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Moody Blues Days of Future Passed Us Cover

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1967 studio album by The Moody Blues

Days of Future Passed
TheMoodyBlues-album-daysoffuturepassed.jpg
Studio album by

The Moody Blues
Released 10 November 1967 (UK)
11 November 1967 (US)
Recorded 9 May – 3 November 1967
Studio Decca Studios, West Hampstead, London
Genre
  • Art rock[1]
  • progressive rock[2]
  • psychedelic rock[3]
  • symphonic rock[4]
Length 41:34
Label Deram
Producer
  • Tony Clarke
  • Michael Dacre-Barclay
  • Hugh Mendl (exec.)
The Moody Blues chronology
The Magnificent Moodies
(1965) 		Days of Future Passed
(1967) 		In Search of the Lost Chord
(1968)
Singles from Days of Future Passed
  1. "Nights in White Satin"
    Released: 10 November 1967
  2. "Tuesday Afternoon"
    Released: 19 July 1968

Days of Future Passed is the second album and first concept album by English prog rock band The Moody Blues, released in November 1967 by Deram Records.[5] With its fusion of orchestral and rock elements, it has been cited as one of the first examples of progressive rock.

The album was recorded at a time when the Moody Blues were suffering financial difficulties and lack of critical and commercial success. Their parent label, Decca Records offered them a chance to record a stereo LP that combined their music with orchestral interludes. They decided to compose a suite of songs about the life of everyday man, with the group and orchestra mostly playing separately and mixed together. It was a moderate success upon release, but following steady radio airplay, particularly of the hit single "Nights in White Satin", it became a top ten US hit in 1972. It has since been listed among the most important albums of 1967 by Rolling Stone.

Background and recording [edit]

The Moody Blues had started out as a rhythm and blues band, but by late 1966, they had run into financial difficulties and personnel changes. The new singer and guitarist Justin Hayward said "we had no money, nothing".[6] According to the group, in September 1967 Decca, their record company, asked them to record an adaptation of Antonín Dvořák's Symphony No. 9 for Decca's newly formed Deram Records division in order to demonstrate their latest recording techniques, which were named "Deramic Sound".[5] Recording engineer Derek Varnals disputes this story, claiming that even at the start of the sessions in 1967 there was no intent to record a Dvořák album and that talk of this project did not emerge until the mid-1970s.[7]

Decca had experimented with stereophonic sound for classical recordings, and hoped to capture the pop market in the same way, by interweaving classical recordings with the group's interpretation of the same music.[6] Instead, the band (initially without the label's knowledge) decided to focus on an album based on an original stage show that they had been working on, and mix that with classical arrangements of those songs.[6] [7] Keyboardist Mike Pinder had purchased a Mellotron, a tape replay keyboard, and written a song, "Dawn Is a Feeling" as a starting point for a concept piece about a day in the life of everyday man. Hayward wrote "Nights in White Satin" about the changes between one relationship and another, using bedsheets as a metaphor. When Pinder added a string line on the Mellotron to accompany Hayward's basic song framework, the group realised they had written something notable and a suitable ending for the song cycle.[6]

Recording sessions for the album took place at Decca Studios in West Hampstead, London, between 9 May and 3 November 1967.[8] The band worked with record producer Tony Clarke, engineer Derek Varnals, and conductor Peter Knight.[3] The group recorded and mixed their sessions first, then passed the finished tapes over to Knight for arranging and recording the orchestral interludes.[6]

Content [edit]

The album's music features psychedelic rock[3] ballads by Hayward, Pinder, Lodge, and Thomas and orchestral interludes by the London Festival Orchestra.[3] The band and the orchestra only actually play together during the last part of "Nights In White Satin".[6]

