| 1. Future Days |
| 2. Spray |
| 3. Moonshake |
| 4. Bel Air |
Editorial Reviews
Product Description
Part of the essential series of reissues playable on SACD players(is an SACD Hybrid). Remastered from the original tapes by the band with beefed up artwork including rare and unseen photos.
Such are the spoken words which close this remarkable recording... leaving one almost breathless at the consideration of that thought.
There is some music that is simply timeless. Music imbued with a such a quality that sets it outside of the confines of time and space... a specialness that is unique among other works. The Moody Blues landmark recording, `Days of Future Passed' is such a special piece of music. It is both timeless and far ahead of it's time.
Technically their second recording release, (following `Go Now' with mostly different band personnel), for all practical purposes, `Days' is their debut album with the addition of the mainstay songwriters Justin Hayward and John Lodge. This record is astounding in every respect, from it's concept to it's orchestration to the originality, beauty and diversity of it's songs. The time period of it's release, 1967, was the absolute peak in creativity in the music world. And indeed, this album has no predecessor in terms of sound or style. It's an original new creation, and was executed with exquisite artistic brilliance.
This was the record that launched the careers of the Moody Blues, and it was a hard act to follow, probably especially for them. Although they went on to record many more great albums... In Search for the Lost Chord, On the Threshold of a Dream, A Question of Balance, To Our Children's Children's Children, EDBDF, Seventh Sojourn, and on..... most would agree they never exceeded the beauty put down on this one.
A very young Justin Hayward opens the suite singing `Dawn is a feeling...' and the rest is a trip that takes you along through a day with a variety of moods and emotions. What is amazing is the quality of maturity in his voice, yet he was only 18 when this was recorded. Amazing. The two most recognizable songs on the record, also Justin Hayward tunes, Tuesday Afternoon and Nights in White Satin remain the strongest Moody Blues songs in their 40+ year history.
The orchestration score complements the songs beautifully with a variety of segway pieces that connect the tunes in such a way as to lead one through a story. The score is credited to a Peter Knight, but research as to who this guy is leads to a dead end. I later read in an offbeat book that Peter Knight was one of many stage names for a man named Chuck Hamil, the brother of actor Mark Hamil who starred in the original Star Wars movie trilogy. It seems Chuck Hamil is/was an amazingly gifted musician who also wrote, sang and recorded many other radio hit records of the late sixties, such as those credited to a Scott McKenzie's `San Francisco' and others (Gary Puckett?)... but he never used his real name. Interesting details!
Regardless, the origins of the album seem to be shrouded in mystery. But the quality of the music speaks for itself. I always have felt there was something special about the music of the Moody Blues. This is the album that sparked that interest, which has never died since. Great art stands the test of time, and this certainly does.
1 'The Day Begins'- NO. Haven't fully acquired a taste for poetry or chamber music- yet. Sorry Graeme.
2 'Dawn is a Feeling'- YES. Mike Pinder's opener is just lovely and well-sung by Justin Hayward but Mike's voice wasn't in top form for his part, which fortunately was brief. Pinder has said that his reference to the "smell of grass" wasn't about pot, but looking back he realized it fit well with the times.
2 'Another Morning'- YES. Another Ray Thomas number. It had to grow on me, as I normally don't care for "kiddie" songs. He does such an outstanding job vocally that I had to like it.
3 'Peak Hour'- YES. John Lodge rocks me with this great song. It's the overlooked gem on 'Days'. I had read that it was the Moodies loudest number played live for many years. Wish I could have been there to experience it. Great lyrics- if I could just find the originals. I've seen about 5 versions of it online! Lodgie and mates sing it superbly and slap play the fool out of it.
4 'Tuesday Afternoon'- YES. What can I say about this classic that hasn't already been said before? I think it's THE best Hayward number on DOFP. Justin singing this song is a little slice of heaven in my headphones.
5 'Evening Time to Get Away'- YES. Oh yes, yes, yes. Hearing John's lovely voice- especially his falsetto- at it's best is enough for this gal. "Working, living it brings. Only way to have those things. Toiling has bought too many tears". Lodge simply nailed it on this timeless ode to the working class.
6 'The Sunset'- YES. Good song- only wish Pinder would've had a longer part to sing this time. He sounded great.
7 'Twilight Time'- YES. Ray redeems himself VERY well here. His subtle vocal literally carresses the lyrics- and my ears.
8 'Nights In White Satin'- YES. Brilliant song and THE ONE Hayward will forever be known for. Though I love it, it's not my fave of his. This song manages to be both beautiful and haunting all at once. Lodge's almost eerie-sounding, wailing chorus parts never fail to get me. WOW.
9 'Late Lament'. NO. Another poem by Graeme Edge. My sincere apologies Edgie. It's not you, really. It's me. You're a fantastic drummer to be sure!
'Days Of Future Passed' will forever be known as THE record that launched The Moody Blues onto the world stage. It did so for a very good reason: it's a ground-breaking, magnificent recording, created by the minds, hands and voices of five talented young men simply doing what they love- making great music.
Unfortunely, the Deram discs (at least the ones I have) suffer from a bad mix. Sounding muted at the dynamic tracks, and then way over the top on surround stage with no center stage on other tracks. (of course I know it was recorded on quad to begin with, but how can you almost completely lose some of the spoken parts?)
I've heard much better from lesser disks on lesser systems.
Point being that this is supposed to be a "better" version. "[ORIGINAL RECORDING REMASTERED] [ORIGINAL RECORDING REISSUED]"
NOT even close!!
This was the second Moody Blues album and the first to feature new members Justin Hayward and John Lodge. The band decided to create a musical piece that was different than their previous material, which was more of an R&B sound. When they were asked to do a demonstration record for Decca to show off their new fangled stereo technique called the Deramic Sound System by recording a group and orchestra version of a Dvorak symphony the band decided to record their musical piece they had been working on at live gigs. So with Peter Knight and Hugh Mendi history was made and the Moody Blues were back on the scene with mellotron in tow. This album contains the classics "Tuesday Afternoon" and "Nights In White Satin" (any similarity to Love's "Signed D.C." is purely coincidental) as well as those spoken passages at the beginning and end of the record (oops! I mean CD) that is lampooned on various Mystery Science Theater 3000 episodes, which shows how this album has become a part of the pop culture zeitgeist.
So if you're looking to upgrade from the last re-masters you could do worse like buying a MFSL Gold Disc issue for $200.00 on Ebay.
This compositions presented here, especially "Moonshake" and the 20 minute "Bel Air", are completely self-assured and have an atmospheric, almost impressionistic quality. This was probably Can at its peak: Schmidt, Czukay, and Karoli, with the incredible Damo Suzuki. Can fans should have this, as should any devotees of Krautrock on the order of Tangerine Dream's Phaedra.
Future Days was Damo Suzuki's last recorded album as the vocalist for Can, and while there are great tracks which both precede and supersede his tenure, no one would doubt that it was with Suzuki, that Can produced its finest work, including the historic albums mentioned above.
This is a terrific album. Also a great cover; I can't help but think they had in mind Peter Behren's Art Nouveau graphic design for AEG.
Groups like Tangerine Dream, Kraftwerk and Amon Duul, each in its own distinct manner did much more than imitating the great bands in the UK and the United States. Speaking of originality and adventurousness, CAN was even more important than the groups already mentioned, and possibly the best German band of all times.
Now, to choose a single album by CAN is literally impossible, yet "Future Days" should make anyone's short list. Along with its two predecessors, "Ege Bamyasi" and "Tago Mago," this album presents a band at the top of its ever-changing form.
By then, 1973, CAN had been together long enough to have an almost psychic musical connection with each other, and the continuous evolution of their sound reached its peak in Future Days.
Whether it is the sinuous bass lines Holger Czukay offers or the incomparable groove of drummer Jaki Leibezeit in the opener "Future Days" or Michael Karoli's guitar in "Spray" or the funky "Moonshake," this album is an amazing show of minimalism, the adventurous stripped to its essence, yet full of nuances and moods, further enhanced by Damo Suzuki's shamanic singing and keyboardist Irmin Schmidt's proto-Ambient cadences.
This is even more poignant in the final and longest song "Bel Air" which sums up everything that CAN gained its reputation on, and more than enough reason to deserve a more prominent place among the bands--anywhere!--that shaped contemporary Rock and Electronica.
mean that it is more accesible or mainstream
or commercial. Get your head out of the
collective ass if you think like that.
Most people could not expect to create
(in any medium)a beautiful living,pulsating
organism such as this. "Really listen"to it
(it passes quickly)several times and tell
me how commercial it is.
thankyoo
Every time I go on a long-distance car ride this is one of the first things I listen to. Roll the windows down and just drive. But amazingly this album is good to sleep to as well.
It has so much of I want in a record: it is catchy and upbeat, but has soothing soft moments as well, the playing is tight and impressive, but has a loose improvisational feel, it is endlessly listenable but very experimental in the recording techniques and the approach to mixing... Buy it you will not regret it.
There are compilations and then there are "Compilations" beginning with a classic that even the youngsters today recognize "GONE WITH THE WIND" (1939) (Max Steiner), sweeping score that captures the tragic history of the South during the Civil War, one great cue after another, it doesn't get any better than this, nominated by the Academy for Best Original Score...and closing on Disc 4 with "THE INCREDIBLES" (2004) (Michael Giacchino), the big hit in computer animation from Walt Disney & Pixar that once again pit Super-Heroes against the forces of evil...our family of five Supers prove crime doesn't pay, but box-office receipts do...gotta love it!
