The Moody Blues Days of Future Passed MFSL Gold UDCD 512 Ultradisc II ohne J-Card

Erscheinungsdatum:  1990
Label: Mobile Fidelity Sound Lab (MFSL)
Import aus: USA
Format: Audio CD
Tonträger CD
Besonderheiten Re-Release, 24kt. Gold-CD
Jahr 1989
Orig. Release 1967
Zeit 43:31
Plattenfirma MFSL
Herstellungsland USA
Musikrichtung Rock
EAN-Nr. 015775151222
Katalog-Nr. UDCD512


     Tracks


1. The Day Begins 5:34   
2. Dawn, Dawn Is A Feeling 3:46   
3. The Morning, Another Morning 4:03   
4. Lunch Break, Peak Hour 7:41   
5. The Afternoon, A) Forever Afternoon (Tuesday?), B) (Evening) Time To Get Away 8:26   
6. Evening, A) The Sun Set, B) Twilight Time 6:40   
7. The Night, Nights In White Satin 7:21


Weitere Infos
With THE LONDON FESTIVAL ORCHESTRA conducted by Peter Knight


Produktbeschreibungen


Audio
1967 war in der Rock-Historie ein Jahr der Experimente, das Jahr der Pop-Ex- kursionen in klassiches Terrain: Die Beatles ließen auf Stgt. Pepper zu A Day In A Life eine symphonische Heerschar von Streichern fiedeln, Procol Harum modellierten eine Bach-Kantate zum Dauerhit A Whiter Shade Of Pale um - und die Moody Blues konzipierten den ersten Pop-Goes-Classic-Zwitter. Mit dem London Festival Orchestra und Dirigent Peter Knight skizzierten Justin Heyward, John Lodge, Graeme Edge, Mike Pinder und Ray Thomas einen Tagesab- lauf als poppig-sinfonische Synthese. Die Musik hat den Charakter eines Soundtracks, läßt im wörtlichen Sinne lautmalerisch Bilder entstehen. Der noch junge Tag räkelt sich verschlafen, erst allmählich weichen die einlul- lenden Streicher quirligen Holz- und Blechbläsern, um dann auch selbst vol- ler Elan aufzutrumpfen. Mal separat, mal eng verwoben, verhalten oder rok- kig, geben die Moody Blues ihre rundum stimmigen Pop-Harmonien dazu, ent- lassen den Hörer schließlich mit dem Schmuse-Klassiker Nights In White Satin. Die MFSL-Techniker blieben hellwach und leisteten blitzsaubere Ar- beit: Das sehr klar durchzeichnende Klangbild läßt das Alter der Aufnahme kaum mehr ahnen.
© Audio

Review by Bruce Eder
This album marked the formal debut of the psychedelic-era Moody Blues; though they'd made a pair of singles featuring new (as of 1966) members Justin Hayward and John Lodge, Days of Future Passed was a lot bolder and more ambitious. What surprises first-time listeners — and delighted them at the time — is the degree to which the group shares the spotlight with the London Festival Orchestra without compromising their sound or getting lost in the lush mix of sounds. That's mostly because they came to this album with the strongest, most cohesive body of songs in their history, having spent the previous year working up a new stage act and a new body of material (and working the bugs out of it on-stage), the best of which ended up here. Decca Records had wanted a rock version of Dvorak's "New World Symphony" to showcase its enhanced stereo-sound technology, but at the behest of the band, producer Tony Clarke (with engineer Derek Varnals aiding and abetting) hijacked the project and instead cut the group's new repertory, with conductor/arranger Peter Knight adding the orchestral accompaniment and devising the bridge sections between the songs and the album's grandiose opening and closing sections. The record company didn't know what to do with the resulting album, which was neither classical nor pop, but following its release in December of 1967, audiences found their way to it as one of the first pieces of heavily orchestrated, album-length psychedelic rock to come out of England in the wake of the Beatles' Sgt. Pepper and Magical Mystery Tour albums. What's more, it was refreshingly original, rather than an attempt to mimic the Beatles; sandwiched among the playful lyricism of "Another Morning" and the mysticism of "The Sunset," songs like "Tuesday Afternoon" and "Twilight Time" (which remained in their concert repertory for three years) were pounding rockers within the British psychedelic milieu, and the harmony singing (another new attribute for the group) made the band's sound unique. With "Tuesday Afternoon" and "Nights In White Satin" to drive sales, Days of Future Passed became one of the defining documents of the blossoming psychedelic era, and one of the most enduringly popular albums of its era. On CD, its history was fairly spotty until 1997, when it was remastered by Polygram; that edition blows every prior CD release (apart from Mobile Fidelity's limited-edition disc) out of contention, though this record is likely due for another upgrade — and probably a format jump, perhaps to DVD-Audio — on or before its 40th anniversary in 2007.

Condition: NM: NEAR MINT  

"Item Condition" notes:

NM: NEAR MINT   CD & LP Just about in perfect condition.

E:  EXCELLENT   CD & LP Near perfect, may show very light signs of use & maybe one very light scratch.

VG: VERY GOOD   CD & LP  CD has some very minor wear (several very light scratches or marks). If insert, may have dimple marks or very light wrinkles/folds,

G:  GOOD        CD & LP  Some to very heavier wear or tear (some to very scratches throughout the CD), still plays perfectly. If insert, may have some wrinkles, folds, ripples, tears or multiple case. If  case has cracked or is broken.

Demo-Copy:      CD & LP = Promo - not for sale - particularly rare!!