Music writers cite the album as an early example of progressive rock music.[2] [9] [10] Bill Holdship of Yahoo! Music remarks that the band "created an entire genre here."[11] David Fricke cites it as one of the essential albums of 1967 and finds it "closer to high-art pomp than psychedelia. But there is a sharp pop discretion to the writing and a trippy romanticism in the mirroring effect of the strings and Mike Pinder's Mellotron."[5] Will Hermes cites the album as an essential progressive rock record and opines that its use of the Mellotron, a tape replay keyboard, made it a "signature" element of the genre.[12] An influential work of the counterculture period,[13] AllMusic editor Bruce Eder calls the album "one of the defining documents of the blossoming psychedelic era, and one of the most enduringly popular albums of its era".[3]

Original and later mixes [edit]

In July 1978, it was discovered that the UK master tapes for Days of Future Passed had deteriorated. As a result of this, the album was remixed in its entirety in August 1978,[14] which was used for reissues between 1978 and 2017.[15] Some compilations, however, continued to use the original 1967 stereo mix for certain songs.[16] The album's original mix was eventually released in its entirety on compact disc in November 2017.[15]

The ways in which the later mix departs most noticeably from the original are:

  • After the orchestral intro, "Dawn Is a Feeling" begins more abruptly, and there is less echo on Mike Pinder's vocal on the bridge, making it more prominent.
  • On "Another Morning" Ray Thomas's double vocals are spread left and right in the stereo channel. The flute interlude is also played twice towards the end of the song before the orchestral segue.
  • The orchestral intro "Lunch Break" goes on about 15 seconds longer before fading out.
  • The bridges to "(Evening) Time to Get Away" have John Lodge singing alone; all the backing vocals on that part have been lost.
  • The end of "(Evening) Time to Get Away" is missing a Mellotron part and only repeats twice, instead of three times.
  • "The Sun Set" is missing some piano parts, percussion parts, and the reverb on "through the night" is different.
  • "Twilight Time" begins more abruptly after the orchestral interlude.
  • The backing vocals on "Twilight Time" are heard through the entire song instead of only coming in at certain points.
  • At the beginning of "Nights in White Satin", as the orchestral prelude ends, there is one less beat of time before the rhythm section starts in.
  • Some of the strings near the end of "Nights in White Satin" (before "Late Lament") are out of sync with the main body of the song.

Release [edit]

Professional ratings
Review scores
Source Rating
AllMusic [3]
The Music Box [17]
PopMatters 9/10[18]
Rolling Stone (1968) (mixed)[19]
Rolling Stone (2007) (favourable)[5]
Spin (favourable)[12]
Sputnikmusic 5/5[2]
Uncut [9]
Yahoo! Music (favourable)[11]

The Moody Blues did not play any of the music to Decca executives until it was complete. Upon the first play, they were disappointed with the result as it was not the Dvorak arrangements they expected. Walt Maguire, representative for London Records (Decca's North American arm), however, thought it would be a strong seller in the US, so it was agreed to release the album as recorded.[6]

Days of Future Passed was released on 10 November 1967 in the UK and 11 November in the US.[ citation needed ] It reached number 27 in the UK Albums Chart.[20] In the US, it was a steady seller in the late 1960s, helped by FM radio play of "Nights in White Satin", and eventually peaked at number 2 on the US Billboard chart in 1972.[6] [21]

Upon its release, Rolling Stone gave the album an unenthusiastic review, writing "The Moody Blues [...] have matured considerably since 'Go Now', but their music is constantly marred by one of the most startlingly saccharine conceptions of 'beauty' and 'mysticism' that any rock group has ever affected."[19] New York magazine dismissed it as "a ponderous mound of thought-jello."[22] The album has since received acclaim; for example, Spin cited it as a classic of progressive rock.[12] By 2007, Rolling Stone, which had originally described Days of Future Passed as "an English rock group strangling itself in conceptual goo"[22] included it in its list of the essential albums of 1967.[23]

Days of Future Passed was issued as a discrete Quadraphonic open-reel tape in 1977. This master was also used for a 2001 dts 5.1 channel audio CD release and again for a two-disc Deluxe Edition SACD release in 2006.