Silva Screen Classics as usual, has put quality into this 4-CD-Set featuring The City Of Prague Philarmonic Orchestra and the Crouch End Festival Chorus conducted by Kenneth Alwyn, Bill Ashton, Paul Bateman, James Fitzpatrick, Mario Klemens, Derek Wadsworth, and Nic Raine. Recorded in "Dolby Surround" with the new technology of "HDCD", this is a "film-score-buffs" dream, one to treasure now and years to come.
Some selections are missing, but when you think of what Silva has included, it is impossible to please everyone...was happy to see "TOUCH OF EVIL" (1958) from composer Henry Mancini, as I feel this composer deserves all the recognition that has been overlooked recently in the music world...This collection is aimed directly at the "Serious Film Score" music fans and collectors...Silva is as always, perfect in every way...just the way we like 'em!
Total Time: 4-CD-Set ~ Silva America 1181 ~ (5/10/2005)
INTRODUCTION:
Truly, the Moody Blues were a pop-rock band with a sound all their own. They are one of the first groups that can truly be considered progressive. In the beginning, the group had a very different sound from the one fans would know and love them for, but following the release of their debut album, Denny Laine and Clint Warwick departed the group. They were replaced by Justin Hayward and John Lodge, who would be instrumental to the band's future successes. Along with drummer Graeme Edge, the band's classic formation was complete. The new version of the band planned to record a version of Dvorak's New World Symphony with the London Festival Orchestra, conducted by Peter Knight. However, the band changed their plans, and decided to do an entire album with the orchestra! Their plan was a concept album about the various times in a single day. This became the Days Of Future Passed album, released in December of 1967. It has since become the most popular album the band ever recorded. Read on, and see it the band's sophomore album lives up to its hype.
OVERVIEW/REVIEW:
With this album, Graeme Edge, Justin Hayward, and John Lodge created a symphonic pop-rock masterpiece - and one that stands the test of time. Not only is the band in their prime on this album, but so is the London Festival Orchestra, conducted here by Peter Knight. The album itself is divided into seven suites, each of which relates to a different time of the day. Appropriately enough, the album is started off with a piece called The Day Begins. The opening track is an orchestral instrumental sequence which helps to set the tone for the rest of the album. Following the instrumental portion of the song, Graeme Edge treats us to some of his spoken-work poetry, which only adds to the overall charm factor of the album. Second comes the Dawn suite. This is a slow, melodic, and mature piece of music, whose overall sophistication was well ahead of its time musically. This should have been one of the big hits on the album, but sadly, it has been forced to remain as an underrated masterpiece all these years. It's a shame that the best songs on albums often tend to be the most underrated ones... oh well. And then we move onto the morning suite. This is a happy, uplifting orchestral experience. The overall tone of the song is very similar to that of the poppy tunes on David Bowie's self-titled debut album, also released on 1967. At the middle of the album comes the Lunch Break suite. The first two minutes of this song are the traditional, orchestral sounds you've likely come to expect, but after that the song explodes into sixties-style rock, along with several other smaller musical transition. Next up is the Afternoon suite. The first half of this suite is the melodic, orchestral pop tune Tuesday Afternoon. The Justin Hayward-penned masterpiece became one of the band's biggest hits of all time, and appropriately so - it's one of the band's best songs. The second half of this song, Time To Get Away, is a drastic transition from the melodic and uplifting first half. Here the band slows things way down, and takes on a gloomy tone. It's a shame the first half of this suite became so popular and the second half never really got the proper credit, because it really is excellent! The sixth suite is the Evening suite. This is more of the symphonic pop-rock you've come to love so far. In many places, this song's sound resembles that of the Beatles, but with the orchestration and distinctive vocals, it's uniquely Moody Blues. Closing out the album is the biggest hit the band ever had, Nights In White Satin. This Night suite, the final track on the album is what would propel the band into classic rock super stardom, and it's not surprising at all to see this song still get played on the radio on a regular basis. And, there you have it. Days Of Future Passed is a symphonic rock masterpiece that must be heard to be appreciated.
EDITION NOTES:
There is a standard remastered version of this album readily available in America. It should do fine, but if you're a die-hard Moody Blues fan, you may want to consider hunting down one of the import remasters. I have heard that they have better sound quality, and that there is even an import that has an interview with the band. The domestic version, sadly, lacks any bonus material other than some short comments, looking back at the time the album was created. I wish they would have included the single edits of Tuesday Afternoon and Nights In White Satin as bonus cuts, though.
OVERALL:
There is no other album out there like this one. And there never will be, either. If you want to experience pop music at its most unique, the Moody Blues classic sophomore album is just waiting to be discovered, or in some cases, rediscovered. If you want to be impressed, buy this album. And if you're new to the Moody Blues, and you want to start with one of their albums rather than a compilation, this is the one to start with! Final verdict? MASTERPIECE. Five stars.
Though some of the music on this 1967 release may now seem pretentious and pedestrian, such as the poetry which is, in fact, somewhat trite and sophomoric, the rest of it is quite sublime. Two tracks in particular make this CD well worth having, "Forever Afternoon (Tuesday?)" and "The Night: Nights in White Satin". These two tracks are quintessential Moody Blues.
The Moody's made use of the London Festival Orchestra in several ways. On a number of the compositions, such as John Lodge's 'Time To Get Away', the orchestra exists 'in concert' with The Moody's guitars and drums. Throughout the suite the orchestra also provides musical commas and dashes, interludes between the pop compositions. Unfortunately, these are the only 'dated' segments of the production, sounding at times like soundtrack music for 1960's movies (and we're not talking '2001' either...). At other times, such as in the opener 'The Day Begins', the orchestra gives us cameo's into themes that will dominate later in 'the day'.
Ah yes, 'the day'. What could be purer than the simplistic concept 'Days of Future Passed' is based upon: translate the stages of a prototypical day (morning, afternoon, evening, and night) into their musical equivilents. Interestingly, The Beatles did something of a 'Days of Future Passed' mini-series on 'Sgt. Peppers', in the form of 'Good Morning' and 'A Day In the Life'. Obviously the concept was not as pure as The Moody's take, and The Beatles version gets lost in their grander vision. Grander isn't necessarily better, however, and The Moody's simplicity is a large part of the appeal to 'Days of Future Passed'.
The Moodys apparently are not morning people, because the album starts out slowly. Rather than bounding out of bed 'The Day Begins' and 'Another Morning' are bright, but generally soft passages dominated not by The Moody's rock instruments, but the soothing strains of the London Festival Orchestra. It really isn't until 'Lunch Break (Peak Hour)' that we can conclusively confirm that this is indeed at least partially a rock and roll excursion. John Lodge's 'Peak Hour' is a driving number, however, and it begins a six-song sequence that is probably the best in The Moody's extensive catalog.
'Forever Afternoon (Tuesday?)', which became more commonly known as 'Tuesday Afternoon', follows 'Peak Hour'. The song was the only single release from 'Days Of Future Passed' until 1972 when 'Nights In White Satin' was released and rose to number two on the national charts. 'Tuesday Afternoon', though every bit as appealing as 'Nights...' only rose to number 24 in 1968. Each song in this progression has an uncanny knack for musically mimicing its time in 'the day', and the lyrics give us insight to how we, as people, respond to that progression. More than anything else, this is what makes 'Days of Future Passed' a masterwork.
The remaining songs on the disc, 'Time To Get Away', 'The Sun Set', and 'Twilight Time' are indispensible to the whole, and as wholly entertaining as 'Tuesday Afternoon' and 'Nights...'. Each number accentuates and complements the others. Pure magic. Almost as though it had to be.
1967 was a remarkable year for music. Along with The Beatles and The Moodys, Jimi Hendrix released another seminal work, 'Are You Experienced?'. Albums such as these have an impact that reverberates for many years subsequent to their release. Each is an essential componant to understanding the artists and the eras that produced them. This album is a must-have, regardless of your musical penchants or peculiarities.
The fusion of rock and classical music works well overall, mainly because the pretentiousness of the songs was offset by the stunningly beautiful orchestrations by Peter Knight, played by the London Festival Orchestra, and integrated with the group's instrumentation. Arguably the Moody Blues never scaled these grand heights again and in one significant sense they never tried: after "Days of Future Passed" the orchestra was replaced by a Mellotron on their albums. But what would become part of the Moody Blue's music that would continue were the deep thoughts profoundly intoned by Graeme Edge, which certainly gave this album one of the most unusual endings in rock history.
This is another album that benefits from being on CD because as an album or cassette Side 2, with "The Afternoon: Forever Afternoon (Tuesday?)" and "Nights in White Satin," was going to be listened to a lot more because those are far and away the best songs on the album. I bet that I am not alone in having gotten a bit tired of "Nights in White Satin" and now having more of a liking for the song known as "Tuesday Afternoon," but the other is still a gorgeous song. Both were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. Then you throw in Graeme Edge's poetry just to make this really seem like a high concept album. I think "Days of Future Passed" still stands up today, even if David Antsey's cover painting belies the high brow approach. Besides, if it does not, then it surely takes me back to a time when it did.
