Days of Future Passed

Not to be confused with Days of Future Past, an X-Men story arc.

Days of Future Passed
Studio album by The Moody Blues with the London Festival Orchestra
Released	11 November 1967
Recorded	8 October - 3 November 1967 Decca Studios West Hampstead, London
Genre	Symphonic rock Progressive rock Classical music
Length	41:34
Label	Deram Records
Producer	Tony Clarke
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 "Nights in White Satin" Released: November 1967 "Tuesday Afternoon" Released: July 1968

Professional ratings
Review scores
Source	Rating
Allmusic [1]

Days of Future Passed is the second album and first concept album by The Moody Blues, released in 1967. It was also their first album to feature Justin Hayward and John Lodge, who would play a very strong role in directing the band's sound in the decades to come. Utilising the London Festival Orchestra primarily for epic instrumental interludes between songs, Days of Future Passed moved the Birmingham band away from its early R&B roots (as displayed on its debut album with soon-departed future Wings member Denny Laine) into uncharted rock territory, making them the early pioneers of both classical and progressive rock.

Backstory

Members of the group have claimed that originally, the Moodies' British label, Decca Records, had wanted them to record a rock version of Dvořák's New World Symphony for the 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, Decca recording engineer Derek Varnals disputes this story, claiming that even at the beginning 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.^[2]

The concept of both the stage show and the album was very simple, tracing an "everyman's day" from dawn to night, from awakening to sleep. The seven tracks spawned two hit singles: "Tuesday Afternoon" (which on the album was combined with "Evening Time To Get Away" into a single track titled "The Afternoon: Forever Afternoon (Tuesday?)") and "Nights in White Satin" which hit No. 2 five years after the LP's original release. Both remain commercial radio mainstays across various formats and de rigueur performances in concert.

The project was almost doomed to failure as executives at Deram felt that combining rock and symphonic music would both alienate rock fans and enrage symphonic fans. The album's subsequent success led to other criticism about implied drug use, especially with such lines as "the smell of grass just makes you pass into a dream" and "those gentle voices I hear explain it all with a sigh." Despite such early criticism, Days of Future Passed paved the way for progressive offerings from other bands and remains one of the Moody Blues' most popular releases ever.

The original packaging credited the orchestral parts to "Redwave/Knight". "Knight" was conductor Peter Knight, while "Redwave" was an imaginary name representing the Moody Blues themselves. (Knight built the orchestral parts around themes written by Hayward, Thomas, Pinder & Lodge). Also, the packaging failed to give titles or credits for Graeme Edge's poems "Morning Glory" and "Late Lament".

Some 8-track tape versions of this album have the distinction of being one of the few 8-tracks that are arranged exactly like the record album^{[citation needed]}. In order to make the songs fit, a portion of "Dawn Is a Feeling" is repeated, making the song longer than the album version. The same extension is applied to "Peak Hour" in order to make it longer. This was easy to do, as both of these songs have false endings in the middle of the melody.

In March 2006 the album was remastered into SACD format and repackaged as a two-CD Deluxe Edition.

In 2008 a remaster for single standard audio CD was issued with the ten bonus tracks.

Original vs. later mix

In 1978 the album was remixed because of deterioration of the master tapes. The original 1967 stereo mix has never seen a CD release (although a high quality copy, allegedly derived from a first generation master tape, circulates among collectors). All CD versions, including remasters, use the later mix. However, the 1990 greatest hits package "The Story Of The Moody Blues/Legend Of A Band" CD compilation, contains the original mix of "Nights In White Satin".

