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The Moody Blues With The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed

The Moody Blues With The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed
Performer: The Moody Blues With The London Festival Orchestra Conducted By Peter Knight
Genre: Rock
Title: Days Of Future Passed
MP3 album size: 1834 mb
FLAC album size: 2902 mb
Style: Psychedelic Rock, Symphonic Rock
Country: US
Released: 1967
Catalog number: DES 18012
Label: Deram

Tracklist


1Dawn: Dawn Is A Feeling
Written-By – Pinder
3:49
2The Day Begins5:49
3Evening: The Sun Set: Twilight Time
Written-By – Thomas
6:14
4Lunch Break: Peak Hour
Written-By – Lodge
5:16
5The Afternoon: Forever Afternoon (Tuesday?)
Written-By – Hayward
8:48
6The Night: Nights In White Satin
Written-By – Hayward
7:38
7The Morning: Another Morning
Written-By – Thomas
3:40

Versions


CategoryArtistTitle (Format)LabelCategoryCountryYear
SML 707, SML.707The Moody Blues With The London Festival Orchestra Conducted By Peter Knight The Moody Blues With The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed ‎(LP, Album, Bla)Deram, DeramSML 707, SML.707UK1967
SW134-2The Moody Blues Days Of Future Passed ‎(CD, Album, Unofficial)SomeWax RecordingsSW134-2Russia2003
HDS-4418The Moody Blues Days Of Future Passed ‎(HDCD, Album, Multichannel, DTS)DeramHDS-4418US1997
KDOAC 6, 820 006-4The Moody Blues With The The London Festival Orchestra Conducted By Peter Knight The Moody Blues With The The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed ‎(Cass, Album)Deram, DeramKDOAC 6, 820 006-4UKUnknown
DL 107The Moody Blues With The London Festival Orchestra Conducted By Peter Knight The Moody Blues With The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed ‎(LP, Album, Bla)DeramDL 107Japan1968

Credits


  • Artwork [Cover Painting]David Anstey
  • Composed ByKnight, Redwave
  • ConductorPeter Knight
  • EngineerDerek Varnals
  • Executive-ProducerHugh Mendl
  • Liner NotesHugh Mendl
  • Mastered Bysf
  • OrchestraThe London Festival Orchestra
  • Producer [Realisation]Michael Dacre-Barclay, Tony Clarke
  • Composed ByKnight, Redwave
  • ConductorPeter Knight
  • Design [Cover Painting]David Anstey
  • EngineerDerek Varnals
  • Executive-ProducerHugh Mendl
  • OrchestraThe London Festival Orchestra
  • RealizationMichael Dacre-Barclay, Tony Clarke
  • Composed ByKnight, Redwave
  • ConductorPeter Knight
  • Design [Cover Painting]David Anstey
  • EngineerDerek Varnals
  • Executive-Producer, Liner NotesHugh Mendl
  • OrchestraThe London Festival Orchestra
  • RealizationMichael Dacre-Barclay, Tony Clarke
  • ConductorPeter Knight
  • EngineerDerek Varnals
  • Executive-Producer, Sleeve NotesHugh Mendl
  • Mastered ByHeinz Lauterbach
  • OrchestraThe London Festival Orchestra
  • PaintingDavid Anstey
  • Producer [Realisation]Michael Dacre-Barclay, Tony Clarke

Notes


A product of Deram Records. MFD in U.S.A. by AMPEX Elk Grove Village, ILL.Made in Germany By Teldec GmbH
Original Recording And Licensed By The Decca Record Co. Ltd.

Made in Germany - TELDEC >>Telefunken-Decca Schallplatten-Ges. mbH, Hamburg.
(C) 1967, The Decca Record Company Limited, London.Vinyl Label:
Quote marks around "DAYS OF FUTURE PASSED" on labels.Cover with Moody Blues in BLACK text, instead of blue and also in same size font as The London Symphony Orchestra.

"Time to Get Away" is missing from the front cover track listing (should follow "Forever Afternoon (Tuesday?)" but precede "EVENING"), from the rear cover track list. It is on vinyl centre label of Face 2 which reads:
"THE AFTERNOON <> (Hayward) 8'48 <
Malodora
I disagree. I think THIS version showcases the typical warmth of the recording period, like a vintage RCA pressing that is refreshingly free from the classic "U-shaped" equalization settings that, a decade or so later, most engineers and listeners grew tired. I possess this edition along with the 50th anniversary release of 2018 and the orchestrated sections are comparable; the major difference is that the band segments have a sonic quality that fits more "alongside" the orchestra, like they were performing in the center of the hall; the 50th anniversary places the band audio on top of the orchestra for a truly unique listening experience. However, if you are into a more homogenized sound, this version works very well. Curiously, I have heard criticism of the 70s remix in that the flatness of sound introduced by the OP lies therein, regardless of clarity or cleanliness... I will have to investigate this.
Awene
If anyone has seen this one or knows if it is real of counterfeit please let me know. It seems like a very poor/flat recording.
Vosho
I can't say if this one sounds any different than the other American issues (or from any other country), as I haven't heard it, but the UK edition doesn't sound very good either. It's very muggy and unclear sounding. Add to that that American vinyl from the 60s was usually worse than the UK counterpart. There was a remix made in the 70s from the original multi-track tapes as the master tapes were deteriorating, and that produced a much cleaner, clearer and better sounding mix. If you want to hear this mix, you can either download the CD version from 2008 or probably find it at your local library (I did). There are of course people who prefer the old mix, but most people prefer the new. That said, most vinyl copies in circulation is the old mix. The new mix was first released in either 1973 or 1978 - I can't remember which of the two but I think '78.
Rarranere
Days of Future Passed is the second album and first concept album by English rock band The Moody Blues, released in November 1967 by Deram Records. After two years performing as a struggling white R&B band, The Moody Blues were asked by their record label in September 1967 to record an adaptation of Antonín Dvořák's Symphony No. 9 as a stereo demonstration record. Instead, the band chose to record an orchestral song cycle about a typical working day.
Recording sessions for the album took place at Decca Studios in West Hampstead, London between 9 May and 3 November 1967. The band worked with record producer Tony Clarke, engineer Derek Varnals and conductor Peter Knight.The album's music features psychedelic rockers, ballads by singer-songwriter and guitarist Justin Hayward, Mellotron played by keyboardist Mike Pinder and orchestral accompaniment by the London Festival Orchestra.
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