From Airport Encounters to Chart Success: The Genesis of “Question”

The late 1960s found The Moody Blues traversing the United States, experiencing firsthand the human cost of the Vietnam War. At airports and bus stations, they observed young men, often the same age as the band members, returning home from service. These encounters profoundly impacted Justin Hayward, the band’s vocalist and guitarist, inspiring him to pen the lyrics for “Question.” The song wasn’t conceived as a guaranteed hit; in fact, it represented a departure from the richly layered soundscapes that had defined The Moody Blues since 1967’s groundbreaking album, Days of Future Passed, and its iconic single, “Nights in White Satin.”

“I had no thoughts about a single when I wrote it, because a five-minute song with two tempo changes is not usually single material,” Hayward confessed. Yet, “Question” defied expectations, climbing to No. 2 on the charts – their biggest success since “Go Now.” This unexpected triumph underscored the song’s powerful message and its ability to connect with a generation wrestling with complex emotions.

A Sound Reflecting a Changing Time

The Moody Blues distinguished themselves from many of their contemporaries with a warmer, more melodic approach, yet they remained deeply attuned to the counterculture movement. Their experimentation with psychedelic experiences, documented in songs like “Fly Me High” and “The Best Way To Travel,” informed their artistic vision. Ray Thomas’s tribute to Timothy Leary, “Legend of a Mind,” even garnered the approval of the controversial psychologist himself, who joined the band onstage during a free concert in Los Angeles in 1969.

“Question” represented a deliberate shift towards a sound more readily adaptable for live performance. While earlier works were complex and difficult to replicate on stage, “Question” was built around Hayward’s distinctive 12-string guitar, with reduced backing vocals and a more restrained use of the Mellotron. Mike Pinder’s energetic tambourine playing became a defining feature, driving the song’s rhythm alongside Graeme Edge’s dynamic drumming and John Lodge’s expressive basslines. This streamlined approach allowed The Moody Blues to deliver a powerful and engaging live experience, particularly in the United States, where they cultivated a devoted fanbase.

“I don’t know why we got on better in America than we did at home,” Lodge mused. “Maybe it was about respect.”

The Creative Process: A Collaborative Effort

Hayward recalls composing “Question” on a Friday night, facing a deadline for an upcoming Decca recording session. “It was a Friday night and I was in my two-room flat in Barnes. We had a session the next day at Decca and I knew the guys expected me to have something to work on. I had two songs that were half-finished, so I put the second slower song into an open tuning and bluffed it out.”

Lodge emphasizes the song’s foundation in Hayward’s guitar work and a compelling bass riff. “‘Question’ was all based on Justin’s 12-string acoustic guitar and a bass riff. It signalled the start of our journey into live music. We were finding it harder to play a lot of our songs live. In Search Of The Lost Chord wasn’t really an album to be played, it was one to be listened to. But we were spending a lot of time in the States and we saw that the American bands were live acts first and foremost. That was a huge impetus for us.”

The band’s commitment to live performance led to innovative solutions when technical challenges arose. During a performance at Fillmore East, a malfunctioning Mellotron was salvaged by none other than Les Paul, who introduced stereo heads and other modifications that enabled the band to recreate their complex orchestral arrangements on stage.

Hayward’s choice of a Gibson 12-string, despite its intonation issues, played a crucial role in the song’s unique sound. “To write ‘Question’, I used a Gibson 12-string with a great sound but dreadful intonation, which made it very hard to do chord changes and progressions because I couldn’t get it in tune. I put this big 12-string in Open C. Not every guitar can take the tension of an Open C tuning, but this one could.”

Tour manager Peter Jackson observed the band’s collaborative spirit in the studio. “I was at most recording sessions, moving equipment and bringing cups of tea from the canteen. They’d sit in the corner of the studio together and all work together on each other’s material.”

The song’s arrangement was a collective effort. Hayward notes that Pinder immediately envisioned the Mellotron’s role in the overdubs, while Lodge’s bassline and Pinder’s tambourine provided a solid rhythmic foundation. “When I played it to the band, Mike instantly knew what sound he wanted to add to the Mellotron when it came to the overdubs. Mike played tambourine and then we had John on the bass.”

Lodge recalls Pinder’s rhythmic contribution. “I don’t know whether it is Ray Thomas or Mike who is credited, but it was usually Mike on tambourine. We’d usually record a basic track with acoustic guitar and bass while Mike would keep time with tambourine – almost like a click track. If the basic track had the right feel, you knew you had it right and the tambourine kept it moving.”

Graeme Edge’s drumming, characterized by its unique style and powerful sound, was also pivotal. “Graeme [Edge] played sixteenths on the hi-hat. Graeme’s so good on this song. He could do that tempo. Graeme’s kit always sounded great. He would never top the best drummer poll, but the sound of his kit was as good as anybody. When I first heard the Isle Of Wight mix, I thought, ‘Thank God Graeme sounded so good,’ because his drums were on every single mic.”

Lodge elaborates on Edge’s distinctive approach. “Graeme had a totally different style, without an offbeat. The other person who did that was Keith Moon, but he played much more aggressively. It was like he was singing the song in his head as he played.”

The recording process benefited from the expertise of producers Tony Clarke and Derek Varnals. “In the studio it was often just me and the band, with Tony Clarke and Derek Varnals. They really trusted Tony and Derek,” Jackson remembers.

Engineer Derek Varnals highlights Clarke’s musicality and focus on performance. “Tony Clarke was one of the best producers you could work with. He was so musical and he worked on the studio floor with the boys. Performance is always the hardest thing to get.”

Beyond “Question”: A Broader Musical Landscape

The B-side to “Question” was John Lodge’s “Candle of Life,” a track originally featured on the album To Our Children’s Children’s Children. Lodge describes it as possessing a similar calming quality to “Question” and notes its popularity on American university campuses.

The lyrics of “Question” were refined to reflect both personal experiences and the band’s observations of American society. Hayward explains, “When I put the two songs together for ‘Question’, I had to do a bit of rewriting for the lyrics. The slow part was a love song to somebody, while the fast part came from our time in America. We were on the college circuit and we knew American musicians who were in fear of being drafted. It’s hard to imagine what it must have felt like to get that letter saying you were being drafted. Nobody should have that to look forward to when they are 20.”

The band’s exposure to the realities of the Vietnam War during their American tours left a lasting impression. “When we were flying around America we’d see all these young guys being flown home from Vietnam. We were on tour with a rock’n’roll band and they were fighting in a jungle. It was a bizarre feeling and it really influenced us.”

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Frequently Asked Questions About The Moody Blues’ “Question”