Customer Reviews

Days of Future Passed

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1 star:		(4)

 

 

"Days of Future Passed" and "Seventh Sojourn" are the two Moody Blues CDs to buy. For the rest of their hits purchase one of the many greatest hits CDs. Unfortunately, their best hits album, "This is the Moody Blues" released on vinyl in the 1970s is not available on CD. "Days" contains two of the Moodys best songs-- "Nights in White Satin" and "Forever Afternoon (Tuesday?)" (better known as "Tuesday Afternoon"). Even more than 30 years later "Nights" is perhaps the best marriage of classical and pop music ever done. The song and narrative poem portion that follows are a perfect mood piece. "Tuesday Afternoon" truly soars. Some of the other parts of this album have dated somewhat ("The Day Begins" for example) and 30 years on it is sometimes hard to see how groundbreaking this album was in 1967 in the wake of the Beatles' "Sgt. Pepper's Lonely Hearts Club Band." Rather than ambitious, some songs seem rather quaint in retrospect, but it is well worth buying to hear the triumvirate of "Nights," "Tuesday Afternoon" and "(Evening) Time to Get Away" in their proper context. [Note: Be sure to buy the "Originally Recording Remastered" version--it has a black background on the back cover with a "Moody Blues" emblem that looks like a butterfly. The "Remastered" version contains an interview with the Band and far superior sound quality to previous releases.]

Released in 1967, this is yet another incredible Moodies album and is one of my favorites. As a huge prog rock fan, I especially appreciate the symbolic cover art, the overarching concept/theme, the abundant use of the mellotron, and the nearly seamless blending of an orchestra. I guess it is worth noting that as a rock band, the Moodies were pioneers in fusing orchestral sonorities with rock music and got a number of other British rock bands interested in the use of an orchestra including Yes and Deep Purple amongst others. Like a lot of other people, my favorite tracks include the haunting and dreamy Nights in White Satin, Tuesday Afternoon, and Dawn is a Feeling, but also like the instrumental orchestral passages (London Symphony Orchestra), the sections of dark and serious spoken words, and the subtle hints of the Beatles and even Pink Floyd's Piper at the Gates of Dawn album (1967). This remastered album comes with a series of liner notes that feature a "question and answer" session with various members of the group - in general I found them to be fairly informative. All in all, this is a landmark recording by an extremely important group and is highly recommended along with In Search of the Lost Chord (1968), To Our Children's, Children's, Children (1969), and A Question of Balance (1970).

This album was my introduction to the wonder of the Moody Blues, who at that point were just establishing themselves as an innovative and highly experimental form of pop rock that explored a number of intriguing area of the genre. The album was intended as a kind of popular introduction to the band, who had formed shortly before and had several songs to audition with but not a full stable of songs. So, when lead singer Justin Hayward was approached by a member of the Polygram label with the idea of a rock-orchestral fusion album, he jumped at the chance, understanding what a break it would be for the band. Of course, the album was an instant success, and led to the release of "Tuesday Afternoon" and later the smash hit "Nights in White Satin" as singles. The rest, as they say, was history, for they turned this opportunity into a string of fabulously successful albums and three decades of very popular public touring. Strictly speaking, then, this album is a mixed bag, an attempt to fuse popular rock with classical music, and in a number of places, this works amazingly well. At other points in the album, the segue is less well accomplished, and it is less pleasing. But overall it is a wonderful album, and one that has a firm place in pop music history as the first step into the limelight by one of the most enduring bands in the history of rock and roll. Enjoy!

This was the album that showed me who were The Moody Blues, and after listening to this, my life was never the same. What an extraordinary concept!!! This album is really one of the most importants in music history. The symphonic parts are really delicious and each song represents exactly its part of the day. In my personal opinion, it would have been marvellous, if there would have been a film like "Yellow Submarine" or "Fantasy" with this album. It would have been absolutely fabulous!! My fave tracks here are: Another Morning -it reminds as we were having breakfast with our family when we were kids-, Tuesday Afternoon, Evening Time (To Get Away), Sunset and mainly, Nights In White Satin, which is the best closing to this album and to any day in our lives. It's been nearly 33 years since the releasing of this album and now, in the new millenium, we still remind it, and it will be in a important place among the best albums in Music history.

1967's _Days Of Future Passed_ is an important recording in the history of popular music indeed, and many have been influenced by it. But, more importantly, it's simply a splendidly beautiful album to listen to, and very hard to *not* be moved by. While this album was reported to be inspired by The Beatles' _Sgt. Pepper's Lonely Hearts Club Band_ of the same year (then again, nearly everyone in the music business, and otherwise, became inspired by said album, and The Beatles, in general), in it's original conception stages, it was set to be recorded as a rock-oriented interpretation of Czech composer Dvorak's 9th ("From The New World") symphony in E minor. But, in what was probably the smartest move, the boys decided to do away with that idea, and come up with an album of all-original material: to write their *own* rock symphony, to an extent. To top it all off, they even decided to embed this gorgeous album with a small concept: the going on's from day to night.

