enough to dislike.

A second thing that is highly unusal about the band is that the songwriting is evenly balanced between the five members. This shows tremedous mutual respect and one can tell by listening that everyone put in their best efforts to support the song at hand. With the exception of the drummer (who only recited his poetry) everyone got to sing their songs. This inevitably leads to strenths and weaknesses. In my opionion, Pinder was not much of a singer but it is hard to imagine the other guys singing his songs. Pinder also has the spaciest songs and the least polished lyrics but sometimes his melodies are haunting and strangely fit.

As musicians, their records hold up very well. Hayward’s guitar playing is both aggressive and melodic. His timing and intonation are fantastic compared to what many other guitarist of the period were doing. Furthermore, he flourishes on both electric and acoustic. Lodge came up with some fantastic bass lines and his timing is also solid. Ray Thomas on the flute actually sounds very professional in retrospect. It should also be noted that Thomas penned some great songs himself (my favorite being “For My Lady”).

I contend that the best way to learn, understand and play scales is by dividing them into two tetrachords. A tetrachord (TC) is four notes that follow a specific pattern. A major scale contains two identical TC’s that follow a whole step/whole step/half step pattern. (It should be noted the two TC’s are separated by a whole step between the 4th and 5th notes of the scale) That’s why it sounds so normal to us- it is the same melody repeated. I have seen this called the Major Tetrachord and that makes perfect sense because the 3rd note in each pattern is interval of a Major third. If we flat that 3rd note we have a minor tetrachord. Interesting enough, if we play two minor tetrachords we don’t get the Pure or Natural Minor Scale but the Dorian scale which is actually used more when improvising. Let’s review all this with symbols:

1 2 3 4 = Major TC X 2 = Major Scale
1 2 b3 4 = Minor TC X 2 = Dorian Scale

The third mode of the major scale also contains the same TC twice. A Phrygian (p) (smallcase for minor) scale consists of 1 b2 b3 4 X 2. With the fourth mode known as Lydian we find a whole new TC- however, it is easy to recall because they are all whole steps- 1 2 3 #4. This can be called either a Lydian (L) or a Whole Tone TC. A Lydian Scale is simply a Lydian TC followed by a Major TC. The fifth mode, Mixolydian is a Major TC followed by a Minor. The 6th Mode of Aeolian (Pure, Natural Minor) is a Minor TC followed by a Phrygian. You would think that the last and darkest mode would offer something new but it doesn’t. The Locrian scale is only a Phrygian TC followed by a Lydian. So here are all the modes of the major scale broken down into their two groups of TC’s.

Major = M + M
Dorian = m + m
Phrygian = p + p
Lydian = L + M
Mixolydian = M + m
Aeolian = m + p
Locrian = p + L

This is only scratching the surface. Wait ’til you see how easy it is to play the more complicated scales.

The last time I went  to Nashville (in a last ditch attempt to get someone to listen to my songs) I remember going  to the Integrity/Hosanna building.  I can’t recall the name on it, but I was stunned.  It was a major Taj Mahal.  Of course, I got no further than the front desk, but the lavish architecture was enough to get me thinking-  Is this really necessary?  How in the world can they afford this extravagance? 

In time, I began to understand a piece of the moneygoround.  Nearly every evangelical church in America (caucasion anyway) is using  the same songs in their worship services, and nearly all of those churches are paying for the right to use that music.   That’s why you see the CCLI licence on the mega screens that are fast becoming standard sanctuary fixtures.   Churches are supposed to be filling out forms telling which songs they are using.  The prices they pay for the rights to use these songs depends on the size of the congregation.  Granted it all seems fair, but I (of all people) have a problem with it. 

