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A Night at Red Rocks
(CD, 1993)

Primary Artist: Moody Blues (The)

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$11.98
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Format: CD
Mar 1993
Record Label: Polydor (USA)
Recording Type: Live
UPC: 031451797720
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Track Listing
1. Overture: Ride My See-Saw / Tuesday Afternoon (Forever Afternoon) / Nights In White Satin
2. Late Lament
3. Tuesday Afternoon (Forever Afternoon)
4. For My Lady
5. Lean on Me (Tonight)
6. Lovely to See You
7. I Know You're Out There Somewhere
8. Voice, The
9. Your Wildest Dreams
10. Isn't Life Strange
11. Other Side of Life, The
12. I'm Just a Singer (In a Rock and Roll Band)
13. Nights in White Satin
14. Question
15. Ride My See Saw

Details
Contributing artists:Colorado Symphony Orchestra
Distributor:Universal Distribution
Recording Type:Live
Recording Mode:Stereo
SPAR Code:n/a

Album Notes
Full title: A Night At Red Rocks With The Colorado Symphony Orchestra.
The Moody Blues: Justin Hayward (vocals, guitar); John Lodge (vocals, bass); Ray Thomas (vocals, tambourine); Graeme Edge (drums).
Additional personnel: Bias Boshell, Paul Bliss (keyboards); Gordon Marshall (drums, percussion); June Boyce, Sue Shattock (background vocals).
Recorded live at Red Rocks, Denver, Colorado on September 9, 1992.
This 1992 live recording represents the closing of a circle. Life for the post-Denny Laine Moodies began with the orchestrated rock of DAYS OF FUTURE PASSED, as prog-rock history was made. 25 years later, with decades of hit albums behind them, the band finds itself once again backed by an orchestra for A NIGHT AT RED ROCKS. With both Mike Pinder and Patrick Moraz long gone, the group is down to a quartet here, augmented by session musicians and the Colorado Symphony Orchestra. The 1969 live recording CAUGHT LIVE proved that the band never needed an orchestra to reproduce its lush sound, but it certainly doesn't hurt. The marriage of the Moodies' progressive pop-rock with the Colorado Symphony's elegant accompaniment seems a natural one. With as many hits as the band had behind them by this time, it's hard for the show to be full of anything else. The twist is that the set is still almost equally divided between pre- and post-comeback hits.


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