An orchestral rock delight, indeed, The Moody Blues are sided with The London Festival Orchestra (conducted by Peter Knight), whose contributions help to enhance the beauty, color, texture and drama of The Moodies'...beautiful, colorful, textured and dramatic music. While many of the orchestral treatments featured here are used as *interludes*, it should be noted that The Moodies' music naturally retains an orchestral flavor throughout, whether it be from the mellotron splashes, or from the orchestral strings. From the dramatic, multi-faceted opening of "The Day Begins," to the closing, haunting beauty of "Nights In White Satin," the album is an ever-evocative, dreamy, lush, elegant, romantic trip for the senses. Euphoria, contemplation, whimsy, melancholy.. the Moodies live up to their name, as each of these *moods* are here, and then some. I should mention that "Dawn Is A Feeling" is simply one of the most gorgeous songs I've ever heard, anywhere. In some songs, you'll even find traces of exotic Eastern music ("The Sunset"), while others simply have a hard-driving rhythm ("Peak Hour").

A classic that influenced many (as listed above), this is recommended for music fans who have a taste for the romantic, dreamy and elegant. In general, anything from The Moody Blues is recommended for those who find that they crave things exhibiting the above attributes, or for fans who love 60s rock.

I used to listen to this and other Moody Blues albums on both vinyl and 8-track endlessly in. I *finally* got around to getting the CDs recently and the remaster of this album is STUNNING. I'm always a bit afraid of remastering because often the mix changes to suit the engineers or the artists as they think "it should have been". My opinion of this remaster is that it's a beautiful technology update that doesn't disturb the original music from the 1960's. The master tapes must have been in great shape, this is nearly flawless.

If you liked the Moody Blues back then, the remasters will blow you away.

What began in 1967 as a project to record the Moody Blues' version of Dvorak's "New World Symphony" with an orchestra to demonstrate the then new Deramic wall-to-wall sound became one of the Moodies most successful albums. DAYS OF FUTURE PASSED peaked at No. 3 and stayed on the charts for 102 weeks. And while "Tuesday Afternoon" stalled at No. 24, the anthemic "Nights in White Satin" went to No. 2 five years after the album was initially released.

This was the first album to feature new members Justin Hayward (who composed the album's two singles) and John Lodge, replacing original members Denny Laine and Clint Warwick. With the classic lineup in place, the Moodies released the first of seven spectacular albums featuring their trademark lush harmonies, majestic orchestral elements, and mystical lyrics (often punctuated by drummer Graeme Edge's poetry linking the songs).

While the rock press has generally been unkind to the Moodies (and year after year they are unjustly overlooked for inclusion into the Rock 'n' Roll Hall of Fame), their music has held up well. If you already own one of the countless Moody Blues anthologies, this 1997 remastered edition is the place to begin expanding your collection. [Running time - 41:39] VERY HIGHLY RECOMMENDED

"Days of Future Passed" is considered a concept album, in that it eulogizes the various parts of the day from a timely musical standpoint. There is a bit of that Moody Blues rock sound displayed here, which is cleverly camouflaged against the orchestral stylings provided in grand fashion by "The London Festival Orchestra" - conducted by Peter Knight. "Days of Future Passed" begins and ends with a nice, very British vocal passage, voiced by the Moodys' lead singer, Justin Hayward, whose vocalization serves as the perfect compliment to the orchestral passages displayed throughout this "Digitally Remastered" CD, which is truly a delight to the ears. The stuff displayed between the intro and outro vocal passages is prime stuff, which, as I said, captures the subleties of each part of the day with great musical precision. "THE DAY BEGINS" and "DAWN: Dawn Is A Feeling" blossom rather nicely, while "THE MORNING: Another Morning" moves through this day quite briskly. Before you know it, it's time for a lunch break, which begins in the calming, then breaks out with a vengeful fury in the peak hour, thus you have "LUNCH BREAK: Peak Hour". "THE AFTERNOON" is now upon us, which prompts Justin Hayward to break out with a pleasant vocal set against a lush, orchestral waterfall, which is the setting for the subtitle a) Forever Afternoon. The orchestration sets the musical tone for the macabre b) subtitle "(Evening) Time To Get Away". It is now later in the "EVENING", and subtitle a) "The Sunset" is the perfect musical "cool down" right before the subtitle b) "Twilight Time". Finally, the dark of "THE NIGHT: Nights In White Satin" has now reached its glorious end, as the now died down "echo" of the orchestration senses it is "nighty-night" time, complete with a Justin Hayward bedtime story, titled "The Gathering Gloom". Ah, but as they say: "All's Well That Ends Well", as we end one of the last chapters of the all orchestral, "pre-prog" Moody Blues era, as they would begin to hone their progressive musical skills as time passed with each album, although The Moodys did continue to infuse the orchestral sounds into their rock 'n roll landscape, particularly in later albums, such as "Long Distance Voyager", among others. After listening to this CD, it is clearly evident where the musical influences of various progressive groups, such as Genesis (the Peter Gabriel years) and Emerson, Lake and Palmer, came from. In fact, Genesis' first album, "From Genesis To Revelation", sounds a lot like "DOFP", and is modeled after it. Although "Days of Future Passed" is primarily suited for the classical music lover, those who are into the classic rock sound of the late '60's, a la "The Bee Gees", et. al., will derive some pleasure from it, as well. But, be warned, "DOFP" isn't exactly for the "pure" rock 'n roll fan, nor is it for the "pure" classical music afficianado, but is for the true universal music lover. So, if you are only into the Moodys' later, more progressive-oriented efforts, you might find "Days of Future Passed" a bit hard to swallow. But, if you are a die-hard fan of this supergroup, and you don't have this title in your CD collection, GET IT, PRONTO!!!