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.
• The orchestral intro "Lunch Break" goes on about 20 seconds longer before fading out. Lunch Break also missing a clean guitar in the intro and after solos in the later mix.
• The transition from the band to the orchestra in "Forever Afternoon" is cleaner, making it almost seem as if one flute is playing throughout.
• The bridges to "(Evening) Time to Get Away" have John Lodge singing alone; all the backing vocals on that part have been lost. Also, at the end of the piece, the words "Evening, Time to Get Away" are repeated only twice where they were repeated three times on the original mix, and the mellotron overdub, which was essentially the same as the one in the middle section, is absent. (In the quad mix, the mellotron is also missing from the middle section.)
• The piano in the instrumental sections of "The Sunset" is gone. Also, the reverb on the last word ("Through the night") is very different.
• The backing vocals on "Twilight Time" are heard through the entire song instead of only coming in at strategic points.
• After the :13 orchestral prelude to "Nights in White Satin", the rhythm section (Moody's instruments) comes in right on time and in step, following the correct meter of the orchestra. This seems to correct the seemingly "off-step" segue of the two pieces on the original mix.
• There seems to be a noise-reduction filter overlaying the rhythm section of the original mix, resulting in a more murky, ghostly sound quality.

The album was also remixed into quadraphonic in 1972, and into 5.1 surround sound for the 2006 Deluxe Edition SACD.

Legacy

The album was named as one of Classic Rock magazine's "50 Albums That Built Prog Rock".^[3]

Original Track Listing

• All Songs Copyright Essex Music International.

Side One

1. The Day Begins: (5:50)

• "The Day Begins" (Peter Knight & The Moody Blues) - (4:08)
• "Morning Glory" (Graeme Edge) [unlisted track] - (1:42)

2. Dawn: (3:48)

• (Intro) (Peter Knight) [unlisted track] - (0:38)
• "Dawn is a Feeling" (Mike Pinder) - (3:10)

3. The Morning: (3:55)

• (Intro) (Peter Knight) [unlisted track] - (0:21)
• "Another Morning" (Ray Thomas) - (3:34)

4. Lunch Break: (5:33)

• "Lunch Break" (Peter Knight) - (1:53)
• "Peak Hour" (John Lodge) - (3:40)

Side Two

5. The Afternoon: (8:13)

• "Forever Afternoon (Tuesday?)" (Justin Hayward) - (5:06)
• "(Evening) Time to Get Away" (Lodge) [unlisted track] - (3:17)

6. Evening: (6:39)

• (Intro) (Peter Knight) [unlisted track] - (0:38)
• "The Sunset" (Pinder) - (2:38)
• "Twilight Time" (Thomas) - (3:23)

7. The Night: (7:34)

• "Nights in White Satin" (Hayward) - (5:38)
• "Late Lament" (Graeme Edge) [unlisted track] - (1:46)

Original Vinyl 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)

2006 SACD Deluxe Edition Tracks

Days of Future Passed was remastered into SACD in March 2006 and repackaged into a 2 CD Deluxe Edition.

Extra tracks on the Deluxe Edition are:

1. "Tuesday Afternoon" (Hayward) – 4:20 alternate mix
2. "Dawn Is A Feeling" (Pinder) – 2:19 alternate version
3. "The Sun Set" (Pinder) – 2:49 alternate version without orchestra
4. "Twilight Time" (Thomas) – 2:27 alternate vocal mix
5. "Nights in White Satin" (Hayward) – 4:26 mono mix from single released November 1967
6. "Fly Me High" (Hayward) – 2:54 Recorded 30 March 1967; released as single May 1967
7. "I Really Haven't Got The Time" (Pinder) – 3:07 Recorded 30 March 1967; released as b-side May 1967
8. "Love and Beauty" (Pinder) – 2:23 Recorded 17 July 1967; released as single September 1967
9. "Leave This Man Alone" (Hayward) – 2:58 Recorded 17 July 1967; released as b-side September 1967
10. "Cities" (Hayward) – 2:23 Recorded 17 July 1967; released November 1967 as b-side to "Nights in White Satin"
11. "Long Summer Days" (Hayward) – 3:12 Recorded 19 May 1967 and released on Caught Live + 5
12. "Please Think About It" (Pinder) – 3:40 Recorded 29 June 1967 and released on Caught Live + 5
13. "Don't Let Me Be Misunderstood" (Bennie Benjamin, Gloria Caldwell, Sol Marcus) – 2:23 live 9 May 1967 for BBC Saturday Club
14. "Love and Beauty" (Pinder) – 2:12 live 20 September 1967 for BBC Easybeat
15. "Leave This Man Alone" (Hayward) – 2:52 live 20 September 1967 for BBC Easybeat
16. "Peak Hour" (Lodge) – 3:22 live 20 September 1967 for BBC Easybeat
17. "Nights in White Satin" (Hayward) – 3:48 live 1 January 1968 for BBC Dave Symonds
18. "Fly Me High" (Hayward) – 2:45 live 1 January 1968 for BBC Dave Symonds
19. "Twilight Time" (Thomas) – 2:08 live 1 January 1968 for BBC Dave Symonds

