"In 1965 I was up in Canada, and there was a friend of mine up there who had just left a Rock'n'Roll band in Winnipeg/Manitoba near where I come from on the prairies to become a folk singer a la Bob Dylan, who was his hero at that time, and at the same time there were breaks in his life and he was going into new and exciting directions. He had just newly turned 21, and that meant in Winnipeg he was no longer allowed into his favorite hangout which is kind of a teeny-bopper club and once you're over 21 you couldn't get in there anymore, so he was really feeling terrible because his girlfriends and everybody that he wanted to hang out with, his band could still go there, you know, but it's one of the things that drove him to become a folk singer was that he couldn't play in this club anymore. But he was over the hill. So he wrote this song that was called "Oh to live on sugar mountain" which was a lament for his lost youth. And it went like this... [sings a few verses]. And I thought, God, you know, if we get to 21 and there's nothing after that, that's a pretty bleak future, so I wrote a song for him, and for myself just to give me some hope. It's called The Circle Game."
"According to Hayward, "Are You Sitting Comfortably" is "about storytelling, but elevated to a bit of a psychedelic story". Its lyrics recall the days of medieval minstrels, featuring finger-picked guitar and lyrics full of vibrant imagery including "a fleet of golden galleons on a crystal sea" and the "glorious days of Camelot" while Merlin casts a spell of slumber. The song takes its first line from a popular children's show, Listen with Mother, that always began with the same line and became associated with the phrase. "Are You Sitting Comfortably" was written towards the end of the sessions, and apart from "The Dream", was the last track recorded for the album. Hayward remembers, "I already had the guitar riff and the chord sequence, and I had the first line and the title. And then we just took it from there. Ray contributed a lot of lyrics. I know the first thing he did was that second line, "A fleet of golden galleons, on a crystal sea," which is a very Ray Thomas phrase."
"I think To Our Children’s Children’s Children [1969] is the one Moodies album that didn't come across on the radio. It didn't jump; it was soft, it was quiet. Everybody was so delicate with it and handling it with kid gloves. The way it was mastered was quiet, and the way it was transferred to disc was delicate. In the end, it ended up getting a little lost. "Watching and Waiting" — when we heard that song in its studio beauty, we thought, "This is it! All of those people who had been saying to us for the past 3 or 4 years, "You'll probably just do another Nights in White Satin with it" — no! We had shivers up the spine, and that kind of stuff. But when it came out and you heard it on the radio, you kept saying, "Turn it up! Turn it up!! Oh no, it's not going to make it." So it didn’t happen."