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DISCID=030d8213
DTITLE=The Moody Blues / Days Of Future Passed (CD 2)
DYEAR=2006
DGENRE=Rock
TTITLE0=Tuesday Afternoon (Alternate Mix)
TTITLE1=Dawn Is A Feeling (Alternate Version)
TTITLE2=The Sun Set (Alternate Version Without Orchestra)
TTITLE3=Twilight Time (Alternate Vocal Mix)
TTITLE4=Nights In White Satin
TTITLE5=Fly Me High
TTITLE6=I Really Haven't Got The Time
TTITLE7=Love And Beauty
TTITLE8=Leave This Man Alone
TTITLE9=Cities
TTITLE10=Long Summer Days
TTITLE11=Please Think About It
TTITLE12=Don't Let Me Be Misunderstood
TTITLE13=Love And Beauty
TTITLE14=Leave This Man Alone
TTITLE15=Peak Hour
TTITLE16=Night In White Satin
TTITLE17=Fly Me High
TTITLE18=Twilight Time
EXTD=Days Of Future Passed (Deluxe Edition - Hybrid SACD) - Disc 2 of 
EXTD=2\n2006 Decca Music Group\n\nOriginally Released 1967\nOriginal C
EXTD=D Issue Released July 7, 1987\nMoFI Gold CD Edition Released Sept
EXTD=ember 30, 1988\nRemastered Edition Released May 20, 1997\nDTS Ver
EXTD=sion Released May 20, 1998\nJapanese Mini LP Version Released \n2
EXTD= Hybrid SACD Deluxe Edition Released April 18, 2006\n2002 Univers
EXTD=al International - Victor Entertainment, Inc. - Japan\n\nAlbum De
EXTD=tails (Mini LP CD Packaging)\nJapanese limited edition featuring 
EXTD=a miniature LP style sleeve for initial pressing. \n\nAMG EXPERT 
EXTD=REVIEW: The 1997 remastered reissue (check the catalog number) of
EXTD= the reconstituted Moody Blues' first album, complete with signif
EXTD=icantly improved sound and new notes, featuring interview materia
EXTD=l with the band members about the songs, the album, and its evolu
EXTD=tion. New members Justin Hayward and John Lodge established thems
EXTD=elves on guitar, bass, and vocals, and the band begins its ventur
EXTD=e into progressive rock territory with the London Festival Orches
EXTD=tra. The material, highlighted by the presence of Hayward's "Tues
EXTD=day Afternoon" and "Nights In White Satin," has an air of pretent
EXTD=iousness, but it really rocks fairly hard, especially as heard he
EXTD=re, and the orchestral interludes, courtesy of the late Peter Kni
EXTD=ght, have an epic sweep that is enhanced on the 1997 reissues. In
EXTD= 1967, a lot of people hungry for something to put on the turntab
EXTD=le after Sgt. Pepper turned to this, and made it into an internat
EXTD=ional hit. -- Bruce Eder\n\nAmazon.com Editorial Review\nThe Mood
EXTD=y Blues' second album was also their first of what would be a suc
EXTD=cession of "concept" albums. Inspired by the Beatles' Sgt. Pepper
EXTD= and utilizing the London Festival Orchestra primarily for epic i
EXTD=nstrumental interludes between songs, Days of Future Passed moved
EXTD= the Birmingham band away from its early R&B roots (as displayed 
EXTD=on its debut album with soon-departed future Wings member Denny L
EXTD=aine) into uncharted rock territory, making them the early pionee
EXTD=rs of both classical and progressive rock. The concept of the 196
EXTD=8 release was very simple, tracing a day in the life from dawn to
EXTD= night, from awakening to sleep. The seven tracks spawned two hit
EXTD= singles--"Tuesday Afternoon" and "Nights in White Satin" (which 
EXTD=hit No. 2 four years after the LP's original release) and a prog-
EXTD=rock cottage industry. --Bill Holdship \n\nHalf.com Album Credits
EXTD=\nDerek Varnals, Engineer\nHugh Mendl, Producer\n\nAlbum Notes\nA
EXTD=dditional personnel: Peter Knight (conductor); The London Festiva
EXTD=l Orchestra.\n\nIncludes liner notes by Hugh Mendl.\n\nAll tracks
EXTD= have been digitally remastered\n\nDAYS OF FUTURE PASSED is the M
EXTD=oody Blues' true contribution to rock history: the most cohesive 
EXTD=integration of rock songs with orchestral music ever produced. As
EXTD=ked by Deram Records to create a rock reworking of Dvorak's "New 
EXTD=World" Symphony, the Moodies instead wrote their own symphony, a 
EXTD=song cycle that describes the emotions that accompany each part o
EXTD=f the day, from dawn ("Dawn Is A Feeling") to night (the classic 
EXTD="Nights In White Satin"). The songs are connected by lush orchest
EXTD=ral passages in which the basic musical themes are reworked. Mean
EXTD=while, the band had already begun to sound like its own orchestra
EXTD=, using signature Mellotron string sounds, flutes, tympani and mu
EXTD=ltiple vocalists.\n\nROLLING STONE REVIEW\nOne of the several Eng
EXTD=lish groups that has survived more or less intact since the days 
EXTD=of the Beatles is the Moody Blues, who take their place next to t
EXTD=he Rolling Stones, Hollies, Kinks, Zombies, and Who in this regar
EXTD=d, To be sure, this is a mixed bag of company, but it is certainl
EXTD=y surprising to what extent the old English groups still share ce
EXTD=rtain qualities that mark them off from their American counterpar
EXTD=ts.\n\nThe Moody Blues are part of the English rock group family 
EXTD=that includes as nearest relatives the Hollies, the Beatles, and 
