Moody Blues in Quad and 5.1

[Shermatz]

The outcome is documented. Moraz and the Moodies settled and they had to pay Moraz for firing him. I don't think it was anywhere near the original amount he was sueing for.

Interesting! A poor outcome for everyone, I'd say, but I see both sides. Joining a "legacy" act like the Moody Blues, any new member is always gonna be more of an "associate" than a real band member. But Patrick had surely foregone other opportunities to be on call for the MB's and deserved "alimony" if they chose to dump him. Surely a rough blow to bear for Patrick, having been dismissed from Yes back in '76. All I ever heard about that situation was Yes management wanted Rick Wakeman back. Steve Howe said "Patrick didn't do anything wrong." Moraz definitely made an important mark on Yes, "Relayer" was & is a totally unique AND adventurous highlight of their discography.

 

[andyp]

Interesting! A poor outcome for everyone, I'd say, but I see both sides. Joining a "legacy" act like the Moody Blues, any new member is always gonna be more of an "associate" than a real band member. But Patrick had surely foregone other opportunities to be on call for the MB's and deserved "alimony" if they chose to dump him. Surely a rough blow to bear for Patrick, having been dismissed from Yes back in '76. All I ever heard about that situation was Yes management wanted Rick Wakeman back. Steve Howe said "Patrick didn't do anything wrong." Moraz definitely made an important mark on Yes, "Relayer" was & is a totally unique AND adventurous highlight of their discography.

I had read something that Moraz was not easy to get along with. That the Moody's were together for so long before Moraz was asked to join, he was never accepted as a Moody "member" but rather a session musician and touring partner.

 

[ar surround]

I had read something that Moraz was not easy to get along with. That the Moody's were together for so long before Moraz was asked to join, he was never accepted as a Moody "member" but rather a session musician and touring partner.

He was listed as a member of the band on the albums and his face is shown on The Other Side Of Life album cover. On the blue vinyl version of that album, he’s even shown in the center of the photo.

On one of the documentary DVDs, he’s interviewed and featured as a full fledged band member.

Moraz sued for $500,000; was offered a settlement of $400,000; and awarded $77,175 by a jury on Court TV. (All this according to Wikipedia.)

 

[SomethingAnything]

He was listed as a member of the band on the albums and his face is shown on The Other Side Of Life album cover. On the blue vinyl version of that album, he’s even shown in the center of the photo.

On one of the documentary DVDs, he’s interviewed and featured as a full fledged band member.

Moraz sued for $500,000; was offered a settlement of $400,000; and awarded $77,175 by a jury on Court TV. (All this according to Wikipedia.)

I loved Patrick Moraz's contributions to both Yes and the Moodies. I remember being very disappointed when he was no longer in Yes, and thinking at the time he probably wasn't the best match for the Moodies, however he still did well within the less adventurous musical frame of their later period.

I followed the Moraz/Moodies break up at the time and recall Moraz was very unfairly treated by the Moodies and, while he felt he was able to be as creative as he liked with Yes and was free to continue with his solo career at the same time, he felt the Moodies shackled him. The thing that really got to him was that each of the other members was putting out solo albums, but he was not permitted to. I guess there must have been some contractual thing he missed, that meant he was unable to. Or maybe it was just pressure from them not to.

I also recall that Moraz felt he did OK out of the legal action, which found in his favour.

I still love pretty much all of the Moodies albums though, and certainly don't agree with the comment elsewhere that they now come across as juvenile ('juvenilia' was the word used). I believe it's just that the world has moved on so massively since those albums (as it's wont to do), however their musical and conceptual ideas were very fresh and original at the time. Especially To Our Children's Children's Children. At the time, that was mind-blowingly different, pre-dating Hawkwind's space themes by a long mile.

Update: Read below for a different version of events re Moraz suing. All sad really, when this stuff happens.

And I don't think their stuff is dated at all (not that anyone has said that), but some of the music can now have a certain nostalgic quaintness to it (as opposed to juvenile), which for me does not take away from the listening experience one iota. After all, everything looked back on fondly is nostalgic. The world was tough back then as well, but the very act of looking back can make things seem quaint now.

 

[wkcats]

I remember Moraz using his portable keyboard and jamming with the band, I think near the end of the shows. He brought some vitality and personality to the instrument, which was relegated to supporting role in a lot of other popular established rock acts at the time. Can't imagine Tony Banks ever doing that.

Again, very much a love/hate thing for his years with the band. It can be argued he injected some fresh energy into what could have quickly devolved into a nostalgia act (which eventually was the case, and fairly soon after he departed).

I saw the moodys with pat and I agree with you.it was the first time I saw them and he played to load and over the other moodys.I have seen them in latter years and they where great. For the guy that asked if he left on his own. From the book I'm now reading the court dispute was he said he was made a full member and as a member could not be fired.they said he was a hired hand and as one could be let go at any time. Pat also did an interview attacking the music and that's why they wanted a change. The moodys won most of the case. Before trial they offered him a settlement that his lawyer advised him to not take, and they could win 2 and a half million. The court threw out most of the case except back wages of $75000.he said after witness fees and attny fees he got nothing and was badly advised

 

[Shermatz]

I loved Patrick Moraz's contributions to both Yes and the Moodies. I remember being very disappointed when he was no longer in Yes, and thinking at the time he probably wasn't the best match for the Moodies, however he still did well within the less adventurous musical frame of their later period.

I followed the Moraz/Moodies break up at the time and recall Moraz was very unfairly treated by the Moodies and, while he felt he was able to be as creative as he liked with Yes and was free to continue with his solo career at the same time, he felt the Moodies shackled him. The thing that really got to him was that each of the other members was putting out solo albums, but he was not permitted to. I guess there must have been some contractual thing he missed, that meant he was unable to. Or maybe it was just pressure from them not to.

