Customer Reviews

Days of Future Passed [DTS DVD Audio]

5 star:		(23)
4 star:		(5)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

I upgraded this record from the LP to the DTS version. Of course, it has been a very radical change in the quality of the sound. I wasn't interested in getting the original or subsequent versions on CD, because one thing that left me disappointed was the poor quality sound in the LP (muffled and low in fidelity). I didn't expect great changes in the CD versions (anyway I've read that they didn't improve the sound a lot), but when I got the oportunity to buy de DTS version, I decided to give it a try...and it was a right move. Maybe if you are a CD owner, you are suspicious about the goodness of the DTS edition. But I reccomend it. It makes great use of the five channels, so when the orchestra enters, you feel the sound all around you. My only complaint here is that the 5.1 channels are well taken advantage of when is the symphonic orchestra what we're hearing, but some of the songs (properly of the group) don't use that mixing well. And overall, the sound of the group could have used some more loudness and volume in the drums and bass, but my guess is that regarding the mixing of the sound of the band, there were some limitations in the tape source. But it doesn't matter, because in the end the product is very satisfying. You will find that the songs sound a little different, although that's because any new mixing (wether it is for DTS, or DVD audio, or SACD) is a little tricky in that sense: we never have the original stereo mix distribuited in 5 channels, but a new mix, so the songs will neccesarily sound a little different. Moreover, when this is done, there must be always a dilemma for the engineers and mixers: do we make some changes or do we leave the songs alone?. In the case of DAYS OF FUTURE PASSED, they decided to make some changes, and the more noticeable are: 1) In ANOTHER MORNING, the melody that goes before the fade out gets a second repetition, so the song lasts about 10 seconds more. 2) In PEAK HOUR, when the third verse (which anyway is a repetion of the first verse) is played, what we get is a re-introduction of the first verse, so the song is played all over again, and we have a new "long" version, giving the song some additional 3 minutes. 3) In TWILIGHT TIME, the voice that is originally heard in the background from midway the second verse on, in the new mix can be heard from the very first moment Ray Thomas begins to sing. This is to say that in addition to the polished sound, by buying this DTS edition you'll get something else that is new. It's a pity that this record had to wait over 30 years to be heard as it should. But better late than never.

2007 UPDATE: as part of the reissued collection of all the early MOODY BLUES LPs in Super Audio CD's, Days of Future Passed is now available in that format. ALL the sorround CD's in that edition claim to be 5.1, but the truth is that they are 4.1, since the central speaker has been left out ("In search of the lost chord" is only in stereo). Although fidelity has been improved a little in this new SACD edition, some will miss the central speaker.
Also it's important to note that all the changes in the mixing that I wrote about, might be nothing new for those familiar with the QUADRAPHONIC version of the album, that is, the earliest sorround version that was released of Days of Future Passed, in an early technology that was developed (and discontinued)in the 70's. The reissues come from those original remixes, and the DTS version of DAYS must have come from there too, except that they mixed it in the way that it fills the 5 speakers, as I said.

This is the hallmark recording that started the Moody Blues on their sojourn and it is a remarkable one at that. This grouping brought in John Lodge and Justin Hayward maximizing the songwriting and vocal harmonizing that is so well known now. Although the symphonic arrangments may sound slightly dated, it is still a 'mood-piece' to wash away your worries and dive into your dreams. "Night In White Satin" was released in 1967 and 1971 as a single, so strong is it's appeal. The other songs display how talented and unafraid these musicians were to experiment, bringing classical pop into the rock arena.

Note: You need to have a audio system that is has a DTS Digital Decoder to enjoy this CD. It sounds great with 6 speakers and a woofer. Otherwise you are better off buying the other digitally enhanced CD versions.

The Moodies were approached in mid '67 to do a concept album for London Records (remember their Phase 4 albums?). Deram, the Moody's label and a London subsidiary, wanted to show off their new high dollar four channel board to the London brass. Tony Clark called on the late Peter Knight to write and perform the musical interludes with the London Festival Orchestra, the record company's in house band-orchestra. Once the recording was done and the project finished it was played in the studio for the record execs. It was a real hit. DOFP is one of the few albums of it's day recorded in true four channel sound. When quad came out in the seventies some albums were recorded in multichannel form. The problem was that LPs and the upstart cassette format emerging at the time could not reproduce discrete 4 channel sound. Only the Quad 8 tapes of the time could reproduce DOFP as it was meant to be heard. All 8 tracks had crappy sound (regardless of how we quad system owners told ourselves it was really great). With a high end under 12,000 cps, and channel cross talk from out of alignment heads, it simply was not up to snuff. Many albums recorded or mixed for stereo listening don't translate well to a multi channel format so be careful what you buy. By all means try to give it a listen before deciding. You will not only be safe with this ultimate version of DOFP- you'll be tickled. For it's day, this recording holds up really well. I have both the DTS multi channel and the Mobile Fidelity Sound Labs gold cd versions of this album and I am far happier with the DTS format. Problem is I can't play it in my car with just a standard Pioneer cd player. Buy this version of Days... load it into you player, dim the lights, and enjoy.