For years, I played songs by other artists in working bands and I have never met anyone (among many musician friends) who ever kept track of which songs they played or paid anyone for the ability to perform them.   Perhaps we were all breaking the fine line of the law.  Someone got the idea that Christian songwriters and publishers should be paid somewhat on the basis of how many times their songs are sung in sacred worship.  In essense, the church has become like the radio and artists are rewarded for each play.   The church (we hope these people are believers) is enforcing a law that most secular venues overlooked.  In my opinion it stinks to high heaven.  Why?                                                                                                                                                                                                                                                                                      Christians are taught (or should be) that their songs are a gift from God.  Yes, talent is utilized and it is fair to get some kind of reinbursement but this is out of control.  Furthermore, a culture has developed that suggests that these are the songs we have to use.  The songs on K-Love {for example} become the norm of what is accepted as good Christian music.   As a musician, I hear a tremendous lack of creativity in the songs that are chosen.  There is an obvious bent towards formulaic writing.  That’s the only way to explain the fact that 90% of these songs use the same four chords (I, IV, V and vi).  I have had young Christian music students quickly become bored with the simplistic and repetitive nature of these songs.   That’s why I teach Beatles songs and jazz standards.  Someone, please straighten me out on this one if I have gone astray.   Good luck.  dd

This is really one of the first songs that I wrote and it may be among the most evangelical in its approach. The words are taken largely from Scripture and I will note the references for you. This song can be heard at no expense on this web site by going to “My First Album”.

Call Upon the Name of the Lord

You may be confused
About what you can do
To receive the Lord
To become born again
Of the Spirit (John 1:12, 3:3-7)

There are so many phrases
For so many phases
The fact still remains
You need to become
As a child (Matthew 18:3)

Call Upon the Name of the Lord
Call Upon the Name of the Lord
And He’ll save you (Romans 10:13/Joel 2:32)

You will find Him
If you search for Him
With all of your heart
With all of your soul
You will find Him (Jeremiah 29:13)

Because the Lord
Longs to be gracious to you
He waits on high
To have compassion on you
How blessed are those
Who long for Him
How blessed (Isaiah 30:18)

Now that I am studying chord progressions, I realize that one of my most adventurous compositions dates back to my teenage years.   It was formerly called “Bird Song” and my band Sierra with Matt Kramer and John Lillis performed it many times.   Because I was not happy with the lyrics, I found a Bible text (Psalm 92:1-4) for the tune and recorded it on “Sound His Praise Abroad” under the name “It is Good to Give Thanks to the Lord”. 

CM7    EM7    GM7   Am7   Abm7  GM7   F#m7  B7   repeat   

EbM7   EM7   FM7  (Half note triplet) transition to chorus

(FM7)    G7    Bb6    A7   Dm7    G7    C   CM7  C7

FM7   G7   Bb6   A7    Dm7   G7   C

Here is an easy way to remember key signatures. It is all based on the distance a note is from C. A half step up and down from C gives you the keys of Db and B. Both of these keys have 5 accidentals-Db has 5 flats and B has 5 sharps. A whole step up and down from C results in 2 accidentals- D has 2 sharps and Bb has 2 flats. Up and down from C results in Eb (3flats) and A (3 sharps). A major third up and down from C results in the keys of E (4 sharps) and Ab (4 flats). A fourth up results in F (1 flat) and a fourth down is G (1 sharp). A tritone (3 whole steps) up or down results in the same note F#/Gb in which both key signatures have 6 alterations.

Here it is in chart form:

Distance from C (up/down)
Half step: Db (5 flats) B (5 sharps)
Whole step: D (2 sharps) Bb (2 flats)
1 1/2 steps (minor 3rd) Eb (3 flats) A (3 sharps)
2 Whole steps (major 3rd) E (4 sharps) Ab (4 flats)
4th F (1 flat) G (1 sharp)
Tritone F# (6 sharps) and Gb (6 flats)

It’s amazing what you can find at the Library.  Just flipping through the discs, I happened upon the new Ricky Skaggs Album “Mosaic”.   I was immediately struck by the cover- at 56 with long hair, Skaggs now looks like an Old Testament prophet.   This album is so spiritual that I am moved with every listen.   Who could not be moved when hearing special guest George Beverly Shea (known for his years with Billy Graham) sing “I’d Rather Have Jesus” at age 101?   The man behind the songs deserves perhaps the most credit- Gordon Kennedy penned all 13 of the songs with various partners.   Kennedy has been a guitarist on countless Christian records and co-wrote Eric Clapton’s mega hit “Change the World”.   His father even played with Elvis.   However, these songs reflect strong spiritual truths which betray the maturity of his strong faith.  His voice supplies tremendous harmonies throughout the record and his guitar playing demonstrates much taste.  I may come back with some of the great lyrics on this disc.  Highly recommended.