Days of Future Passed
|Days of Future Passed|
|Studio album by The Moody Blues|
|Released||10 November 1967 (UK)
11 November 1967 (US)
|Recorded||October – November 1967|
|Studio||Decca Studios, West Hampstead, London|
|The Moody Blues chronology|
|Singles from Days of Future Passed|
With its fusion of orchestral and rock elements, it has been cited as one of the first examples of progressive rock.
Background and recording
Recording sessions for the album took place at Decca Studios in West Hampstead, London between 9 May and 3 November 1967. The band worked with record producer Tony Clarke, recording engineer Derek Varnals and conductor Peter Knight.
The group has claimed that after two years performing as a struggling white R&B band, the Moody Blues were asked in September 1967 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". Instead, the band (initially without the label's knowledge) decided to focus on an album based on an original stage show that they'd been working on. However, 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.
The album's music features psychedelic rock ballads by singer-songwriter and guitarist Justin Hayward, Mellotron played by keyboardist Mike Pinder and orchestral interludes by the London Festival Orchestra. The band and the orchestra only actually play together during the last part of "Nights In White Satin."
Music writers cite the album as an early example of progressive rock music. Bill Holdship of Yahoo! Music remarks that the band "created an entire genre here." 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." 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. An influential work of the counterculture period, 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."
Original and later mix
In 1978 the album was remixed because of the apparent deterioration of the master tapes. Digital releases of the album have used this remix. Some compilations, however, have used the original 1967 stereo mix for some songs. The original mix of the entire album has been transferred digitally, for possible release, but has not been used in favour of the remix.
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 20 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, and the reverb on "through the night" is different.
- 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.
|Rolling Stone (1968)||(mixed)|
|Rolling Stone (2007)||(favourable)|
Upon its release, Rolling Stone gave the album a mixed 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." The album has since received acclaim – Spin cited it as a classic of progressive rock, and in 2007 Rolling Stone included it in its list of essential albums of 1967.
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.
The original 1967 mix is slated to be released in a deluxe edition on November 17, 2017.
|1.||"The Day Begins"
||Peter Knight and Graeme Edge
|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|
||Hayward and Lodge
||Hayward and Lodge
||Pinder and Thomas
||Pinder and Thomas
||Hayward, Edge and Knight
||Hayward and Pinder
|2006 SACD Deluxe Edition bonus disc|
|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|
|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|
|1967||UK Albums Chart||27|
|1967||"Nights in White Satin"||UK Singles Chart||19|
|1968||"Tuesday Afternoon"||Billboard Hot 100||24|
|1972||"Nights in White Satin"||UK Singles Chart||9|
|Billboard Hot 100||2|
The Moody Blues:
- 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
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