DAYS OF FUTURE PASSED

"Days of Future passed" really has stood up well to the test of time, due in no small part to the imaginative orchestration. This may not have been the first album to use the orchestra in this way (that is a well worn debate for the forum), but it arguably the most significant.

While "DOFP" was not the first Moody Blues release (many think it was), the band had effectively reinvented themselves since the pop orientated early work of the "Go now" era, the most significant change being the arrival of Justin Hayward. Hayward's unique voice and guitar dexterity immediately gave the band the sound which we now associate so closely with them.

"Days of future passed" came about as a result of the Moody Blues record label Decca wishing to promote their new serious music subsidiary Deram. The idea was to demonstrate how far the recording process had come, with the introduction of such facilities as stereo and hi-fi. The band were afforded a generous amount of latitude to do their own thing, the use of the orchestra constituting a major investment and leap of faith on the part of the record company. It's hard to see such a willingness by a record company, to take a risk of this nature, happening in today's corporate environment.

It's hard now to appreciate just how original this album was at the time of its release. The success of "Nights in white satin" as a single helped to boost sales significantly. Heard within the context of the album though, it makes for a superb finale. The track also contains a wonderful flute solo by the criminally under-recognised Ray Thomas, complemented by some superb bass work by John Lodge. Graham Edge adds one of his captivating soliloquies just before the final orchestral burst. As an aside, the "Cold hearted orb which rules the night" referred to by Edge is a television, the reference to it "removing the colours from our sight" reflecting the fact that the album predates the introduction of colour TV for the masses!

Justin Hayward's vocals are excellent throughout, but especially on the atmospheric "Tuesday Afternoon". The album is best listened to as a complete piece although tracks such as the two mentioned do sound great in isolation.

There's little indication here of the direction the band would follow on later releases. Their instrumental prowess is largely stifled by the orchestra, but this is a superb album by any standards.

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