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The.Moody.Blues-Days.Of.Future.Passed.[1967].LOSSLESS.Remaster.1989.mickjapa108

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The.Moody.Blues-Days.Of.Future.Passed.[1967].LOSSLESS.Remaster.1989.mickjapa108

Track List: 

Side
one

1. The Day Begins (5:45) 
2. DAWN: Dawn Is A Feeling (3:50) 
3. THE MORNING: Another Morning
(3:40) 
4. LUNCH BREAK: Peak Hour (5:21) 

Side two

5. THE AFTERNOON: Forever Afternoon
(Tuesday?) (8:25) 
6. EVENING: The Sun Set: Twilight Time (6:39) 
7. THE NIGHT: Nights In White Satin (7:41)


Days of Future Passed (released in November 1967) became one of the most successful pop/rock releases of the
period, 
earning a gold record award and reaching No. 27 on the British LP chart. Five years later it reached No. 3
in the US/Billboard charts. 
The LP was a song cycle or concept album that takes place over the course of a single
day. 
The album drew inspiration in production and arrangement from the pioneering use of the classical
instrumentation by the Beatles, 
to whom Pinder had introduced the mellotron that year. It took the form to new
heights using the London Festival Orchestra,[18] 
a loose affiliation of Decca's classical musicians given a
fictitious name, adding the term "London" to sound impressive, 
to provide an orchestral linking framework to the
Moodies' already written and performed songs, plus overture and conclusion sections on the album, 
including
backing up Graeme Edge's opening and closing poems recited by Pinder. Strings were added to the latter portion of the
album 
version of Hayward's "Nights in White Satin" (absent on the single) but the orchestra and group never
performed together on the recording, 
with the band's rock instrumentation centred on Pinder's mellotron. Despite
being a lush concept album, the LP was cut in a very workmanlike manner, 
with the band recording a particular
song, then the track being presented to Peter Knight who quickly composed a suitable "linking" orchestral portion, 
which the Decca musicians ("London Festival Orchestra") then recorded. The album was as much an original work by
Knight himself as the group. 
The composing credits were listed on the sleeve as: "Redwave-Knight", although
Hayward wrote "Nights..." and "Tuesday Afternoon", 
Thomas provided "Another Morning" and "Twilight Time", Lodge
penned "Peak Hour" and "Evening (Time To Get Away)", and Edge contributed the opening and closing poems 
(the first
"Morning Glory" and the latter titled "Late Lament") read by Mike Pinder who composed both "The Sun Set" and "Dawn is a
Feeling" 
(sung by Hayward, with Pinder singing the bridge section).
Clarke produced the album, and afterwards
continued working with the band. Sometimes known to fans as "The Sixth Moodie", 
he produced their albums and
singles for the next eleven years. Engineer Derek Varnals also contributed heavily to the creation of the early Moody's
studio sound, 
working with Pinder and Clarke to create a more symphonic overlapping sound on the mellotron as
opposed to the sharp 'cut off' 
the instrument normally gave, partly achieved by removing all the "sound effects"
tapes (trains, whistles, cockerel crowing, etc.) 
and then 'doubling up' the tapes of orchestral instruments'
sounds, which combined with Pinder's ability and sensitivity at playing 
(Pinder having earlier worked for the
company that manufactured the mellotron) and Varnals' recording skills at creating an orchestral 
'wave' sound that
characterised their non-orchestra accompanied sound thereafter.

The hardest thing to give away is Love
When you give Love
It just keeps coming back to you

Spread The Love SEED
"When the power of love
overcomes the love of power, the world will know peace" ~Jimi Hendrix, 1969

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