EXTD=the Who. All these groups give prominence to their vocal work, an
EXTD=d all still adhere to the basic English rock instrumentation (gui
EXTD=tars, bass, drums, occasional organ or piano) with occasional orc
EXTD=hestral augmentation. Their historical lineage may be traced back
EXTD= to the American rock and roll (not blues) of the late Fifties. G
EXTD=ranted these not insignificant similarities, the English groups h
EXTD=ave each by and large developed their own stylistic character.\n\n
EXTD=The Moody Blues, on the evidence of their most recent recordings,
EXTD= have matured considerably since "Go Now," but their music is con
EXTD=stantly marred by one of the most startlingly saccharine concepti
EXTD=ons of "beauty" and "mysticism" that any rock group has ever affe
EXTD=cted. To be specific: Days of Future Passed claims to "have exten
EXTD=ded the range of pop music," finding "the point where it becomes 
EXTD=one with the world of the classics." This is pure nonsense.\n\nTh
EXTD=ere are some quite fine rock tracks on Days of Future Passed ("Tu
EXTD=esday Afternoon" especially), but all of these songs have next to
EXTD= nothing to do with "the classics." In any case the "classics" fo
EXTD=r the Moody Blues apparently are Rimsky-Korsakov, Brahms, David R
EXTD=ose, and Elmer Bernstein; the London Festival Orchestra is genera
EXTD=lly used between tracks to play Hollyridge Strings changes on the
EXTD= rock compositions in the album. The whole execution of the album
EXTD= is so perverse that the only real surprise is the discovery that
EXTD= between the movie soundtrack slush there is some quite palatable
EXTD= rock which makes no compromises, even in the direction of orches
EXTD=tral accompaniment--as a matter of fact there is almost none on t
EXTD=he rock tracks. Then why the Festival Orchestra? Why the hideous 
EXTD=spoken introduction and conclusion? If this crap is supposed to b
EXTD=e breathtakingly beautiful or the aesthetic raison d'etre of the 
EXTD=album, god deliver us back into the hands of prosaic rock, like "
EXTD=Peak Hour," or "Forever Afternoon," or "Nights in White Satin." O
EXTD=r even the triteness of "Twilight Time."\n\nThis must remain the 
EXTD=real curiosity of Days of Future Passed: what is obviously a fine
EXTD=, tight English rock group has chosen to strangle itself in conte
EXTD=xtual goo. Ironically almost every one of the rock tracks has som
EXTD=ething to recommend it--but what might have been a quite capable,
EXTD= even exciting, album is willfully turned into something musicall
EXTD=y akin to Milo's chocolate cotton. Which is too bad.\n\nIf Days o
EXTD=f Future Passed is the Moody Blues being self-consciously "beauti
EXTD=ful," In Search of the Lost Chord is the Moody Blues being self-c
EXTD=onsciously "mystical." Too bad again. But let us be charitable: w
EXTD=e will say nothing further of the seven minute closer on the albu
EXTD=m, "Om." Nor the opening "Departure." The rest of the album is ve
EXTD=ry well produced and generally tasteful; John Lodge's "Ride My Se
EXTD=e-Saw" and Ray Thomas' "Dr. Livingstone, I Presume" are both well
EXTD= done, solid rock tracks. On the other hand we have "House of Fou
EXTD=r Doors," an overblown piece of literal psychedelia with four (co
EXTD=unt 'em: four) squeaky door sound effects sandwiched in between s
EXTD=ome rock mood music.\n\nThe dilemma of this whole album is illust
EXTD=rated by "Legend of a Mind," featuring a nifty lyric about "Timot
EXTD=hy Leary's dead." If you don't listen to the words it sounds like
EXTD= a better than average rock song with interesting flute work by R
EXTD=ay Thomas and appropriately swooping cellos--but then there are t
EXTD=hose insane lyrics that keep bombarding you with Timothy Leary's 
EXTD=name. Mike Pinder's "The Best Way to Travel" sounds indebted to t
EXTD=he Pink Floyd, while the inevitable sitar pops up painlessly on J
EXTD=ustin Hayward's "Visions of Paradise." Whoever does the vocal on 
EXTD="The Actor" and "The Word" (they run together) does one hell of a
EXTD= job; beautiful, unabashedly emotional singing.\n\nSo what are we
EXTD= finally to make of the Moody Blues? The conceptions of both of t
EXTD=heir recent albums have been disastrous, but in both cases some i
EXTD=nteresting, listenable music was surfaced. Their writing is not c
EXTD=onsistently imaginative, but it is not especially derivative eith
EXTD=er; the singing is consistently good and the arrangements are eff
EXTD=ectively executed with little reliance on studio musicians. Hopef
EXTD=ully next time around the Moody Blues will leave their London Fes
EXTD=tival Orchestra and Yantra at home and get together a straight-ah
EXTD=ead, no bullshit album of rock; judging from even these albums th
EXTD=ey should be quite capable of doing this and, furthermore, doing 
EXTD=it well. (RS 23 - Dec 7, 1968)  -- \nJIM MILLER
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