INTRODUCTION:
Truly, the Moody Blues were a pop-rock band with a sound all their own. They are one of the first groups that can truly be considered progressive. In the beginning, the group had a very different sound from the one fans would know and love them for, but following the release of their debut album, Denny Laine and Clint Warwick departed the group. They were replaced by Justin Hayward and John Lodge, who would be instrumental to the band's future successes. Along with drummer Graeme Edge, the band's classic formation was complete. The new version of the band planned to record a version of Dvorak's New World Symphony with the London Festival Orchestra, conducted by Peter Knight. However, the band changed their plans, and decided to do an entire album with the orchestra! Their plan was a concept album about the various times in a single day. This became the Days Of Future Passed album, released in December of 1967. It has since become the most popular album the band ever recorded. Read on, and see it the band's sophomore album lives up to its hype.
OVERVIEW/REVIEW:
With this album, Graeme Edge, Justin Hayward, and John Lodge created a symphonic pop-rock masterpiece - and one that stands the test of time. Not only is the band in their prime on this album, but so is the London Festival Orchestra, conducted here by Peter Knight. The album itself is divided into seven suites, each of which relates to a different time of the day. Appropriately enough, the album is started off with a piece called The Day Begins. The opening track is an orchestral instrumental sequence which helps to set the tone for the rest of the album. Following the instrumental portion of the song, Graeme Edge treats us to some of his spoken-work poetry, which only adds to the overall charm factor of the album. Second comes the Dawn suite. This is a slow, melodic, and mature piece of music, whose overall sophistication was well ahead of its time musically. This should have been one of the big hits on the album, but sadly, it has been forced to remain as an underrated masterpiece all these years. It's a shame that the best songs on albums often tend to be the most underrated ones... oh well. And then we move onto the morning suite. This is a happy, uplifting orchestral experience. The overall tone of the song is very similar to that of the poppy tunes on David Bowie's self-titled debut album, also released on 1967. At the middle of the album comes the Lunch Break suite. The first two minutes of this song are the traditional, orchestral sounds you've likely come to expect, but after that the song explodes into sixties-style rock, along with several other smaller musical transition. Next up is the Afternoon suite. The first half of this suite is the melodic, orchestral pop tune Tuesday Afternoon. The Justin Hayward-penned masterpiece became one of the band's biggest hits of all time, and appropriately so - it's one of the band's best songs. The second half of this song, Time To Get Away, is a drastic transition from the melodic and uplifting first half. Here the band slows things way down, and takes on a gloomy tone. It's a shame the first half of this suite became so popular and the second half never really got the proper credit, because it really is excellent! The sixth suite is the Evening suite. This is more of the symphonic pop-rock you've come to love so far. In many places, this song's sound resembles that of the Beatles, but with the orchestration and distinctive vocals, it's uniquely Moody Blues. Closing out the album is the biggest hit the band ever had, Nights In White Satin. This Night suite, the final track on the album is what would propel the band into classic rock super stardom, and it's not surprising at all to see this song still get played on the radio on a regular basis. And, there you have it. Days Of Future Passed is a symphonic rock masterpiece that must be heard to be appreciated.
EDITION NOTES:
There is a standard remastered version of this album readily available in America. It should do fine, but if you're a die-hard Moody Blues fan, you may want to consider hunting down one of the import remasters. I have heard that they have better sound quality, and that there is even an import that has an interview with the band. The domestic version, sadly, lacks any bonus material other than some short comments, looking back at the time the album was created. I wish they would have included the single edits of Tuesday Afternoon and Nights In White Satin as bonus cuts, though.
OVERALL:
There is no other album out there like this one. And there never will be, either. If you want to experience pop music at its most unique, the Moody Blues classic sophomore album is just waiting to be discovered, or in some cases, rediscovered. If you want to be impressed, buy this album. And if you're new to the Moody Blues, and you want to start with one of their albums rather than a compilation, this is the one to start with! Final verdict? MASTERPIECE. Five stars.
Though some of the music on this 1967 release may now seem pretentious and pedestrian, such as the poetry which is, in fact, somewhat trite and sophomoric, the rest of it is quite sublime. Two tracks in particular make this CD well worth having, "Forever Afternoon (Tuesday?)" and "The Night: Nights in White Satin". These two tracks are quintessential Moody Blues.
The Moody's made use of the London Festival Orchestra in several ways. On a number of the compositions, such as John Lodge's 'Time To Get Away', the orchestra exists 'in concert' with The Moody's guitars and drums. Throughout the suite the orchestra also provides musical commas and dashes, interludes between the pop compositions. Unfortunately, these are the only 'dated' segments of the production, sounding at times like soundtrack music for 1960's movies (and we're not talking '2001' either...). At other times, such as in the opener 'The Day Begins', the orchestra gives us cameo's into themes that will dominate later in 'the day'.
Ah yes, 'the day'. What could be purer than the simplistic concept 'Days of Future Passed' is based upon: translate the stages of a prototypical day (morning, afternoon, evening, and night) into their musical equivilents. Interestingly, The Beatles did something of a 'Days of Future Passed' mini-series on 'Sgt. Peppers', in the form of 'Good Morning' and 'A Day In the Life'. Obviously the concept was not as pure as The Moody's take, and The Beatles version gets lost in their grander vision. Grander isn't necessarily better, however, and The Moody's simplicity is a large part of the appeal to 'Days of Future Passed'.
The Moodys apparently are not morning people, because the album starts out slowly. Rather than bounding out of bed 'The Day Begins' and 'Another Morning' are bright, but generally soft passages dominated not by The Moody's rock instruments, but the soothing strains of the London Festival Orchestra. It really isn't until 'Lunch Break (Peak Hour)' that we can conclusively confirm that this is indeed at least partially a rock and roll excursion. John Lodge's 'Peak Hour' is a driving number, however, and it begins a six-song sequence that is probably the best in The Moody's extensive catalog.
'Forever Afternoon (Tuesday?)', which became more commonly known as 'Tuesday Afternoon', follows 'Peak Hour'. The song was the only single release from 'Days Of Future Passed' until 1972 when 'Nights In White Satin' was released and rose to number two on the national charts. 'Tuesday Afternoon', though every bit as appealing as 'Nights...' only rose to number 24 in 1968. Each song in this progression has an uncanny knack for musically mimicing its time in 'the day', and the lyrics give us insight to how we, as people, respond to that progression. More than anything else, this is what makes 'Days of Future Passed' a masterwork.
The remaining songs on the disc, 'Time To Get Away', 'The Sun Set', and 'Twilight Time' are indispensible to the whole, and as wholly entertaining as 'Tuesday Afternoon' and 'Nights...'. Each number accentuates and complements the others. Pure magic. Almost as though it had to be.
1967 was a remarkable year for music. Along with The Beatles and The Moodys, Jimi Hendrix released another seminal work, 'Are You Experienced?'. Albums such as these have an impact that reverberates for many years subsequent to their release. Each is an essential componant to understanding the artists and the eras that produced them. This album is a must-have, regardless of your musical penchants or peculiarities.
The fusion of rock and classical music works well overall, mainly because the pretentiousness of the songs was offset by the stunningly beautiful orchestrations by Peter Knight, played by the London Festival Orchestra, and integrated with the group's instrumentation. Arguably the Moody Blues never scaled these grand heights again and in one significant sense they never tried: after "Days of Future Passed" the orchestra was replaced by a Mellotron on their albums. But what would become part of the Moody Blue's music that would continue were the deep thoughts profoundly intoned by Graeme Edge, which certainly gave this album one of the most unusual endings in rock history.
This is another album that benefits from being on CD because as an album or cassette Side 2, with "The Afternoon: Forever Afternoon (Tuesday?)" and "Nights in White Satin," was going to be listened to a lot more because those are far and away the best songs on the album. I bet that I am not alone in having gotten a bit tired of "Nights in White Satin" and now having more of a liking for the song known as "Tuesday Afternoon," but the other is still a gorgeous song. Both were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. Then you throw in Graeme Edge's poetry just to make this really seem like a high concept album. I think "Days of Future Passed" still stands up today, even if David Antsey's cover painting belies the high brow approach. Besides, if it does not, then it surely takes me back to a time when it did.
Years later, no cassette player anymore, I was searching for the album on CD and couldn't find it ANYWHERE. And none of the "Best Of" discs included "Breakaway"!!! So I finally broke down and bought the imported album here on Amazon. I'm absolutely ecstatic!
The whole album totally rocks. "Doctor Dream", "Tokyo"... pure 80's era catchy fun! I don't think I'll ever stop listening to this, now that we've been reunited!
"Here's to Future Days" was the record he was trying to complete at the time. Nile Rodgers was brought in to help finish the album as producer, and he gave it a flashy rock sound that was at odds with anything the Thompson Twins had done up until that point.
While "Here's To Future Days" is not a crap record, it's a crap Thompson Twins record. Gone is the glossy, hypnotic work of Alex Sadkin, who was part of the successful Thompson Twins equation for two albums. In its place are things like the ill-advised cover of the Beatles "Revolution" and the half-assed funk of "Love Is the Law". Hardcore fans complain a lot about the US version of "Lay Your Hands On Me", but it's the least of the offenses here, and the Nile Rodgers version is just as good as the original Alex Sadkin cut. Where they went wrong here is in the details. "Into the Gap" only had one or two throwaway cuts, like "No Peace For The Wicked", and was a very solid effort. Not so here; they could have jettisoned stuff like "Tokyo", "Breakaway" and "Love Is the Law" and nobody would have known the difference.