The Moody Blues Mach I(the "Go Now!" and "From The Bottom of My Heart" guys, featuring as lead singer future Wings-man Denny Laine)was what I noted in a review of ON THE THRESHOLD OF A DREAM as having 'roughhouse passion,' but what I forgot to mention was how musically limited(and, production-wise, crude)they were, though as Mike Pinder's keyboard prowess and ambition blossomed, so did the band musically(but not commercially--the better they got, the less records they sold).
Then came Justin Hayward and John Lodge, and ambitions of all kinds burst forth. In retrospect, DAYS OF FUTURE PASSED was probably too ambitious, but at the time it was innovative.
What the DTS Audio version reveals--it was taken directly from the four-channel 1974 quadraphonic master issued here on 8-track tape only(sigh....)--or, should I say, made very obvious--
was that the orchestra and band were recorded very separately, then assembled with great care and grace(for 1967)by producer Tony Clarke. Like the late '70s stereo remix Clarke fashioned for vinyl(and all later CD)reissues, the DTS 5.1 mix is far more detailed and crystal-clear sounding than the bassier, murkier original stereo Lp mix from 1968. This is just as well, and while there are some omissions(missing instruments, or things mixed down so low they're obscure even in multichannel sound)and additions(later fades, extra measures, heightened orchestral drama and focus)the only caveat this listener and fan can make is that, like all '70s quad mixes, this DTS disc uses the rear channels with the same force and volume as the front, which is not the norm for most film soundtracks(or, for that matter, many modern DTS or DVD-Audio discs). But if you love the Moodies and DAYS OF FUTURE PASSED, you simply must have this. It'll impress your friends, too.

Who would have guessed in 1967 that "Days of Future Passed" would be one of the most subtly influential albums of the rock era? To this day, many people do not realize how many rock artists this album has influenced. I suspect that some rock artists do not want to admit this album's influence.

The Beatles were heavily influenced by classical music, and over time they increased the level of orchestration in their music. Orchestras of various sizes supported many of the songs on their last albums. However, The Moody Blues went beyond orchestrating music in this album, they fused the two together.

The music is dated, but no more dated than most of the other rock from the 1960s. Furthermore, several cuts have survived the test of time very well, most especially "Tuesday Afternoon (Forever Afternoon (Tuesday?)" and "Nights in White Satin." Others have written so much about these two songs that I can add nothing, so on to a couple of lesser discussed songs.

"Peak Hour" is probably the most anachronistic song on this CD, and feels very much like a product of the 1960s. The rest of the songs, very progressive rock in the 1960's, have aged to the point where they sound like light rock or easy listening. However, most of the songs on the second side (which includes "Tuesday Afternoon" and "Night in White Satin") retain a melancholy flavor that makes this album very unique. Try listening to "(Evening) Time to Get Away" by John Lodge and not get nostalgic. "The Sunset," an acceptable song by Mike Pinder follows; a Ray Thomas song, "Twilight Time", is next, leading up to the phenomenal "Nights in White Satin." I enjoy every one of these songs and have listened to each hundreds of times. Some things just never age.

The Moody Blues fell into the position of being one of the originators of progressive rock by accident. Originally the studio wanted a rock version of a symphony. The Moody Blues had something different in mind. They wanted to attempt a fusion of classical music and rock. The Beatles had used elements of classical music, but they had yet to try mixing the two. The orchestral portions of this album are orchestra based using themes from the rock portions. The rock portions use a mellotron to infuse a classical element into the rock. The bombastic and beautiful song "Nights in White Satin" is the epitome of this fusion, and has become an example that others have tried to emulate, but no one, including the Moodies themselves, have been able to duplicate.

This album is not for everyone. If your idea of music is 4 or 5 males or females singing a throwaway tune that no one will remember in three years, or you like music screamed into your ears to the point where you can't understand the lyrics, then you won't like this album. Think Beatles with a flavor of Yes and maybe a little King Crimson for good measure. But think about a group that had these attributes before Yes and King Crimson hit their stride, and during the time the Beatles were just getting into heavily orchestrated rock. This album is a seminal progressive rock album and a hint of things to come in the late 60s and the early 70s.

One final warning; this version of the album requires a DTS decoder, so it you do not have a DTS decoder you may wish to seek out one of the other versions.

This is one of 2 albums in my collection of hundreds that have a profound impact on me. Along with Dire Straits: Brothers in Arms, this album (especially in the GREAT, not abnoxious 5.1 mix) requires dedication to listen to. When I listen to this album, I dim the lights (or shut them off), close my eyes and emmerse myself in the music. Not often am I able to say that the mastering of an album (especially a 5.1 mix) requires no change, but this album is one of those gems. Even if you are not a Moody Blues fan, I suggest you obtain this album, and listen to the entire thing alone with no distractions. The more you listen to it, the better it gets.

Don't expect to rock out to it, for it is not a rock album. This is what I would define as Symphonic Rock. It is more of a symphony done with rock interlaced. This is a must own album for any collection, regardless your musical tastes. If you are into hard rock, punk, rap or any other such music, you will find this a good album (as long as you have an openish mind).

The album is obvious a classic this review is for the DVD-Audio that sellers are listing item as. I purchased two they were both DTS-CD don't get me wrong it still sounds good but if you want a DVD-Audio disc ask before you purchase.

Yes,
They just keep rerealising old Moodies material but this time it is worth the cost. The true 5.1 surround sound compliments there music perhaps better than any other. You will hear distinct seperation as well as sounds that were not detectable in other releases. Now all they need to do is release the rest of the "Classis Seven"

Since I first heard it in the 1960's, I have felt that "Days of Future Passed" is a brilliant and powerful work. It was, perhaps, the first to unite popular music with symphonic, and the result was powerful and thought-provoking. This DTS version of is simply amazing. Although re-mastered from old analog taped data, it nevertheless manages to convey an almost magical musical journey, creating new images from this timeless music. I highly recommmend it to anyone who appreciates this special class of music, a class I feel is best representented by the Moody Blues.

This album was recorded in 1967, but it remains of the greatest albums ever. The entire CD is divided into the times of day. It starts with the beautiful'Dawn is a Feeling' & ends with the immortal'Nights in White Satin'. Each song is joined to the next one with pieces from the London Festival Orchestra. The total effect is incredible. A must-have for your collection.