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Days Of Future Passed Original recording remastered

4.6 out of 5 stars 121 customer reviews

Price: £5.99 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
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Product details

  • Audio CD (23 Jun. 2008)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Deram
  • ASIN: B0018BB20W
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (121 customer reviews)
  • Amazon Bestsellers Rank: 7,851 in Music (See Top 100 in Music)
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Customer Reviews

Top Customer Reviews

Format: Audio CD
"Days of Future Passed" has one of the stranger stories behind the birth of an album in rock history. In 1967 Deram Records, part of the Decca label, wanted to promote its new Deramic Stereo process and tapped the Moody Blues to do a rock version of Dvorak's "New World Symphony." However, instead of putting together something that would anticipate Emerson, Lake & Palmer's live performance of Mussorgsky's "Pictures at an Exhibition," the group persuaded the powers that be to abandon the Dvorak idea and let them do their own original compositions. Obviously inspired by the Beatle's "Sgt. Pepper," the result was a concept album presenting an archetypal day from "The Day Begins" to "Nights in White Satin" and essentially became the first major salvo in the Progressive Rock movement. This is another album that benefits from being on CD because as an album or cassette Side 2, with "Tuesday Afternoon" and "Nights in White Satin," was going to be listened to a lot more. Both those songs were written and sung by Justin Hayward, who had just joined the band in the wake of Denny Laine's departure. 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. 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. I think this album still stands up today; if it does not, then it surely takes me back to a time when it did. So there.
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By WOOLLY MAMMOTH TOP 500 REVIEWER on 15 July 2011
Format: Audio CD Verified Purchase
I am at a loss to understand why one reviewer gave this a one star rating, but we all have an opinion...and here is mine for what it is worth!

I heard this album in its entirety for the first time recently. It was intriguing, because I had heard the individual single releases and some album tracks on compilations and live albums. It was a joy to now hear them in their proper surroundings, cradled in an orchestral setting as part of a larger piece of work.

The album as a whole is of the highest quality for its time (1967) and the orchestrations and compositions (even the 'links') are inspiring and highly enjoyable.

It is fair to say that the CD release could have done without all the bonus paraphenalia which whilst welcome from a value perspective, is difficult to listen to as a 'tack-on' to such a complete, wonderful and well rounded production.

Outstanding.
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Format: Audio CD Verified Purchase
1967. The Beatles were working on Sergeant Pepper, the Rolling Stones were getting busted and going psychedelic, Pink Floyd were wowing them down at the UFO, Timothy Leary was advising the world's youth to "turn on, tune in, drop out," art was exploding with extravagant flashes of colour, light shows were swirling, flowers were for wearing, life was for living and to be young was a treasure and an opportunity. Magic was in the air. And in a studio in London, the five members of the Moody Blues gathered to fashion a portion of that magic into an album the like of which the world had never heard. The result was this still remarkable collaboration of rock band and orchestra, featuring a collection of strong songs and musical themes, outstanding among which is, of course, their hit single, 'Nights In White Satin.' The latter is widely recognised as one of the best singles in the history of recorded music. The whole album is one of the finest artefacts of a revolutionary musical era. In the current age of cynicism it's fashionable to dismiss the Moody Blues as limp, lame, hippy has-beens. Personally, I rate them as among the all-time great British rock bands and find their albums still fresh, enjoyable and relevant after all these years. This album stands up remarkably well, taking us through a day from sunrise to night with every note, phrase and lyric perfectly judged to create what is arguably the first themed rock album. The quality of the musicianship from the band members is amazing. This was a band who could genuinely play real instruments. Their voices combine beautifully too. A true classic, still capable of rekindling the magic of a golden era of optimism and wonder.
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By Marty From SF HALL OF FAMETOP 500 REVIEWER on 8 Jan. 2003
Format: Audio CD
This is the hallmark recording that started the Moody Blues on their sojourn and it is a remarkable one at that. This grouping brought in John Lodge and Justin Hayward maximizing the songwriting and vocal harmonizing that is so well known now. Although the symphonic arrangments may sound slightly dated, it is still a 'mood-piece' to wash away your worries and dive into your dreams. "Night In White Satin" was released in 1967 and 1971 as a single, so strong is it's appeal. The other songs display how talented and unafraid these musicians were to experiment, bringing classical pop into the rock arena.
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Format: Audio CD
It's incredible to listen to this album and think that it was originally recorded as an experiment - an opportunity to test out a new style of studio recording and at one stage possibly not even to be released - in much the same way that 'Nights in White Satin' was originally not for single release because of its apparently prohibitive length (let alone being considered capable of becoming a chart hit on two separate occasions), an idea that in this day of occasionally feature-length releases (step forward Bryan Adams, Meat Loaf, Oasis et al) seems positively ridiculous.
'Days of Future Passed', the Moody Blues' first genuine studio album also saw the coming together of their classic line-up, following the first single 'Go Now' and departure of guitarist Denny Laine. It was put together as an archetypal concept album in a similar vein to the Beatles' Sgt Pepper, whilst allowing Decca to test their new 'Dynamic Sound System' recording studio method at the same time. The idea of having a rock band combining with a full orchestra, songs with fully scored interludes and links might have seemed ludicrous and extravagant at the time, but the result certainly only justifies the latter description and illustrates perfectly both the bravery and musical confidence of the band.
If one ignores the overblown and close to disastrous start to the album bestowed by 'The Day Begins', Days of Future Passed flows through and over you like one long magical performance. The contribution of Peter Knight and the London Festival Orchestra sits comfortably alongside and between the more conventional songs of the Moody Blues; indeed, a certain amount of the magic of tracks such as 'Tuesday Afternoon' and 'Nights in White Satin' is lost without the 'classical' contribution.
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