I have to admit I'm confused by one previous commenter, who asserts that the "American" version of "Here's To Future Days" is to be avoided. The only difference in the United States version of this album is the inclusion of the album's best track, "Roll Over", which was removed from all other versions because the Twins felt superstitious about it; it was to be the first single release just before Tom Bailey's collapse. "Lay Your Hands On Me" and "King For A Day" sound exactly the same on the UK release. The alternate lyrics for "King For A Day" were actually going to be released in the UK as the b-side to "Roll Over", and probably never would have seen the light of day in the United States if it hadn't been included as an unusual bonus on the "Greatest Mixes" compilation three years after.
I owned this album on cassette back in the 80's. I also owned "The Gap" and "Side Kicks" on cassette. As far as non-single album cuts, I liked the music on "The Gap" and "Side Kicks" much better than the music on "Here's to Future Days". Not to say that I didn't like this album, it to me just wasn't as good as the previous albums. I bought their "Greatest Hits" CD a few years ago, however, it did not include the remake of "Revolution". I picked up this CD used just to get that remake of "Revolution".
I am sure the Thompson Twins fanatics out there have every album they have ever put out and would want this one as part of their collection. For the casual listener, your money would be better spent on the "Greatest Hits" collection which contains all of their songs for Arista to reach the Billboard Hot 100. It does not include their last Hot 100 hit, "Sugar Daddy" which was released on Warner.
Part of the essential series of reissues playable on SACD players(is an SACD Hybrid). Remastered from the original tapes by the band with beefed up artwork including rare and unseen photos.
Future Days,Can,Mute U.S.,Pop,Rock,Rock/Pop
Future Days
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Days of Future Passed
The Moody Blues Manufacturer: Polydor / Umgd ProductGroup: Music Binding: Audio CD  General
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ASIN: B000002GQE Release Date: 1997-05-20 |
Tracks:
- The Day Begins
- Dawn: Dawn Is I A Feeling
- The Morning: Another Morning
- Lunck Break: Peak Hour
- The Afternoon:a) Forever Afternoon (Tuesday?) b)(Evening) Time To Get Away
- Evening: a)The Sunset b)Twilight Time
- The Night: Nights In White Satin
Amazon.com
The Moody Blues' second album was also their first of what would be a succession of "concept" albums. Inspired by the Beatles' Sgt. Pepper and utilizing 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-to-depart future Wings member Denny Laine) into uncharted rock territory, making them the early pioneers of both classical and progressive rock. The concept of the 1967 release was very simple, tracing a day in the life from dawn to night, from awakening to sleep. The seven tracks spawned two hit singles--"Tuesday Afternoon" and "Nights in White Satin" (which hit No. 2 four years after the LP's original release) and a prog-rock cottage industry. --Bill HoldshipCustomer Reviews:
timeless... or, ahead of it's time.......2007-06-21
Such are the spoken words which close this remarkable recording... leaving one almost breathless at the consideration of that thought.
There is some music that is simply timeless. Music imbued with a such a quality that sets it outside of the confines of time and space... a specialness that is unique among other works. The Moody Blues landmark recording, `Days of Future Passed' is such a special piece of music. It is both timeless and far ahead of it's time.
Technically their second recording release, (following `Go Now' with mostly different band personnel), for all practical purposes, `Days' is their debut album with the addition of the mainstay songwriters Justin Hayward and John Lodge. This record is astounding in every respect, from it's concept to it's orchestration to the originality, beauty and diversity of it's songs. The time period of it's release, 1967, was the absolute peak in creativity in the music world. And indeed, this album has no predecessor in terms of sound or style. It's an original new creation, and was executed with exquisite artistic brilliance.
This was the record that launched the careers of the Moody Blues, and it was a hard act to follow, probably especially for them. Although they went on to record many more great albums... In Search for the Lost Chord, On the Threshold of a Dream, A Question of Balance, To Our Children's Children's Children, EDBDF, Seventh Sojourn, and on..... most would agree they never exceeded the beauty put down on this one.
A very young Justin Hayward opens the suite singing `Dawn is a feeling...' and the rest is a trip that takes you along through a day with a variety of moods and emotions. What is amazing is the quality of maturity in his voice, yet he was only 18 when this was recorded. Amazing. The two most recognizable songs on the record, also Justin Hayward tunes, Tuesday Afternoon and Nights in White Satin remain the strongest Moody Blues songs in their 40+ year history.
The orchestration score complements the songs beautifully with a variety of segway pieces that connect the tunes in such a way as to lead one through a story. The score is credited to a Peter Knight, but research as to who this guy is leads to a dead end. I later read in an offbeat book that Peter Knight was one of many stage names for a man named Chuck Hamil, the brother of actor Mark Hamil who starred in the original Star Wars movie trilogy. It seems Chuck Hamil is/was an amazingly gifted musician who also wrote, sang and recorded many other radio hit records of the late sixties, such as those credited to a Scott McKenzie's `San Francisco' and others (Gary Puckett?)... but he never used his real name. Interesting details!
Regardless, the origins of the album seem to be shrouded in mystery. But the quality of the music speaks for itself. I always have felt there was something special about the music of the Moody Blues. This is the album that sparked that interest, which has never died since. Great art stands the test of time, and this certainly does.
The Moody Blues.......2007-06-10
You gotta love these guys.......2007-06-08
You Gotta Have It.......2007-06-06
1 'The Day Begins'- NO. Haven't fully acquired a taste for poetry or chamber music- yet. Sorry Graeme.
2 'Dawn is a Feeling'- YES. Mike Pinder's opener is just lovely and well-sung by Justin Hayward but Mike's voice wasn't in top form for his part, which fortunately was brief. Pinder has said that his reference to the "smell of grass" wasn't about pot, but looking back he realized it fit well with the times.
2 'Another Morning'- YES. Another Ray Thomas number. It had to grow on me, as I normally don't care for "kiddie" songs. He does such an outstanding job vocally that I had to like it.
3 'Peak Hour'- YES. John Lodge rocks me with this great song. It's the overlooked gem on 'Days'. I had read that it was the Moodies loudest number played live for many years. Wish I could have been there to experience it. Great lyrics- if I could just find the originals. I've seen about 5 versions of it online! Lodgie and mates sing it superbly and slap play the fool out of it.
4 'Tuesday Afternoon'- YES. What can I say about this classic that hasn't already been said before? I think it's THE best Hayward number on DOFP. Justin singing this song is a little slice of heaven in my headphones.
5 'Evening Time to Get Away'- YES. Oh yes, yes, yes. Hearing John's lovely voice- especially his falsetto- at it's best is enough for this gal. "Working, living it brings. Only way to have those things. Toiling has bought too many tears". Lodge simply nailed it on this timeless ode to the working class.
6 'The Sunset'- YES. Good song- only wish Pinder would've had a longer part to sing this time. He sounded great.
7 'Twilight Time'- YES. Ray redeems himself VERY well here. His subtle vocal literally carresses the lyrics- and my ears.
8 'Nights In White Satin'- YES. Brilliant song and THE ONE Hayward will forever be known for. Though I love it, it's not my fave of his. This song manages to be both beautiful and haunting all at once. Lodge's almost eerie-sounding, wailing chorus parts never fail to get me. WOW.
9 'Late Lament'. NO. Another poem by Graeme Edge. My sincere apologies Edgie. It's not you, really. It's me. You're a fantastic drummer to be sure!
'Days Of Future Passed' will forever be known as THE record that launched The Moody Blues onto the world stage. It did so for a very good reason: it's a ground-breaking, magnificent recording, created by the minds, hands and voices of five talented young men simply doing what they love- making great music.
Excellent.......2007-05-30
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Days of Future Passed
The Moody Blues Manufacturer: Ume Imports ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
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General
| Pop
| Styles
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Pop Rock
| Pop
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ASIN: B000E8NQTU Release Date: 2006-04-18 |
Tracks:
- Day Begins/Morning Glory
- Dawn: Dawn Is a Feeling
- Morning: Another Morning
- Lunch Break: Peak Hour
- Afternoon: Forever Afternoon (Tuesday?)/Time to Get Away
- Evening: The Sun Set/Twilight Tim
- Night: Nights in White Satin
Tracks:
- Tuesday Afternoon (Forever Afternoon) [Alternate Mix]
- Dawn Is a Feelin [Alternate Version]
- Sun Set [Alternate Version Without Orchestra]
- Twilight Time [Alternate Vocal Mix]
- Nights in White Satin [Mono Version]
- Fly Me High [Mono Version]
- I Really Haven't Got the Time [Mono Version]
- Love and Beaut [Mono Version]
- Leave This Man Alone [Mono Version]
- Cities [Mono Version]
- Long Summer Days [Stereo]
- Please Think About It [Stereo]
- Don't Let Me Be Misunderstood [BBC Radio Sessions]
- Love and Beauty [BBC Radio Sessions]
- Leave This Man Alone [BBC Radio Sessions]
- Peak Hour [BBC Radio Sessions]
- Nights in White Satin [BBC Radio Sessions]
- Fly Me High [BBC Radio Sessions]
- Twilight Time [BBC Radio Sessions]
Album Description
2 CD set. Days Of Future Passed is the Moody Blues' true contribution to rock history and the most cohesive integration of rock songs with orchestral music ever produced. Asked to create a rock reworking of Dvorak's New World Symphony, the Moodies instead wrote their own symphony, a song cycle that describes the emotions that accompany each part of the day, from dawn ('Dawn Is A Feeling') to night (the classic 'Nights In White Satin'). The songs are connected by lush orchestral passages in which the basic musical themes are reworked. Polydor. 2006.Customer Reviews:
Horrid Version.......2007-06-21
Unfortunely, the Deram discs (at least the ones I have) suffer from a bad mix. Sounding muted at the dynamic tracks, and then way over the top on surround stage with no center stage on other tracks. (of course I know it was recorded on quad to begin with, but how can you almost completely lose some of the spoken parts?)
