John Lodge: The Unsung Rock 'n' Roll Heart of The Moody Blues
If someone asked you who truly embodied the spirit of rock 'n' roll within The Moody Blues, you might instinctively focus on the lead singers or guitarists. But here’s the twist — John Lodge, the band's bassist, was often regarded as the real rock 'n' roller in the group. And this is the part most people miss about his powerful musical identity.
A couple of years ago, Lodge was asked if he considered himself the genuine rock 'n' roll force behind The Moody Blues, especially given his remarkable contributions to the band and his solo career. His reply was confident: "I think so, yeah. Ray Thomas, from day one, always nicknamed me The Rocker. I've always been drawn to that deep, booming bass sound blasting through a 12-inch speaker. For me, that’s the essence of rock 'n' roll."
From iconic tracks like "Ride My See-Saw," "I'm Just a Singer (In a Rock and Roll Band)," to "Steppin' in a Slide Zone," John Lodge certainly lived up to that “Rocker” title. Sadly, he recently passed away suddenly at 82, a loss deeply felt in the music world and by his devoted family.
But Lodge’s talents extended beyond just being a vocalist in a legendary rock band. He was also the creative force behind beautiful compositions such as "(Evening) Time to Get Away" and "Isn't Life Strange." When he explored his solo journey, he ventured into folk, bluegrass, and heartfelt singer-songwriter pop, showing a fascinating range.
Reflecting on his lifelong relationship with music in a 2023 interview, Lodge said, "I just love music. Ever since I first discovered it — probably around age 13 — it’s been a joy like no other. I don’t think a day goes by without me picking up my guitar, bass, or piano to play. Music’s given me the incredible chance not only to perform but also to travel and uncover where these sounds originally came from."
This profound love infused his career with a rich and varied creative output. Here are ten songs that truly capture the essence of John Lodge’s musical legacy:
"(Evening) Time to Get Away" from Days of Future Passed (1967) marked Lodge’s early imprint on The Moody Blues. Joining forces with Justin Hayward at this time, Lodge first contributed to the group's thematic masterpiece with the track "Lunch Break: Peak Hour," but it was "(Evening) Time to Get Away"—part of the "Afternoon" suite—that really showcased his influence. While Hayward's "Forever Afternoon (Tuesday?)" and "Nights in White Satin" captured the spotlight, Lodge’s compositions made it clear he would be a vital collaborator moving forward.
"Ride My See-Saw" from In Search of the Lost Chord (1968) is a rocking anthem that grew from Lodge’s passion for rhythm-driven tracks. He aimed for a chorus where the band united in harmonies to tell a story, which also reflected his own life journey — from leaving school with average marks to embracing the unpredictable life of a rock 'n' roll musician. Despite only reaching No. 61 on the Billboard Hot 100, this song remains a fan favorite and staple in the band's Top 10 lists.
With "Isn't Life Strange" from Seventh Sojourn (1972), Lodge took a deeply philosophical and ambitious direction. This symphonic piece, rich with strings, marked a high point of his compositional skills and vocal style. Though its indulgent nature might divide listeners, it perfectly captured the experimental spirit of the progressive rock era.
"I'm Just a Singer (In a Rock and Roll Band)," also from Seventh Sojourn, was another standout where Lodge took the lead. The song’s message promoted world peace through music, emphasizing connection and freedom. It became a Top 20 hit and showcased Lodge’s lyrical optimism and musical versatility, notably featuring the last use of the Mellotron—a signature sound of the band at the time—and employing a Chamberlin keyboard to create saxophone-like effects.
"Saved By the Music" from Blue Jays (1975), an album created by Lodge and Hayward during The Moody Blues’ hiatus, starts with grand orchestral sounds before giving way to more mellow verses. It embodies Lodge’s heartfelt belief in the almost spiritual power of music to uplift and heal.
Lodge's first solo album really surprised fans with "Natural Avenue" (1977), a song paying homage to the classic Sun Records sound famous for Johnny Cash and others. The track reflects a joyous sense of freedom and personal breakthrough, with a memorable harmonica solo adding a rustic charm rarely associated with the Moody Blues’ polished style.
"Steppin' in a Slide Zone" from Octave (1978) marked The Moody Blues' triumphant comeback. This powerful rocker loosely tells the band's own story, capturing moments of doubt and rediscovery through evocative lyrics. Impressively, Lodge recorded parts of the album even with a broken arm — creatively positioning it so he could still play bass. This song gave them their first Top 40 hit in five years and helped Octave become the band's first U.S. platinum album in nearly a decade.
"Gemini Dream" from Long Distance Voyager (1981) was a collaborative effort between Lodge and Hayward. The track originated from a jam session with a focus on danceable rhythms and featured Lodge’s driving bass lines. The song's title went through several iterations before settling on "Gemini Dream," symbolizing the duo's complementary styles. It reached No. 12 on the charts, making it the band's most successful new single in eight years and earning both writers an ASCAP songwriting award.
In a genre twist, Lodge also participated in Moody Bluegrass Two...Much Love (2011), a bluegrass tribute album. He lent his voice to "Send Me No Wine," a laid-back reinterpretation of a deep cut from The Moody Blues' 1969 album On the Threshold of a Dream. Remarkably, fellow band members Ray Thomas, Mike Pinder, and Graeme Edge also contributed to this project, making it a unique reunion of their talents.
Lastly, "Simply Magic," from Lodge’s 2015 solo album 10,000 Light Years Ago, is a tender acoustic piece that pulls at the heartstrings. Featuring a reunion with Ray Thomas and Mike Pinder, the song is a touching elegy written for Lodge’s grandson. The track carries hopeful reflections on children and the future, enriched by Thomas's flute and Pinder's Mellotron, symbolizing a meaningful moment where treasured friends came together one last time.
John Lodge’s musical journey was one of dedication, versatility, and heartfelt expression, spanning rock, folk, and beyond. But here’s where it gets controversial: Given his enormous influence, why isn’t he celebrated more prominently compared to his bandmates? Was the spotlight unfairly skewed toward other members? What do you think — does John Lodge deserve a reevaluation as the true rock 'n' roll core of The Moody Blues? Share your thoughts below.