On 17 November 2017 this original mix was made available for the first time on CD as Days of Future Passed 50th Anniversary Deluxe Edition.[15] Also released The Moody Blues Days of Future Past Live that was recorded live in Toronto on 13 July 2017 with a full orchestra backup.[24]

Track listing [edit]

All compositions originally credited to "Redwave-Knight", except "Dawn Is a Feeling", "Forever Afternoon (Tuesday)", "The Sunset" and "Nights in White Satin".[25]

Side Two
No. Title Writer(s) Lead Singer Length
1. "The Afternoon"
  • "Forever Afternoon (Tuesday?)"
  • "(Evening) Time to Get Away" (originally unlisted but listed on many later reissues)
 Hayward and Lodge
  • Hayward
  • Lodge
    		•  Hayward and Lodge
  • Hayward
  • Lodge
    		•  8:23
  • 5:06
  • 3:17
    		•
    2. "Evening"
  • "The Sunset"
  • "Twilight Time"
    		•  Pinder and Thomas
  • Pinder
  • Thomas
    		•  Pinder and Thomas
  • Pinder
  • Thomas
    		•  6:40
  • 3:17
  • 3:23
    		•
    3. "The Night"
  • "Nights in White Satin"
  • "Late Lament / Resolvement" (unlisted)
    		•  Hayward, Edge and Knight
  • Hayward
  • Edge and Knight
    		•  Hayward and Pinder
  • Hayward
  • Pinder (recitation)
    		•  7:24
  • 5:38
  • 1:46
    		•
    Total length: 22:27
    2006 SACD Deluxe Edition bonus disc
    No. Title Writer(s) Length
    1. "Tuesday Afternoon (Alternate Mix)" Hayward 4:20
    2. "Dawn Is a Feeling (Alternate Version)" Pinder 2:19
    3. "The Sunset (Alternate Version without Orchestra)" Pinder 2:49
    4. "Twilight Time (Alternate Vocal Mix)" Thomas 2:27
    5. "Nights in White Satin" (mono mix from single released November 1967) Hayward 4:26
    6. "Fly Me High" (recorded 30 March 1967; released as single May 1967) Hayward 2:54
    7. "I Really Haven't Got The Time" (recorded 30 March 1967; released as B-side May 1967) Pinder 3:07
    8. "Love and Beauty" (recorded 17 July 1967; released as single September 1967) Pinder 2:23
    9. "Leave This Man Alone" (recorded 17 July 1967; released as B-side September 1967) Hayward 2:58
    10. "Cities" (recorded 17 July 1967; released November 1967 as B-side to "Nights in White Satin") Hayward 2:23
    11. "Long Summer Days" (recorded 19 May 1967 and released on Caught Live + 5) Hayward 3:12
    12. "Please Think About It" (recorded 29 June 1967 and released on Caught Live + 5) Pinder 3:40
    13. "Don't Let Me Be Misunderstood" (live 9 May 1967 for BBC Saturday Club) Bennie Benjamin, Gloria Caldwell, Sol Marcus 2:23
    14. "Love and Beauty" (live 20 September 1967 for BBC Easybeat) Pinder 2:12
    15. "Leave This Man Alone" (live 20 September 1967 for BBC Easybeat) Hayward 2:52
    16. "Peak Hour" (live 20 September 1967 for BBC Easybeat) Lodge 3:22
    17. "Nights in White Satin" (live 1 January 1968 for BBC Dave Symonds) Hayward 3:48
    18. "Fly Me High" (live 1 January 1968 for BBC Dave Symonds) Hayward 2:45
    19. "Twilight Time" (live 1 January 1968 for BBC Dave Symonds) Thomas 2:08
    2008 single standard CD remaster bonus tracks
    No. Title Writer(s) Length
    8. "Don't Let Me Be Misunderstood" (live 9 May 1967 for BBC Saturday Club) Benjamin, Caldwell, Marcus 2:23
    9. "Fly Me High" (recorded 30 March 1967; released as single May 1967) Hayward 2:54
    10. "I Really Haven't Got the Time" (recorded 30 March 1967; released as B-side May 1967) Pinder 3:07
    11. "Love and Beauty" (recorded 17 July 1967; released as single September 1967) Pinder 2:23
    12. "Leave This Man Alone" (recorded 17 July 1967; released as B-side September 1967) Hayward 2:58
    13. "Cities" (recorded 17 July 1967; released November 1967 as B-side to "Nights in White Satin") Hayward 2:23
    14. "Tuesday Afternoon (Alternate Mix)" Hayward 4:20
    15. "Dawn Is a Feeling (Alternate Version)" Pinder 2:19
    16. "The Sunset (Alternate Version without Orchestra)" Pinder 2:49
    17. "Twilight Time (Alternate Vocal Mix)" Thomas 2:27