I've heard much better from lesser disks on lesser systems.
Point being that this is supposed to be a "better" version. "[ORIGINAL RECORDING REMASTERED] [ORIGINAL RECORDING REISSUED]"
NOT even close!!
Get an SACD Player and Hear For Yourself.......2007-05-26
$30.00 burning a hole in your pocket?.......2007-05-10
This was the second Moody Blues album and the first to feature new members Justin Hayward and John Lodge. The band decided to create a musical piece that was different than their previous material, which was more of an R&B sound. When they were asked to do a demonstration record for Decca to show off their new fangled stereo technique called the Deramic Sound System by recording a group and orchestra version of a Dvorak symphony the band decided to record their musical piece they had been working on at live gigs. So with Peter Knight and Hugh Mendi history was made and the Moody Blues were back on the scene with mellotron in tow. This album contains the classics "Tuesday Afternoon" and "Nights In White Satin" (any similarity to Love's "Signed D.C." is purely coincidental) as well as those spoken passages at the beginning and end of the record (oops! I mean CD) that is lampooned on various Mystery Science Theater 3000 episodes, which shows how this album has become a part of the pop culture zeitgeist.
So if you're looking to upgrade from the last re-masters you could do worse like buying a MFSL Gold Disc issue for $200.00 on Ebay.
These Are The Days Of Future Passed.......2007-04-11
Dawn:A Band Begins Again.......2007-03-16
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Future Days
Can Manufacturer: Mute U.S. ProductGroup: Music Binding: Audio CD General
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ASIN: B0009NSCX0 Release Date: 2005-06-28 |
Tracks:
- Future Days
- Spray
- Moonshake
- Bel Air
Customer Reviews:
CAN's most underrated album--a lost masterpiece.......2006-09-03
This compositions presented here, especially "Moonshake" and the 20 minute "Bel Air", are completely self-assured and have an atmospheric, almost impressionistic quality. This was probably Can at its peak: Schmidt, Czukay, and Karoli, with the incredible Damo Suzuki. Can fans should have this, as should any devotees of Krautrock on the order of Tangerine Dream's Phaedra.
Future Days was Damo Suzuki's last recorded album as the vocalist for Can, and while there are great tracks which both precede and supersede his tenure, no one would doubt that it was with Suzuki, that Can produced its finest work, including the historic albums mentioned above.
This is a terrific album. Also a great cover; I can't help but think they had in mind Peter Behren's Art Nouveau graphic design for AEG.
One of CAN's three masterpieces.......2006-06-28
Groups like Tangerine Dream, Kraftwerk and Amon Duul, each in its own distinct manner did much more than imitating the great bands in the UK and the United States. Speaking of originality and adventurousness, CAN was even more important than the groups already mentioned, and possibly the best German band of all times.
Now, to choose a single album by CAN is literally impossible, yet "Future Days" should make anyone's short list. Along with its two predecessors, "Ege Bamyasi" and "Tago Mago," this album presents a band at the top of its ever-changing form.
By then, 1973, CAN had been together long enough to have an almost psychic musical connection with each other, and the continuous evolution of their sound reached its peak in Future Days.
Whether it is the sinuous bass lines Holger Czukay offers or the incomparable groove of drummer Jaki Leibezeit in the opener "Future Days" or Michael Karoli's guitar in "Spray" or the funky "Moonshake," this album is an amazing show of minimalism, the adventurous stripped to its essence, yet full of nuances and moods, further enhanced by Damo Suzuki's shamanic singing and keyboardist Irmin Schmidt's proto-Ambient cadences.
This is even more poignant in the final and longest song "Bel Air" which sums up everything that CAN gained its reputation on, and more than enough reason to deserve a more prominent place among the bands--anywhere!--that shaped contemporary Rock and Electronica.
The Best One They Released...?.......2006-03-09
mean that it is more accesible or mainstream
or commercial. Get your head out of the
collective ass if you think like that.
Most people could not expect to create
(in any medium)a beautiful living,pulsating
organism such as this. "Really listen"to it
(it passes quickly)several times and tell
me how commercial it is.
thankyoo
amazing music.......2005-11-02
ONE OF MY TOP FIVE ALBUMS OF ALL TIME.......2005-10-24
Every time I go on a long-distance car ride this is one of the first things I listen to. Roll the windows down and just drive. But amazingly this album is good to sleep to as well.
It has so much of I want in a record: it is catchy and upbeat, but has soothing soft moments as well, the playing is tight and impressive, but has a loose improvisational feel, it is endlessly listenable but very experimental in the recording techniques and the approach to mixing... Buy it you will not regret it.
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The Ultimate Movie Music Collection
Erich Kunzel Manufacturer: Telarc ProductGroup: Music Binding: Audio CD General
| Symphonies
| Classical
| Styles
| Music
General
| Classical
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| Music
Compilations
| Classical
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ASIN: B000BFH26Y Release Date: 2005-10-25 |
Tracks:
- The Imperial March: The Empire Strikes Back
- Main Theme: Jurassic Park
- Main Title: Shakespeare In Love
- Themes: Crouching Tiger, Hidden Dragon
- Main Title: The Last Of The Mohicans
- Theme: The Godfather
- Unchained Melody: Ghost
- Theme: Goldfinger
- We're Losing Him: Somewhere In Time
- Space Camp
- Opening And Closing Titles: Henry V
- Theme: The Thorn Birds
- Suite: Moonwalker
- The Time Of Your Life: A Bugs Life
Tracks:
- Batman Theme: Batman
- Bicycle Chase: E.T. The Extra Terrestrial
- Suite: Independance Day
- Love Theme: Romeo & Juliet
- Theme: Back To The Future
- End Credits: Contact
- Theme: Breakfast At Tiffany's
- Main Theme: Star Trek
- May It Be And Themes: Lord Of The Rings: The Fellowship Ring
- Love Theme: Cousins
- Sean's Theme: Minority Report
- I Will Wait From You: The Umbrellas Of Cherbourg
- Theme: Rocky
- The Sand Volcano: The Mummy
- The Raider's March: Raiders Of The Lost Ark
Tracks:
- Theme: Mission Impossible
- Casablanca Suite
- Book Of Days: Far And Away
- Love Theme: Superman
- Tara's Theme: Gone With The Wind
- Don't Mess With: Z
- Main Title: The Mask Of Zorro
- Finale: Victor / Victoria
- Carol Ann's Theme: Poltergeist
- Love Theme: Star Wars: Episode ll: Attack Of The Clones
- Main Theme: Willow
- Main Title: Star Trek ll: The Wrath Of Kahn
- MAin Theme: On Golden Pond
- Theme: A Summer Place
- Theme: Chariots Of Fire
Tracks:
- Iceberg!
