Sold Date: April 3, 2015
Start Date: March 24, 2015
Final Price: £19.00 (GBP)
Bid Count: 2
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The Moody Blues – Days Of Future Passed
Rare 1967 UK first issue 7-track stereo vinyl LP with 'Deramic Sound System' labels, including Nights In White Satin with The London Festival Orchestra conducted by Peter Knight. In 1978 the album was remixed, with significant changes, because of deterioration of the master tapes. This original 1967 stereo mix used here, which is generally considered superior by fans, has never seen a CD release. All CD versions, even remasters, use the later mix. The only way you can hear the original is on this LP. Highly desirable and increasingly hard to find in even reasonable condition, this copy is in NM /NM condition. And as these UK pressings come up so infrequently in this condition this could be a once in a lifetime opportunity to add this extreme rarity to your collection at an extremely advantageous price.

In 1978 the album was remixed because of deterioration of the master tapes. The original 1967 stereo mix has never seen an official CD release. The ways in which the later mix departs most noticeably from the original are: After the orchestral intro, "Dawn is a Feeling" begins more abruptly, and there is less echo on Mike Pinder's vocal on the bridge, making it more prominent. The orchestral intro "Lunch Break" goes on about 20 seconds longer before fading out. The bridges to "(Evening) Time to Get Away" have John Lodge singing alone; all the backing vocals on that part have been lost. The backing vocals on "Twilight Time" are heard through the entire song instead of only coming in at strategic points.
Catalogue Number: Deram – SML 707 Release date: December 1967 (UK) Matrix/Runout: Side 1: ZAL 8078-4W  Side 2: ZAL 8079-4W © 1967, The Decca Record Company Limited, London. Printed in England by Clout & Baker Ltd. Laminated with “Clarifoil” made by British Celanese Limited
Grading: NM /NM (LP/Cover)
“one of the defining documents of the blossoming psychedelic era, and one of the most enduringly popular albums of its era.”

Days of Future Passed is the second album and first concept album by English rock band The Moody Blues, released in December 1967 on Deram Records. After two years performing as an R&B band, The Moody Blues were asked by their record label in September 1967 to record an adaptation of Antonín Dvorák'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 during May 9 to November 26, 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. Music writers cite the album as a precursor to progressive rock music. Bill Holdship of Yahoo! Music remarks that the band "created an entire genre here." Robert Christgau cites it as one of the essential albums of 1967 and finds it "closer to high-art pomp than psychedelia. But there is a sharp pop discretion to the writing and a trippy romanticism in the mirroring effect of the strings and Mike Pinder's Mellotron." Will Hermes cites the album as an essential progressive rock record and views that its use of the Mellotron, a tape replay keyboard, made it a "signature" element of the genre. All Music editor Bruce Eder calls the album "one of the defining documents of the blossoming psychedelic era, and one of the most enduringly popular albums of its era."
BACKGROUND INFO FROM ALLMUSIC.COM WEBSITE: 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's 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…..
Tracklisting:
Side One 1. The Day Begins (5:45) 2. DAWN: Dawn Is A Feeling (3:50) 3. THE MORNING: Another Morning (3:40) 4. LUNCH BREAK: Peak Hour (5:21) Side Two 5. THE AFTERNOON: Forever Afternoon (Tuesday?)/(Evening) Time To Get Away (8:25) 6. EVENING: The Sun Set/Twilight Time (6:39) 7. THE NIGHT: Nights In White Satin (7:41)
Musicians: The Moody Blues: Justin Hayward - Acoustic and electric guitars, piano, keyboards, vocals. John Lodge - Bass guitar, electric guitar, vocals. Mike Pinder - Keyboards, mellotron, piano, vocals, (including spoken). Ray Thomas - Flutes, horns, percussion, keyboards, vocals. Graeme Edge - Drums, percussion, vocals.
Peter Knight - Conductor, arrangements. The London Festival Orchestra.
Production Tony Clarke: Producer, Realisation. Derek Varnals: Engineer. Hugh Mendl: Executive Producer, Liner Notes. Michael Dacre-Barclay: Realisation. David Anstey: Cover Design, Cover Painting.
NOTE! Postage indicated in the auction is not the actual postage as ebay doesn't allow a higher postage then 7 GBP in this category. Postage for this item is 8 GBP to most countries within Europe and 16 GBP for the rest of the world. This is up to 2kg, so you can add up to 6 more LP's for the same postage. Postage for 7 LP´s is the same as for 1 LP, so buy more to save on postage! Mail me if you have any questions. Check my other auctions for many rare ! Be sure to add me to your !

POSTAGE COSTS FOR THE BUYER:
Postage for 1 LP is the same as for 7 LP's (<2kg), so please order more LP's to save on shipping!
1-7 LP's by priority mail:

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EUR2: 9 GBP
EUR3: 10 GBP
Rest of the world: 16 GBP

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