    2017 Days Of Future Passed (50th Anniversary Edition)

    Disc: 1 – Album & bonus tracks
    No. Title Writer(s) Lead Singer Length
    1. "The Day Begins"
    • "The Day Begins"
    • "Morning Glory" (unlisted)
    		 Peter Knight and Graeme Edge
  • Knight
  • Edge
    		•  Mike Pinder
  • Instrumental
  • Pinder (recitation)
    		•  5:50
  • 4:08
  • 1:42
    		•
    2. "Dawn: Dawn Is a Feeling" Pinder Justin Hayward and Pinder 3:48
    3. "The Morning: Another Morning" Ray Thomas Thomas 3:55
    4. "Lunch Break: Peak Hour" John Lodge Lodge 5:33
    5. "The Afternoon"
  • "Forever Afternoon (Tuesday?)"
  • "(Evening) Time to Get Away" (originally unlisted but listed on many later reissues)
    		•  Hayward and Lodge
  • Hayward
  • Lodge
    		•  Hayward and Lodge
  • Hayward
  • Lodge
    		•  8:23
  • 5:06
  • 3:17
    		•
    6. "Evening"
  • "The Sunset"
  • "Twilight Time"
    		•  Pinder and Thomas
  • Pinder
  • Thomas
    		•  Pinder and Thomas
  • Pinder
  • Thomas
    		•  6:40
  • 3:37
  • 3:23
    		•
    7. "The Night"
  • "Nights in White Satin"
  • "Late Lament / Resolvement" (unlisted)
    		•  Hayward, Edge and Knight
  • Hayward
  • Edge and Knight
    		•  Hayward and Pinder
  • Hayward
  • Pinder (recitation)
    		•  7:24
  • 5:38
  • 1:46
    		•
    8. "Long Summer Days" (1967 Studio Recordings - bonus track) 3:15
    9. "Please Think About It" (1967 Studio Recordings - bonus track) 3:44
    10. "Don't Let Me Be Misunderstood" (BBC Radio Sessions - bonus track) 2:24
    11. "Love And Beauty" (BBC Radio Sessions - bonus track) 2:13
    12. "Leave This Man Alone" (BBC Radio Sessions - bonus track) 2:53
    13. "Peak Hour" (BBC Radio Sessions - bonus track) 3:22
    14. "Nights In White Satin" (BBC Radio Sessions - bonus track) 3:49
    15. "Fly Me High" (BBC Radio Sessions - bonus track) 2:46
    16. "Twilight Time" (BBC Radio Sessions - bonus track) 2:08
    Disc: 2 – Alternate Versions and Outtakes
    No. Title Length
    1. "THE DAY BEGINS" 5:51
    2. "DAWN: Dawn Is A Feeling" 3:49
    3. "THE MORNING: Another Morning" 3:56
    4. "LUNCH BREAK: Peak Hour" 5:29
    5. "THE AFTERNOON: Forever Afternoon (Tuesday?) / Time To Get Away" 8:23
    6. "EVENING: The Sun Set: Twilight Time" 6:40
    7. "THE NIGHT: Nights In White Satin" 7:28
    8. "Tuesday Afternoon" (Alternate Mix) 4:20
    9. "DAWN: Dawn Is A Feeling" (Alternate Mix) 2:20
    10. "The Sun Set" (Alternate Version without orchestra) 2:50
    11. "Twilight Time" (Original vocal mix) 2:28
    12. "Fly Me High" (A – side single) 2:55
    13. "I Really Haven't Got The Time" (B – side single) 3:08
    14. "Love And Beauty" (A – side single) 2:25
    15. "Leave This Man Alone" (B – Side single) 3:00
    16. "Nights In White Satin" (A – side single) 4:29
    17. "Cities" (B – side single) 2:24
    Disc: 3 – DVD 5. 1 Surround Sound Mix & 96kHz / 24 – bit 1967 stereo mix
    No. Title Length
    1. "The Day Begins" (5.1 Surround Sound Mix) 5:33
    2. "Dawn: Dawn Is A Feeling" (5.1 Surround Sound Mix) 3:46
    3. "The Morning: Another Morning" (5.1 Surround Sound Mix) 4:03
    4. "Lunch Break: Peak Hour" (5.1 Surround Sound Mix) 7:40
    5. "The Afternoon" (5.1 Surround Sound Mix) 8:26
    6. "Evening" (5.1 Surround Sound Mix) 6:39
    7. "The Night" (5.1 Surround Sound Mix) 7:39
    8. "The Day Begins" (24 – bit 1967 stereo mix) 5:47
    9. "Dawn: Dawn Is A Feeling" (24 – bit 1967 stereo mix) 3:47
    10. "The Morning: Another Morning" (24 – bit 1967 stereo mix) 3:40
    11. "Lunch Break: Peak Hour" (24 – bit 1967 stereo mix) 5:15
    12. "The Afternoon" (24 – bit 1967 stereo mix) 8:25
    13. "Evening" (24 – bit 1967 stereo mix) 6:37
    14. "The Night" (24 – bit 1967 stereo mix) 7:39
    15. "Introduction" (Live MIDEM 1968-01-24) 1:19
    16. "Peak Hour" (Live MIDEM 1968-01-24) 4:08
    17. "Forever Afternoon (Tuesday?)" (Live MIDEM 1968-01-24) 5:27
    18. "Nights in White Satin" (Live MIDEM 1968-01-24) 4:42