- Back To Titanic
- Main Themes: Hook
- Theme: Pink Panther
- Lara's: Doctor Zhivago
- Theme: Love Story
- Right Stuff
- Theme: Jaws
- When You Believe: The Prince Of Egypt
- Smile: Modern Times
- The Apollo 13 Mission
- Re-Entry And Splashdown: Apollo 13
- Main Title: Beetlejuice
- War: Pearl Harbor
- Cavatina: The Deer Hunter
- Throne Room And End Title: Star Wars: Episode lV: A New Hope
Customer Reviews:
Relive you movie experiences.......2006-01-24
Average customer rating:
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The Incredible Film Music Box
Manufacturer: Silva America ProductGroup: Music Binding: Audio CD All Works by Herrmann
| Herrmann, Bernard
| ( H )
| Featured Composers, A-Z
| Classical
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All Works by Mascagni
| Mascagni, Pietro
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
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All Works by Mancini
| Mancini, Henry
| ( M )
| Featured Composers, A-Z
| Classical
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All Works by Nyman
| Nyman, Michael
| ( N )
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| Classical
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Rota, Nino
| ( R )
| Featured Composers, A-Z
| Classical
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| Music
All Works by Strauss
| Strauss, Richard
| ( S )
| Featured Composers, A-Z
| Classical
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| Music
Vangelis
| ( V )
| Featured Composers, A-Z
| Classical
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Tone Poems
| Theatrical, Incidental & Program Music
| Forms & Genres
| Classical
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| Music
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| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
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| Styles
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| Opera & Vocal
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ASIN: B0007S687Y Release Date: 2005-05-10 |
Tracks:
- Gone With The Wind: Overture
- Citizen Kane: Overture
- Casablanca: As Time Goes By
- It's A Wonderful Life: It's A Wonderful Life
- The Third Man: The Harry Lime Theme
- The Searchers: Suite
- The Bridge On The River Kwai: Colonel Bogey March
- Vertigo: Prelude
- Touch Of Evil: Main Title
- Ben-Hur: Parade Of The Charioteers
- North By Northwest: Prelude
- Psycho: Suite
- The Magnificent Seven: The Magnificent Seven
- Lawrence Of Arabia: Overture
Tracks:
- To Kill A Mockingbird: Suite
- The Great Escape: Main Title
- Doctor Zhivago: Main Title & Lara's Theme
- The Good, The Bad And The Ugly: The Good, The Bad And The Ugly
- Once Upon A Time In The West: Jill's Theme
- 2001: A Space Odyssey: Also Sprach Zarathustra
- Midnight Cowboy: Midnight Cowboy
- Get Carter: Main Title
- A Clockwork Orange: Ode To Joy
- The Godfather: Waltz & Love Theme
- Jaws: Jaws
- Rocky: Gonna Fly Now
- Taxi Driver: Suite
- Star Wars: Episode IV: A New Hope
Tracks:
- Superman: Main Theme
- Alien: End Title
- Raging Bull: Intermezzo From Cavalleria Rusticana
- Raiders Of The Lost Ark: Raiders March
- Blade Runner: End Titles
- E.T.: The Extraterrestrial: Adventures On Earth
- Once Upon A Time In America: Deborah's Theme
- Back To The Future: Main Theme
- Witness: Building The Barn
- Aliens: Main Title
- Cinema Paradiso: Cinema Paradiso
- Glory: Charging Frot Wagner
- Dances With Wolves: The John Dunbar Theme
- Unforgiven: Claudia's Theme
Tracks:
- The Piano: The Heart Asks Pleasure First
- Schindler's List: Main Theme
- Braveheart: End Credits
- Titanic: My Heart Will Go On
- Saving Private Ryan: Hymn To The Fallen
- American Beauty: Any Other Name
- Gladiator: Now We Are Free
- Lord Of The Rings: The Fellowship Of The Ring: The Fellowship
- The Girl With The Pearl Earring: Griet's Theme
- Pirates Of The Caribbean: The Curse Of The Black Pearl: Suite
- Harry Potter And The Prisoner Of Azkaban: Suite
- Lemony Snicket's A Series Of Unfortunate Events: The Letter That Never Came
- Finding Neverland: Impossible Opening
- The Incredibles: Overture
Customer Reviews:
Six Decades of Film Music.......2007-05-13
Excellent collection with fine performances.......2007-03-28
"essential film scores from 1939 to 2004 ~ Incredible Music".......2005-05-16
There are compilations and then there are "Compilations" beginning with a classic that even the youngsters today recognize "GONE WITH THE WIND" (1939) (Max Steiner), sweeping score that captures the tragic history of the South during the Civil War, one great cue after another, it doesn't get any better than this, nominated by the Academy for Best Original Score...and closing on Disc 4 with "THE INCREDIBLES" (2004) (Michael Giacchino), the big hit in computer animation from Walt Disney & Pixar that once again pit Super-Heroes against the forces of evil...our family of five Supers prove crime doesn't pay, but box-office receipts do...gotta love it!
Silva Screen Classics as usual, has put quality into this 4-CD-Set featuring The City Of Prague Philarmonic Orchestra and the Crouch End Festival Chorus conducted by Kenneth Alwyn, Bill Ashton, Paul Bateman, James Fitzpatrick, Mario Klemens, Derek Wadsworth, and Nic Raine. Recorded in "Dolby Surround" with the new technology of "HDCD", this is a "film-score-buffs" dream, one to treasure now and years to come.
Some selections are missing, but when you think of what Silva has included, it is impossible to please everyone...was happy to see "TOUCH OF EVIL" (1958) from composer Henry Mancini, as I feel this composer deserves all the recognition that has been overlooked recently in the music world...This collection is aimed directly at the "Serious Film Score" music fans and collectors...Silva is as always, perfect in every way...just the way we like 'em!
Total Time: 4-CD-Set ~ Silva America 1181 ~ (5/10/2005)
Average customer rating:
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Here's to Future Days
Thompson Twins Manufacturer: Arista Records/Sbme ProductGroup: Music Binding: Audio CD General
| Alternative Rock
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New Wave
| New Wave & Post-Punk
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ASIN: B00000DOQ5 Release Date: 1988-11-09 |
Tracks:
- Don't Mess with Doctor Dream
- Lay Your Hands on Me
- Future Days
- Roll Over
- Revolution
- King for a Day
- Love Is the Law
- Emperor's Clothes
- Tokyo
- You Killed the Clown
- Breakaway
Customer Reviews:
Genuis talent, awesome production.Pure '80's..........2007-06-09
Average customer rating:
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Days of Future Passed
The Moody Blues Manufacturer: Mobile Fidelity ProductGroup: Music Binding: Audio CD General
| Pop
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
General
| Rock
| Styles
| Music
Progressive Rock
| Progressive
| Rock
| Styles
| Music
Psychedelic Rock
| Classic Rock
| Styles
| Music
Album-Oriented Rock (AOR)
| Classic Rock
| Styles
| Music
General
| Classic Rock
| Styles
| Music
Similar Items:
ASIN: B000000IR9 Release Date: 1990-10-25 |
Tracks:
- Day Begins
- Dawn: Dawn Is a Feeling
- Morning: Another Morning
- Lunch Break: Peak Hour
- Afternoon: Forever Afternoon (Tuesday?)/Time to Get Away
- Evening: The Sun Set/Twilight Time
- Night: Nights in White Satin
Amazon.com
The Moody Blues' second album was also their first of what would be a succession of "concept" albums. Inspired by the Beatles' Sgt. Pepper and utilizing 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. The concept of the 1968 release was very simple, tracing a day in the life from dawn to night, from awakening to sleep. The seven tracks spawned two hit singles--"Tuesday Afternoon" and "Nights in White Satin" (which hit No. 2 four years after the LP's original release) and a prog-rock cottage industry. --Bill HoldshipCustomer Reviews:
Who knows more music like this?.......2006-01-12
A symphonic pop-rock masterpiece that stands the test of time.......2005-09-30
INTRODUCTION:
Truly, the Moody Blues were a pop-rock band with a sound all their own. They are one of the first groups that can truly be considered progressive. In the beginning, the group had a very different sound from the one fans would know and love them for, but following the release of their debut album, Denny Laine and Clint Warwick departed the group. They were replaced by Justin Hayward and John Lodge, who would be instrumental to the band's future successes. Along with drummer Graeme Edge, the band's classic formation was complete. The new version of the band planned to record a version of Dvorak's New World Symphony with the London Festival Orchestra, conducted by Peter Knight. However, the band changed their plans, and decided to do an entire album with the orchestra! Their plan was a concept album about the various times in a single day. This became the Days Of Future Passed album, released in December of 1967. It has since become the most popular album the band ever recorded. Read on, and see it the band's sophomore album lives up to its hype.
OVERVIEW/REVIEW:
With this album, Graeme Edge, Justin Hayward, and John Lodge created a symphonic pop-rock masterpiece - and one that stands the test of time. Not only is the band in their prime on this album, but so is the London Festival Orchestra, conducted here by Peter Knight. The album itself is divided into seven suites, each of which relates to a different time of the day. Appropriately enough, the album is started off with a piece called The Day Begins. The opening track is an orchestral instrumental sequence which helps to set the tone for the rest of the album. Following the instrumental portion of the song, Graeme Edge treats us to some of his spoken-work poetry, which only adds to the overall charm factor of the album. Second comes the Dawn suite. This is a slow, melodic, and mature piece of music, whose overall sophistication was well ahead of its time musically. This should have been one of the big hits on the album, but sadly, it has been forced to remain as an underrated masterpiece all these years. It's a shame that the best songs on albums often tend to be the most underrated ones... oh well. And then we move onto the morning suite. This is a happy, uplifting orchestral experience. The overall tone of the song is very similar to that of the poppy tunes on David Bowie's self-titled debut album, also released on 1967. At the middle of the album comes the Lunch Break suite. The first two minutes of this song are the traditional, orchestral sounds you've likely come to expect, but after that the song explodes into sixties-style rock, along with several other smaller musical transition. Next up is the Afternoon suite. The first half of this suite is the melodic, orchestral pop tune Tuesday Afternoon. The Justin Hayward-penned masterpiece became one of the band's biggest hits of all time, and appropriately so - it's one of the band's best songs. The second half of this song, Time To Get Away, is a drastic transition from the melodic and uplifting first half. Here the band slows things way down, and takes on a gloomy tone. It's a shame the first half of this suite became so popular and the second half never really got the proper credit, because it really is excellent! The sixth suite is the Evening suite. This is more of the symphonic pop-rock you've come to love so far. In many places, this song's sound resembles that of the Beatles, but with the orchestration and distinctive vocals, it's uniquely Moody Blues. Closing out the album is the biggest hit the band ever had, Nights In White Satin. This Night suite, the final track on the album is what would propel the band into classic rock super stardom, and it's not surprising at all to see this song still get played on the radio on a regular basis. And, there you have it. Days Of Future Passed is a symphonic rock masterpiece that must be heard to be appreciated.
EDITION NOTES:
There is a standard remastered version of this album readily available in America. It should do fine, but if you're a die-hard Moody Blues fan, you may want to consider hunting down one of the import remasters. I have heard that they have better sound quality, and that there is even an import that has an interview with the band. The domestic version, sadly, lacks any bonus material other than some short comments, looking back at the time the album was created. I wish they would have included the single edits of Tuesday Afternoon and Nights In White Satin as bonus cuts, though.