I also recall that Moraz felt he did OK out of the legal action, which found in his favour.

I still love pretty much all of the Moodies albums though, and certainly don't agree with the comment elsewhere that they now come across as juvenile ('juvenilia' was the word used). I believe it's just that the world has moved on so massively since those albums (as it's wont to do), however their musical and conceptual ideas were very fresh and original at the time. Especially To Our Children's Children's Children. At the time, that was mind-blowingly different, pre-dating Hawkwind's space themes by a long mile.

Update: Read below for a different version of events re Moraz suing. All sad really, when this stuff happens.

And I don't think their stuff is dated at all (not that anyone has said that), but some of the music can now have a certain nostalgic quaintness to it (as opposed to juvenile), which for me does not take away from the listening experience one iota. After all, everything looked back on fondly is nostalgic. The world was tough back then as well, but the very act of looking back can make things seem quaint now.

Moody Blues just aren't my thing, BUT as I've already said, no one's wrong if you or other forum peers do like them. Yeah, I do find them kind of juvenile & a little kitschy BUT I respect their stature as prog/psychedelic innovators & the LONG career they enjoyed. But I recall for example drummer Graham's Spinal Tap poetry interludes & gotta roll my eyeballs. It's like jazz fusion, I JUST DON'T GET IT, but it's no shade intended on those of you that DO like the Moodys.

I was a big Patrick Moraz fan, though, and felt he was a mismatch joining up with them. Sorry they parted acrimoniously, though. I must say that Moraz' solo career post-Moodys really branched into a jazz fusion direction & I drifted away from him.

 

[stoopid]

...It's like jazz fusion, I JUST DON'T GET IT, but it's no shade intended on those of you that DO like the Moodys...

...I must say that Moraz' solo career post-Moodys really branched into a jazz fusion direction & I drifted away from him.

A lot of the 'best' musicians on a particular instrument seem to devolve/evolve into jazz fusion players. I think it's because they get bored working in the confining musical structures of more popular music genres. Or they were always classical/jazz players (thinking Jordan Rudess, Keith Emerson, Moraz of course, etc) and used these prog/pop acts as a means to pay the bills and keep their brand relevant so people venture into buying their solo stuff.

 

[andyp]

Moody Blues just aren't my thing, BUT as I've already said, no one's wrong if you or other forum peers do like them. Yeah, I do find them kind of juvenile

Juvenile...far from it..FAR

 

[Shermatz]

It's crazy because while my older brother (RIP), was reeling me in with prime-era Yes, Genesis, Focus, etc, in the early '70's, he was also running Miles Davis, Larry Coryell, Tony Williams Lifetime in heavy rotation. I could admire the musical prowess & the conceptual daring BUT... I just couldn't (and can't) get on the jazz wavelength at all. I DO occasionally sample some "Bitches Brew" and "Birds of Fire," but I'm still not feelin' it!

 

[Perp]

Juvenile...far from it..FAR

Yeah, compared to much of today’s lyrics, fun for the entire family.

 

[andyp]

Yeah, compared to much of today’s lyrics, fun for the entire family.

The Moody Blues can't rearrange your liver to the solid mental grace but they do meddle with your gray matter...and I don't mean your hair...

 

[ar surround]

Juvenile music: Can you imagine the income if you wrote Rudolph The Red Nose Reindeer, didn’t sell the song, and kept the royalties?

 

[SomethingAnything]

A lot of the 'best' musicians on a particular instrument seem to devolve/evolve into jazz fusion players. I think it's because they get bored working in the confining musical structures of more popular music genres. Or they were always classical/jazz players (thinking Jordan Rudess, Keith Emerson, Moraz of course, etc) and used these prog/pop acts as a means to pay the bills and keep their brand relevant so people venture into buying their solo stuff.

And/or ambient.

 

[jimfisheye]

A lot of the 'best' musicians on a particular instrument seem to devolve/evolve into jazz fusion players.

I thought "adult contemporary" is where music goes to die. We're supposed to be impressed by the advanced talent shown by the polite perfection and maturity to avoid any musical bit that might get attention or be interesting. Subservient background drone for a lyric.

 

[stoopid]

I thought "adult contemporary" is where music goes to die. We're supposed to be impressed by the advanced talent shown by the polite perfection and maturity to avoid any musical bit that might get attention or be interesting. Subservient background drone for a lyric.

Their mainstream projects end up that way most of the time, but their solo stuff is where they focus their creativity. Rick Wakeman might be another good example. The record companies place a lot of pressure (then and now) for palatable music, but that doesn't mean the artist isn't getting shit done outside of their main gig. I think the timelines and discographies of the various 'hired guns' in the music industry is all well documented.

 

[ar surround]

I thought "adult contemporary" is where music goes to die. We're supposed to be impressed by the advanced talent shown by the polite perfection and maturity to avoid any musical bit that might get attention or be interesting. Subservient background drone for a lyric.

'Adult Contemporary'...I thought that used to be the porn section in the video store. Seriously, I think that Adult Contemporary it is simply a category of Billboard for acts that have little more than a small fan base remaining. It is not where music goes to die, but rather where the acts and their fans go to die. It's just part of life.

 

[jimfisheye]

No, the tribute acts (that continue to tour in tribute to that one album or song) keep playing their same hits well past the expiration dates. I mean the polite lobotomized stuff that comes after the fact. If "adult contemporary" isn't the right term... I can think of a few other names and words but I believe there's a profanity filter here now.