    Chart positions [edit]

    Album
    Year Chart Position
    1967 UK Albums Chart 27[20]
    1972 Billboard 200 3[21]
    Singles
    Year Single Chart Position
    1967 "Nights in White Satin" UK Singles Chart 19[26]
    1968 "Tuesday Afternoon" Billboard Hot 100 24
    1972 "Nights in White Satin" UK Singles Chart 9[27]
    Billboard Hot 100 2

    Personnel [edit]

    Musicians [edit]

    • Justin Hayward – acoustic and electric guitars, piano, sitar, vocals
    • John Lodge – bass, vocals
    • Mike Pinder – Mellotron, piano, tamboura, gong, vocals (including spoken)
    • Ray Thomas – flutes, percussion, piano, vocals
    • Graeme Edge – drums, percussion, vocals

    Additional:

    • Peter Knight – conducting, arrangements
    • The London Festival Orchestra[28]

    Production [edit]

    • Tony Clarke – production
    • Derek Varnals – engineering
    • Hugh Mendl – executive production, liner notes
    • Michael Dacre-Barclay - production
    • David Anstey – cover design, cover painting
    • Steven Fallone – digital remastering

    References [edit]

    1. ^ James E. Perone (2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. p. 117. ISBN978-0-313-37906-2.
    2. ^ a b c SowingSeason (11 March 2011). "The Moody Blues - Days of Future Passed (staff review)". Sputnikmusic . Retrieved 29 July 2012.
    3. ^ a b c d e f Eder, Bruce. "allmusic ((( Days of Future Passed > Overview )))". AllMusic. Rovi Corporation. Retrieved 11 October 2009.
    4. ^ Will Romano (1 September 2010). Mountains Come Out of the Sky: The Illustrated History of Prog Rock. Backbeat Books. p. 34. ISBN978-1-61713-375-6.
    5. ^ a b c d Christgau, Robert; Fricke, David (12 July 2007). "The 40 Essential Albums of 1967". Rolling Stone . Retrieved 30 July 2012.
    6. ^ a b c d e f g h "50 Years Ago: Moody Blues Broke Rules". Ultimate Classic Rock . Retrieved 4 September 2018.
    7. ^ a b "Sound On Sound (Classic Tracks: The Moody Blues "Nights In White Satin")". soundonsound.com. Retrieved 17 August 2010.
    8. ^ "Moody Blues - Days of Future Passed CD Album". CD Universe. Muze. Retrieved 30 July 2012.
    9. ^ a b "Review: Days of Future Passed". Uncut. London. p. 120. Retrieved 29 July 2012.
    10. ^ Classic Rock, July 2010, Issue 146.
    11. ^ a b Holdship, Bill. "The Moody Blues Reviews". Yahoo! Music. Yahoo!. Archived from the original on 30 July 2012. Retrieved 2012-07-29 .