I have been a fan of the Moody Blues since 1980-81, but their influence on me started in the mid 70s when I heard on the radio songs like `Nights in White Satin', `Question', `I'm Just a Singer in a Rock `n' Roll Band', so in reality on a subconscious level I became a fan even before I knew it.

Just to set the record straight, I first brought a compilation album to see if I'd like any other of their material, and as it turned out, I did, so then I started buying their records, now of course I've got them all except their `December' album.(at the time of writing this review) Anyway I can say without a doubt that `Days of Future Passed' their second album, (their first was `Magnificent Moodies' although some may argue that it isn't) is their best album that they have ever made and the most influential (`Days of Future Passed' is one of my personal top 10 favourite albums of all time).

Anyway it all started when the Moody Blues were in debt still owing money with Decca Records but were offered a deal to make a rock and roll version of Antonin Dvorak's `New World Symphony' that would promote Deram Records (a subsidiary) new revolutionary sound Deramic Stereo Sound (DSS-Sounds really impressive...wow) this would cancel the group's debt, but the group were unable to complete the project.

But all was not lost, the Moody Blues had an idea, they were able to get Peter Knight back who did the arranging and conducting Dvorak's orchestral interludes on the previous now abandoned project, plus all the material the band recorded for a new album concept, naturally the Deram executives were not impressed but went along for the ride, as they were just as curious to see how it would work...success!

Days of Future Passed

The album was released in 1967 and went to number 3 on the Billboard 200 and number 27 on the UK Albums chart. The single `Nights in White Satin' went to number 19 in the UK Singles chart in 1967 and again to number 9 in 1972, as well as number 2 on the Billboard Hot 100 in the same year; another single `Tuesday Afternoon' also hit number 24 on the Billboard Hot 100 in 1968.

`Days of Future Passed' is seen by many as the band's greatest achievement in music-in concept and in idea. It was totally unheard of and wild, considering the time/period-1960s. But out of persistence and since the Moody Blues had nothing to lose (they were broke) gave it one last push to revive their musical career, and it worked-even Deram Records couldn't believe it. The album was experimental, innovative, avant-garde, advanced in concept, totally beyond the classic 60s sound. It was a hallmark in musical history, a recording that even today still holds up on its own, if `Days of Future Passed' were a painting it would be worth millions; and having said that the cover art of the album is in itself brilliant, you need to see it to believe it. With this album the Moody Blues crossed genres and melded different forms of music that was thought impossible. (Like mixing oil and water)

Okay let's now look at the songs from the album, which on the surface as a whole is about the day, but in my mind in reality it is about human life, our life, an interpretation about ourselves and how we live our lives on this earth.

`The Day Begins'

This is our birth as we enter the world; an excellent musical start to the album, uncomplicated easy on the ear, with sweeping soft soothing sounds and rhythms to awaken the senses with the added poem by Justin to prepare you for the next part on our life's journey.

`Dawn is a Feeling'

A surreal song with undertones of depression (the growing pains of life) that is not really obvious, but just listen to Justin's voice, which gives that impression. But as the song progresses, it slightly uplifts you as Justin's voice changes his tone to hopefully reveal a better feeling ahead (we are growing up fast in this world of uncertainty) with a musical break at the end to expose the light of the world, where all is not lost. (We stand on our two feet preparing ourselves for life's mishaps and what is to come)

`Another Morning'

We have awaken (the reality of life), this is an up tempo song that promises better things to come, life on the whole, has surprises for us awaiting to be discovered. This song is contrasted by the last as being positive while `Dawn is a Feeling' represents the negative, (night-negative, light-positive). We attempt to take control of our destiny as we seek perfection.