OVERALL:
There is no other album out there like this one. And there never will be, either. If you want to experience pop music at its most unique, the Moody Blues classic sophomore album is just waiting to be discovered, or in some cases, rediscovered. If you want to be impressed, buy this album. And if you're new to the Moody Blues, and you want to start with one of their albums rather than a compilation, this is the one to start with! Final verdict? MASTERPIECE. Five stars.
ON THE CUTTING EDGE..........2005-08-05
Though some of the music on this 1967 release may now seem pretentious and pedestrian, such as the poetry which is, in fact, somewhat trite and sophomoric, the rest of it is quite sublime. Two tracks in particular make this CD well worth having, "Forever Afternoon (Tuesday?)" and "The Night: Nights in White Satin". These two tracks are quintessential Moody Blues.
is it a masterpiece?.......2005-07-04
The Moody's made use of the London Festival Orchestra in several ways. On a number of the compositions, such as John Lodge's 'Time To Get Away', the orchestra exists 'in concert' with The Moody's guitars and drums. Throughout the suite the orchestra also provides musical commas and dashes, interludes between the pop compositions. Unfortunately, these are the only 'dated' segments of the production, sounding at times like soundtrack music for 1960's movies (and we're not talking '2001' either...). At other times, such as in the opener 'The Day Begins', the orchestra gives us cameo's into themes that will dominate later in 'the day'.
Ah yes, 'the day'. What could be purer than the simplistic concept 'Days of Future Passed' is based upon: translate the stages of a prototypical day (morning, afternoon, evening, and night) into their musical equivilents. Interestingly, The Beatles did something of a 'Days of Future Passed' mini-series on 'Sgt. Peppers', in the form of 'Good Morning' and 'A Day In the Life'. Obviously the concept was not as pure as The Moody's take, and The Beatles version gets lost in their grander vision. Grander isn't necessarily better, however, and The Moody's simplicity is a large part of the appeal to 'Days of Future Passed'.
The Moodys apparently are not morning people, because the album starts out slowly. Rather than bounding out of bed 'The Day Begins' and 'Another Morning' are bright, but generally soft passages dominated not by The Moody's rock instruments, but the soothing strains of the London Festival Orchestra. It really isn't until 'Lunch Break (Peak Hour)' that we can conclusively confirm that this is indeed at least partially a rock and roll excursion. John Lodge's 'Peak Hour' is a driving number, however, and it begins a six-song sequence that is probably the best in The Moody's extensive catalog.
'Forever Afternoon (Tuesday?)', which became more commonly known as 'Tuesday Afternoon', follows 'Peak Hour'. The song was the only single release from 'Days Of Future Passed' until 1972 when 'Nights In White Satin' was released and rose to number two on the national charts. 'Tuesday Afternoon', though every bit as appealing as 'Nights...' only rose to number 24 in 1968. Each song in this progression has an uncanny knack for musically mimicing its time in 'the day', and the lyrics give us insight to how we, as people, respond to that progression. More than anything else, this is what makes 'Days of Future Passed' a masterwork.
The remaining songs on the disc, 'Time To Get Away', 'The Sun Set', and 'Twilight Time' are indispensible to the whole, and as wholly entertaining as 'Tuesday Afternoon' and 'Nights...'. Each number accentuates and complements the others. Pure magic. Almost as though it had to be.
1967 was a remarkable year for music. Along with The Beatles and The Moodys, Jimi Hendrix released another seminal work, 'Are You Experienced?'. Albums such as these have an impact that reverberates for many years subsequent to their release. Each is an essential componant to understanding the artists and the eras that produced them. This album is a must-have, regardless of your musical penchants or peculiarities.
Rock music + orchestration = progressive rock concept album.......2004-10-20
The fusion of rock and classical music works well overall, mainly because the pretentiousness of the songs was offset by the stunningly beautiful orchestrations by Peter Knight, played by the London Festival Orchestra, and integrated with the group's instrumentation. Arguably the Moody Blues never scaled these grand heights again and in one significant sense they never tried: after "Days of Future Passed" the orchestra was replaced by a Mellotron on their albums. But what would become part of the Moody Blue's music that would continue were the deep thoughts profoundly intoned by Graeme Edge, which certainly gave this album one of the most unusual endings in rock history.
This is another album that benefits from being on CD because as an album or cassette Side 2, with "The Afternoon: Forever Afternoon (Tuesday?)" and "Nights in White Satin," was going to be listened to a lot more because those are far and away the best songs on the album. I bet that I am not alone in having gotten a bit tired of "Nights in White Satin" and now having more of a liking for the song known as "Tuesday Afternoon," but the other is still a gorgeous song. Both were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. Then you throw in Graeme Edge's poetry just to make this really seem like a high concept album. I think "Days of Future Passed" still stands up today, even if David Antsey's cover painting belies the high brow approach. Besides, if it does not, then it surely takes me back to a time when it did.
Average customer rating:
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Days of Future Passed
The Moody Blues Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD General
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ASIN: B000001F5R Release Date: 1990-10-25 |
Tracks:
- Day Begins
- Dawn: Dawn Is a Feeling
- Morning: Another Morning
- Lunch Break: Peak Hour
- Afternoon: Forever Afternoon (Tuesday?)/Time to Get Away
- Evening: The Sun Set/Twilight Time
- Night: Nights in White Satin
Amazon.com
The Moody Blues' second album was also their first of what would be a succession of "concept" albums. Inspired by the Beatles' Sgt. Pepper and utilizing 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. The concept of the 1968 release was very simple, tracing a day in the life from dawn to night, from awakening to sleep. The seven tracks spawned two hit singles--"Tuesday Afternoon" and "Nights in White Satin" (which hit No. 2 four years after the LP's original release) and a prog-rock cottage industry. --Bill HoldshipCustomer Reviews:
Who knows more music like this?.......2006-01-12
A symphonic pop-rock masterpiece that stands the test of time.......2005-09-30
INTRODUCTION:
Truly, the Moody Blues were a pop-rock band with a sound all their own. They are one of the first groups that can truly be considered progressive. In the beginning, the group had a very different sound from the one fans would know and love them for, but following the release of their debut album, Denny Laine and Clint Warwick departed the group. They were replaced by Justin Hayward and John Lodge, who would be instrumental to the band's future successes. Along with drummer Graeme Edge, the band's classic formation was complete. The new version of the band planned to record a version of Dvorak's New World Symphony with the London Festival Orchestra, conducted by Peter Knight. However, the band changed their plans, and decided to do an entire album with the orchestra! Their plan was a concept album about the various times in a single day. This became the Days Of Future Passed album, released in December of 1967. It has since become the most popular album the band ever recorded. Read on, and see it the band's sophomore album lives up to its hype.
OVERVIEW/REVIEW:
With this album, Graeme Edge, Justin Hayward, and John Lodge created a symphonic pop-rock masterpiece - and one that stands the test of time. Not only is the band in their prime on this album, but so is the London Festival Orchestra, conducted here by Peter Knight. The album itself is divided into seven suites, each of which relates to a different time of the day. Appropriately enough, the album is started off with a piece called The Day Begins. The opening track is an orchestral instrumental sequence which helps to set the tone for the rest of the album. Following the instrumental portion of the song, Graeme Edge treats us to some of his spoken-work poetry, which only adds to the overall charm factor of the album. Second comes the Dawn suite. This is a slow, melodic, and mature piece of music, whose overall sophistication was well ahead of its time musically. This should have been one of the big hits on the album, but sadly, it has been forced to remain as an underrated masterpiece all these years. It's a shame that the best songs on albums often tend to be the most underrated ones... oh well. And then we move onto the morning suite. This is a happy, uplifting orchestral experience. The overall tone of the song is very similar to that of the poppy tunes on David Bowie's self-titled debut album, also released on 1967. At the middle of the album comes the Lunch Break suite. The first two minutes of this song are the traditional, orchestral sounds you've likely come to expect, but after that the song explodes into sixties-style rock, along with several other smaller musical transition. Next up is the Afternoon suite. The first half of this suite is the melodic, orchestral pop tune Tuesday Afternoon. The Justin Hayward-penned masterpiece became one of the band's biggest hits of all time, and appropriately so - it's one of the band's best songs. The second half of this song, Time To Get Away, is a drastic transition from the melodic and uplifting first half. Here the band slows things way down, and takes on a gloomy tone. It's a shame the first half of this suite became so popular and the second half never really got the proper credit, because it really is excellent! The sixth suite is the Evening suite. This is more of the symphonic pop-rock you've come to love so far. In many places, this song's sound resembles that of the Beatles, but with the orchestration and distinctive vocals, it's uniquely Moody Blues. Closing out the album is the biggest hit the band ever had, Nights In White Satin. This Night suite, the final track on the album is what would propel the band into classic rock super stardom, and it's not surprising at all to see this song still get played on the radio on a regular basis. And, there you have it. Days Of Future Passed is a symphonic rock masterpiece that must be heard to be appreciated.
EDITION NOTES:
There is a standard remastered version of this album readily available in America. It should do fine, but if you're a die-hard Moody Blues fan, you may want to consider hunting down one of the import remasters. I have heard that they have better sound quality, and that there is even an import that has an interview with the band. The domestic version, sadly, lacks any bonus material other than some short comments, looking back at the time the album was created. I wish they would have included the single edits of Tuesday Afternoon and Nights In White Satin as bonus cuts, though.