    12. ^ a b c Hermes, Will (January 2004). "Essential Prog Rock". Spin. Vol. 20, no. 1. Vibe/Spin Ventures. p. 48. Retrieved 29 July 2012.
    13. ^ Macan, Edward. (1996).Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN 0195098889.
    14. ^ "/9/10 Derek Varnals Q&A". Travelling Eternity Road's WebTalk. 9 June 2010. Archived from the original on 14 April 2011. Retrieved 17 December 2019.
    15. ^ a b c "The Moody Blues Days of Future Passed 50TH Anniversary Deluxe Edition". The Moody Blues. 5 October 2017. Archived from the original on 30 December 2017. Retrieved 30 December 2017.
    16. ^ "Moody Blues - Days of Future Passed Original Mix question". Retrieved 4 March 2016.
    17. ^ Metzger, John. "Moody Blues - Days of Future Passed (Surround Sound Album Review)". Music Box Magazine . Retrieved 13 January 2019.
    18. ^ Sawdey, Evan (23 October 2008). "The Moody Blues: Days of Future Passed | PopMatters". PopMatters . Retrieved 12 June 2016.
    19. ^ a b Miller, Jim (7 December 1968). "The Moody Blues: Days of Future Passed : Music Reviews". Rolling Stone. Archived from the original on 6 June 2008. Retrieved 29 July 2012.
    20. ^ a b "Moody Blues | Full Official Chart History | Official Charts Company". Official Charts . Retrieved 12 June 2016.
    21. ^ a b "The Moody Blues – Chart History | Billboard". Billboard . Retrieved 12 June 2016.
    22. ^ a b Mojo Magazine, February 2019, pg. 43
    23. ^ "50 Essential Albums of 1967". Rolling Stone. 2007. Retrieved 4 September 2018.
    24. ^ "Days of Future Past Live". 1 March 2018. Retrieved 1 January 2020.
    25. ^ Days of Future Passed (Media notes). Deram. 1967. SML 707.
    26. ^ "The Official Charts Company - The Moody Blues - Nights In White Satin". Official Charts Company. Retrieved 11 October 2009.
    27. ^ Roberts, David, ed. (2005). British Hit Singles and Albums. Guinness World Records Ltd. ISBN1-904994-10-5.
    28. ^ John, Gilliland. "Show 49 - The British are Coming! The British are Coming!: With an emphasis on Donovan, the Bee Gees and the Who. [Part 6]". UNT Digital Library . Retrieved 21 August 2018.

    Further reading [edit]

    • Reed, John (1999). "Days of Future Passed Re-release liner notes". London, England: The Decca Record Co. Ltd.

    External links [edit]

    • Days of Future Passed at Discogs (list of releases)
    • ARCHIVE.org scan of album art painting

    florescougge.blogspot.com

    Source: https://en.wikipedia.org/wiki/Days_of_Future_Passed

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