`Peak Hour'

We have reached mid-life in our journey, as we try to assess ourselves and our world, our thoughts, and what we need in our lives to fulfil what remains, the musical interlude represents our brain trying to comprehend what we have learned so far, our neurons travelling the byways of our thoughts piecing together to understand; this leads us to `Peak Hour' which is by contrast a hard-rock type song with great guitar sounds, hard, fast, confusing, the rush of adrenalin as we the human move forward trying to make sense of ourselves to prepare for our next instalment in our lives. The fast and the furious pace of life.

`Tuesday Afternoon'

With this song we pause and reflect what has gone before in our lives, the soft rhythmic melody almost puts us in a trance-like state (a throw back to the 60s psychedelic movement). We stand to ponder about ourselves, and where we are going, has our life been fulfilling? Has it been worth while? Questions are raised; voices invade your mind trying to help you understand, as you take that trip within your conscience and subconscious.

`Evening Time to Get Away''

With this song we go deeper into the meaning of life, we try to dissect the pieces (years) of ourselves; this is of course a darker song that reflects the title as we begin our descent towards death. But as we go forward, we go back, trying to turn around to reclaim our youth, we do not wish to face death, we are afraid. We try to run, as we do not want to recognise the inevitable.

`The Sunset'

The end is near, our life upon reflection is what it is, and we try to understand the bigger picture and our place in the universe. We still do not understand our eyes can not see clearly, the picture (life's meaning) is fading. The only eye we see is the sun (our third eye) as it makes its way beyond the horizon, beyond our sight-beyond our reach?

`Twilight Time'

Our life is over, we are dead, this song tells us about the journey we make after, (the afterlife) between the physical and the spiritual planes reaching for the stars and beyond, it is a mysterious journey of the unexpected, our soul confused, but assisted by the voice (direction) as we fly towards not only the question of life but perhaps the answer as well.

`Nights in White Satin'

Have we reached inner peace? As an individual we are confronted by the angels (nights) in their angelic attire (white satin) taking us by the hand on an endless journey, towards our possible next life, to begin again. But as we walk the path we see those that have gone before us, our friends, our family, our enemies, before we reach that doorway into the next world (experience). In this song we experience peace, love, and contentment with religious undertones. It is also possible that `Nights in White Satin' could even represent God in his or her many forms (nights) or even different aspects of ourselves.

`Late Lament'

The final thought spoken by our God, as we become part of the cosmic universe, telling us about the world, the life, the inner thoughts as a collective of human experience, our fears and our fantasies. In the end there is no end, but a beginning to begin again, have no fear as we walk towards the holy light (gong sound) to a better path in our existence (spiritual growth).

Well how about that, this album has a different meaning for me than perhaps those who have already reviewed this album in a different light. This just goes to show that "Days of Future Passed" has different connotations and may not be obvious, which means you need to look deeper to find the true meaning of what the album is trying to express.

In any case this album can mean many things to many people, but in the long run, just enjoy the ride as "Days of Future Passed" is a classic that will stand the test of time for years to come (and go).

Special thanks to Wikipedia for additional information for compiling this review.

Who would have guessed in 1967 that "Days of Future Passed" would be one of the most subtly influencial albums of the rock era. To this day, many people do not realize that many rock artists have been influenced by this album. 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. Many of the songs on their last albums were supported by orchestra of various sizes. However, The Moody Blues went beyond orchestrating music in this album, they tried to fuse the two together, and were very successful at it.

Even more remarkable is that this concept album was recorded a mere five months after the release of the first rock concept album, "Sgt. Pepper's Lonely Hearts Club Band". While there has been a great deal of discussion regarding whether "Sgt. Pepper" was truly a concept album, there is no doubt that "Days of Future Passed" was a concept album. The common theme is one day, from morning to night ("Nights in White Satin"). Thus far, however, I've not heard anyone ever suggest that "Days of Future Passed" was the first real rock concept album, perhaps because too many people consider them pretentious and overblown.

The music is a little dated, but no more dated than most of the other rock from the 1960s. Furthermore, there are several cuts that have survived the test of time very well, most especially "Tuesday Afternoon" (Forever Afternoon (Tuesday?) and "Nights in White Satin." So much has been written 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 of the group, and feels very much like a product of the 1960s. The rest of the songs, likely 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 and 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, which itself is followed by a Ray Thomas song, "Twilight Time." I enjoy every one of these songs and have listened to each hundreds of times. Some things just never age.

This album is not for everyone. If your idea of music if 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 should always be considered influencial seminal rock and a hint of things to come in the late 60s into the 70s.