2008 Single Standard CD Remaster Tracks

1. "Don't Let Me Be Misunderstood" (Benjamin, Caldwell, Marcus) – 2:23 live 9 May 1967 for BBC Saturday Club
2. "Fly Me High" (Hayward) – 2:54 Recorded 30 March 1967; released as single May 1967
3. "I Really Haven't Got The Time" (Pinder) – 3:07 Recorded 30 March 1967; released as b-side May 1967
4. "Love & Beauty" (Pinder) – 2:23 Recorded 17 July 1967; released as single September 1967
5. "Leave This Man Alone" (Hayward) – 2:58 Recorded 17 July 1967; released as b-side September 1967
6. "Cities" (Hayward) – 2:23 Recorded 17 July 1967; released November 1967 as b-side to "Nights in White Satin"
7. "Tuesday Afternoon" (Hayward) – 4:20 alternate mix
8. "Dawn Is A Feeling" (Pinder) – 2:19 alternate version
9. "The Sun Set" (Pinder) – 2:49 alternate version without orchestra
10. "Twilight Time" (Thomas) – 2:27 alternate vocal mix

Chart positions

Album

Year	Chart	Position
1972	Billboard 200	3
1967	UK Albums Chart	27[4]

Singles

Year	Single	Chart	Position
1967	"Nights in White Satin"	UK Singles Chart	19[5]
1972	"Nights in White Satin"	UK Singles Chart	9[6]
		Billboard Hot 100	2
1968	"Tuesday Afternoon"	Billboard Hot 100	24

Personnel

The Moody Blues:

• Justin Hayward: Acoustic and electric guitars, piano, keyboards, vocals.
• John Lodge: Bass guitar, electric guitar, vocals.
• Mike Pinder: Keyboards, mellotron, piano, vocals, (including spoken).
• Ray Thomas: Flutes, horns, percussion, keyboards, vocals.
• Graeme Edge: Drums, percussion, vocals.

• Peter Knight: Conductor, arrangements.
• The London Festival Orchestra.^[7]

Production

• Tony Clarke: Producer, Realisation.
• Derek Varnals: Engineer.
• Hugh Mendl: Executive Producer, Liner Notes.
• Michael Dacre-Barclay: Realisation.
• David Anstey: Cover Design, Cover Painting.
• Steven Fallone: Digital Remastering.

References

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

1. ^ "allmusic ((( Days of Future Passed > Overview )))". www.allmusic.com. http://www.allmusic.com/album/r13367. Retrieved 11 October 2009. 
2. ^ "Sound On Sound (Classic Tracks: The Moody Blues "Nights In White Satin")". www.soundonsound.com. http://www.soundonsound.com/sos/jul09/articles/classictracks_0709.htm. Retrieved 17 August 2010. 
3. ^ Classic Rock magazine, July 2010, Issue 146.
4. ^ "Chart Stats - The Moody Blues - Days Of Future Passed". www.chartstats.com. http://www.chartstats.com/albuminfo.php?id=2258. Retrieved 11 October 2009. 
5. ^ "Chart Stats - The Moody Blues - Nights In White Satin". www.chartstats.com. http://www.chartstats.com/songinfo.php?id=4770. Retrieved 11 October 2009. 
6. ^ Roberts, David, ed (2005). British Hit Singles and Albums. Guinness World Records Ltd.. ISBN 1-904994-10-5. 
7. ^ 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

External links

• ARCHIVE.org scan of album art painting