"Watching and Waiting" is a 1969 single by the progressive rock band The Moody Blues, and was written by band members Justin Hayward and Ray Thomas. It was first released as a single in October 1969, and was later released in November 1969 on the album To Our Children's Children's Children. While "Watching and Waiting" is not as well known as some other Moody Blues' singles, the background mellotron sound has a similar sound to "Nights in White Satin." The single also featured the song "Out and In" on the B-side.

While the album was a huge success for the Moody Blues, charting at #2 in the UK, the single itself was a flop, and did not even chart. It is also the only Moody Blues A-Side single to feature Ray Thomas as co-writer.

http://en.wikipedia.org/wiki/Watching_and_Waiting

The Moody Blues are an English rock band. Among their innovations was a fusion with classical music, most notably in their 1967 album Days of Future Passed.

The Moody Blues have sold more than 70 million albums worldwide and have been awarded 14 platinum and gold discs. As of 2012 they remain active with one member from the original band from 1964 and two more from the 1967 lineup.

http://en.wikipedia.org/wiki/The_Moody_Blues

Watching and Waiting

Watching and waiting
For a friend to play with
Why have I been alone so long
Mole he is burrowing his way to the sunlight
He knows there's some there so strong

'Cause here there's lot of room for doing
The thing you've always been denied
Look and gather all you want to
There's no one here to stop you trying

Soon you will see me
'Cause I'll be all around you
But where I come from I can't tell
But don't be alarmed by my fields and my forests
They're here for only you to share

'Cause here there's lot of room for doing
The things you've always been denied
So look and gather all you want to
There's no one here to stop you trying

Watching and waiting
For someone to understand me
I hope it won't be very long

--song written by Justin Hayward and Ray Thomas

The Saboteur

Idealism & romanticism are fine.

But then you're always on the brink of delusion.

You have to temper things with "the reality principle"

without becoming a cynical @sshole.

One thing is for certain, Nature is larger than human(un)kind.

Its a very very very big multiverse out there...

We're just links in an incredible chain of Life

from which Love emerges when given half a chance.

Unfortunately the Old Killer Ape within sabotages

Peace & Progress & Joy. Hence our dilemma.

Our project is to overcome what holds us back;

the murderous incestuous cannibal lurking

in that dark corner over there.

Shine a light on that pernicious shade & it melts away.

Desire its triumph & you're sliding into the evils of the

totalitarian temptation.

Fear it & you're in peril at being controlled.

Critically evaluate it  & you have a chance

to gain an understanding of how it operates;

how it works against you ultimately  out to destroy

the good, the light...Where Love comes from.

--GP aka JSW

Bonus: The full album of "To Our Children's Children's Children".

To Our Children's Children's Children is the fifth album by The Moody Blues, first issued in late 1969. It was the first album released on the group's newly formed Threshold Records label, which was named after the band's previous album from the same year, On the Threshold of a Dream.

It was inspired by the 1969 moon landing, and the songs centre around the twin themes of space travel and children, with minor-key tonalities and a distinct psychedelic influence.

It is the fourth of what are popularly considered the group's "core seven" (or Classic Seven) albums from 1967 to 1972, and as such represents the peak of their career to some. While the extracted single, "Watching and Waiting", did not do well in that market, To Our Children's Children's Children was critically well received and sold well, reaching #2 in the United Kingdom and #14 in the United States. The band found most of the songs impossible to perform live, due to extremely lush orchestrations and a great deal of overdubbing. For this reason their following album, A Question of Balance, was more stripped down and basic in instrumentation. This change only lasted for one album and the next, Every Good Boy Deserves Favour, saw a return to their earlier orchestral sound.

http://en.wikipedia.org/wiki/To_Our_Children%27s_Children%27s_Children