OVERALL:
There is no other album out there like this one. And there never will be, either. If you want to experience pop music at its most unique, the Moody Blues classic sophomore album is just waiting to be discovered, or in some cases, rediscovered. If you want to be impressed, buy this album. And if you're new to the Moody Blues, and you want to start with one of their albums rather than a compilation, this is the one to start with! Final verdict? MASTERPIECE. Five stars.
ON THE CUTTING EDGE..........2005-08-05
Though some of the music on this 1967 release may now seem pretentious and pedestrian, such as the poetry which is, in fact, somewhat trite and sophomoric, the rest of it is quite sublime. Two tracks in particular make this CD well worth having, "Forever Afternoon (Tuesday?)" and "The Night: Nights in White Satin". These two tracks are quintessential Moody Blues.
is it a masterpiece?.......2005-07-04
The Moody's made use of the London Festival Orchestra in several ways. On a number of the compositions, such as John Lodge's 'Time To Get Away', the orchestra exists 'in concert' with The Moody's guitars and drums. Throughout the suite the orchestra also provides musical commas and dashes, interludes between the pop compositions. Unfortunately, these are the only 'dated' segments of the production, sounding at times like soundtrack music for 1960's movies (and we're not talking '2001' either...). At other times, such as in the opener 'The Day Begins', the orchestra gives us cameo's into themes that will dominate later in 'the day'.
Ah yes, 'the day'. What could be purer than the simplistic concept 'Days of Future Passed' is based upon: translate the stages of a prototypical day (morning, afternoon, evening, and night) into their musical equivilents. Interestingly, The Beatles did something of a 'Days of Future Passed' mini-series on 'Sgt. Peppers', in the form of 'Good Morning' and 'A Day In the Life'. Obviously the concept was not as pure as The Moody's take, and The Beatles version gets lost in their grander vision. Grander isn't necessarily better, however, and The Moody's simplicity is a large part of the appeal to 'Days of Future Passed'.
The Moodys apparently are not morning people, because the album starts out slowly. Rather than bounding out of bed 'The Day Begins' and 'Another Morning' are bright, but generally soft passages dominated not by The Moody's rock instruments, but the soothing strains of the London Festival Orchestra. It really isn't until 'Lunch Break (Peak Hour)' that we can conclusively confirm that this is indeed at least partially a rock and roll excursion. John Lodge's 'Peak Hour' is a driving number, however, and it begins a six-song sequence that is probably the best in The Moody's extensive catalog.
'Forever Afternoon (Tuesday?)', which became more commonly known as 'Tuesday Afternoon', follows 'Peak Hour'. The song was the only single release from 'Days Of Future Passed' until 1972 when 'Nights In White Satin' was released and rose to number two on the national charts. 'Tuesday Afternoon', though every bit as appealing as 'Nights...' only rose to number 24 in 1968. Each song in this progression has an uncanny knack for musically mimicing its time in 'the day', and the lyrics give us insight to how we, as people, respond to that progression. More than anything else, this is what makes 'Days of Future Passed' a masterwork.
The remaining songs on the disc, 'Time To Get Away', 'The Sun Set', and 'Twilight Time' are indispensible to the whole, and as wholly entertaining as 'Tuesday Afternoon' and 'Nights...'. Each number accentuates and complements the others. Pure magic. Almost as though it had to be.
1967 was a remarkable year for music. Along with The Beatles and The Moodys, Jimi Hendrix released another seminal work, 'Are You Experienced?'. Albums such as these have an impact that reverberates for many years subsequent to their release. Each is an essential componant to understanding the artists and the eras that produced them. This album is a must-have, regardless of your musical penchants or peculiarities.
Rock music + orchestration = progressive rock concept album.......2004-10-20
The fusion of rock and classical music works well overall, mainly because the pretentiousness of the songs was offset by the stunningly beautiful orchestrations by Peter Knight, played by the London Festival Orchestra, and integrated with the group's instrumentation. Arguably the Moody Blues never scaled these grand heights again and in one significant sense they never tried: after "Days of Future Passed" the orchestra was replaced by a Mellotron on their albums. But what would become part of the Moody Blue's music that would continue were the deep thoughts profoundly intoned by Graeme Edge, which certainly gave this album one of the most unusual endings in rock history.
This is another album that benefits from being on CD because as an album or cassette Side 2, with "The Afternoon: Forever Afternoon (Tuesday?)" and "Nights in White Satin," was going to be listened to a lot more because those are far and away the best songs on the album. I bet that I am not alone in having gotten a bit tired of "Nights in White Satin" and now having more of a liking for the song known as "Tuesday Afternoon," but the other is still a gorgeous song. Both were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. Then you throw in Graeme Edge's poetry just to make this really seem like a high concept album. I think "Days of Future Passed" still stands up today, even if David Antsey's cover painting belies the high brow approach. Besides, if it does not, then it surely takes me back to a time when it did.
Average customer rating:
|
Here's to Future Days
Thompson Twins Manufacturer: Import [Generic] ProductGroup: Music Binding: Audio CD General
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New Wave
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ASIN: B000005S1P Release Date: 1997-11-04 |
Tracks:
- Don't Mess With Doctor Dream
- Lay Your Hands on Me
- Future Days
- You Killed the Clown
- Revolution
- King for a Day
- Love Is the Law
- Emperor's Clothes, Pt. 1
- Tokyo
- Breakaway
Album Description
Japanese edition of the new wave duo's 1985 album that's out-of-print domestically. Ten tracks including their hits, 'Lay Your Hands on Me', 'Future Days', 'Revolution' & 'King for a Day'.Album Details
Japanese Reissue after Being Deleted for Some Time.Customer Reviews:
Breakaway!!!.......2007-07-03
Years later, no cassette player anymore, I was searching for the album on CD and couldn't find it ANYWHERE. And none of the "Best Of" discs included "Breakaway"!!! So I finally broke down and bought the imported album here on Amazon. I'm absolutely ecstatic!
The whole album totally rocks. "Doctor Dream", "Tokyo"... pure 80's era catchy fun! I don't think I'll ever stop listening to this, now that we've been reunited!
The beginning of the end.......2005-12-28
"Here's to Future Days" was the record he was trying to complete at the time. Nile Rodgers was brought in to help finish the album as producer, and he gave it a flashy rock sound that was at odds with anything the Thompson Twins had done up until that point.
While "Here's To Future Days" is not a crap record, it's a crap Thompson Twins record. Gone is the glossy, hypnotic work of Alex Sadkin, who was part of the successful Thompson Twins equation for two albums. In its place are things like the ill-advised cover of the Beatles "Revolution" and the half-assed funk of "Love Is the Law". Hardcore fans complain a lot about the US version of "Lay Your Hands On Me", but it's the least of the offenses here, and the Nile Rodgers version is just as good as the original Alex Sadkin cut. Where they went wrong here is in the details. "Into the Gap" only had one or two throwaway cuts, like "No Peace For The Wicked", and was a very solid effort. Not so here; they could have jettisoned stuff like "Tokyo", "Breakaway" and "Love Is the Law" and nobody would have known the difference.
I have to admit I'm confused by one previous commenter, who asserts that the "American" version of "Here's To Future Days" is to be avoided. The only difference in the United States version of this album is the inclusion of the album's best track, "Roll Over", which was removed from all other versions because the Twins felt superstitious about it; it was to be the first single release just before Tom Bailey's collapse. "Lay Your Hands On Me" and "King For A Day" sound exactly the same on the UK release. The alternate lyrics for "King For A Day" were actually going to be released in the UK as the b-side to "Roll Over", and probably never would have seen the light of day in the United States if it hadn't been included as an unusual bonus on the "Greatest Mixes" compilation three years after.
Beware The Americans!.......2005-10-14
best cd.......2003-01-23
A Good Solid Effort........2000-09-07
Average customer rating:
|
Here's to Future Days
Manufacturer: Arista ProductGroup: Music Binding: Audio CD General
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ASIN: B0006UD8HQ |
Product Description
Original USA issue with full 11 tracks: 1. Don't Mess With Doctor Dream 2. Lay Your Hands On Me 3. Future Days 4. Roll Over 5. Revolution 6. King For A Day 7. Love Is The Law 8. Emperor's Clothes 9. Tokyo 10. You Killed the Clown 11. BreakawayCustomer Reviews:
A New Wave Classic........2007-06-26
Not as good as "The Gap", but still good songs.......2005-04-06
I owned this album on cassette back in the 80's. I also owned "The Gap" and "Side Kicks" on cassette. As far as non-single album cuts, I liked the music on "The Gap" and "Side Kicks" much better than the music on "Here's to Future Days". Not to say that I didn't like this album, it to me just wasn't as good as the previous albums. I bought their "Greatest Hits" CD a few years ago, however, it did not include the remake of "Revolution". I picked up this CD used just to get that remake of "Revolution".
I am sure the Thompson Twins fanatics out there have every album they have ever put out and would want this one as part of their collection. For the casual listener, your money would be better spent on the "Greatest Hits" collection which contains all of their songs for Arista to reach the Billboard Hot 100. It does not include their last Hot 100 hit, "Sugar Daddy" which was released on Warner.
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- Know by Heart
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