The Moody Blues - Days Of Future Passed - 180g LP

Product no.: SML707

The Moody Blues - Days Of Future Passed - 180g LP
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Speakers Corner / Deram SML 707 -  180 Gram Virgin Vinyl - 

AAA 100% Analogue - Pressed at Pallas Germany - Analogue Audiophile Mastering

AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head

Compositions and arrangements for pop group and symphony orchestra belong to the British pop scene like the Queen to Commonwealth. The Moody Blues, one of a seemingly never-ending number of groups which sprang up in the North of England, ventured early into new territory in that they undertook an ambitious project which is sought to mediate between classical tradition and modern music and which might very well be described as a real crossover.

Their very first long-playing record, made in 1967, was a smash hit right from the start. The album Days of Future Passed jumped into the U.S. charts within a few weeks and remained there for almost two years, bringing the group their first Gold Disc. As the title suggests, the six individual recordings fit together within the programmatic framework of a passing day. This synthesis of orchestral music and original flower power sound, where the past melts with the future, results in Nights in White Satin, a timeless superhit.

There aren’t too many albums like Days Of Future Passed, and then again, there aren’t too many bands with the iconic power and legacy of The Moody Blues. Initially a British pop/rock outfit scoring instant success in 1964 with Go Now, the band re-grouped in 1967 and let's just say Days Of Future Passed changed not only the band's fortunes, but also the way many of us would go on to listen to music forever.
 
With the addition of new bassist John Lodge and a tip from friend Eric Burdon Thomas, Graeme Edge and Mike Pinder soon moved the five guys to the outskirts seriously sat down and systematically wrote and devised the beginnings of not only their direction, but the rudiments of Days Of Future Passed.
 
Written to be a stage show about the day in the life of a person, The Moody Blues artistically and creatively wrote the thematic songs and worked them into concert form months before they were even signed to a label. While playing the songs out live in the nightclubs, they built a zest for the new songs and knew that they had something special which would only lead them down paths never in their wildest dreams.
 
Newly signed to Deram Records, the parent company Decca in the U.K. was looking for their quintet to record alongside an orchestra to create an audio demonstration album for the Deram label sales reps to use at retail shops. They initially thought Dvorak’s New World Symphony would be recorded and asked the band to add their rock sound to the classic work. The band told them yes but they needed five days in the studio to work out parts, and when they came back to the label heads with the psychedelic rock and symphonic classic Days In The Future Passed and not the symphony they hired them for, it began what we could say the birth of progressive rock.
 
The Moody Blues Days In The Future Passed was an artistic and crowning achievement for the ages. Culled from it were two hit singles with Tuesday Afternoon and the monumental Nights In White Satin, which not only charted in 1967 but then again in 1972 when the album and the single reached the top of the charts, thanks to the endless touring, an incredible string of classic rock smash albums, and the strength of the material from a 1967 masterwork which will forever last in the journals of rock and popular music.

What is more, the brilliant tonal definition of DECCA's patented Deramic Sound System does not cease to amaze and certainly does justice to this extraordinary recording.

Selections:

1. The Day Begins
2. Dawn: Dawn Is A Feeling
3. The Morning: Another Morning
4. Lunch Break: Peak Hour
5. The Afternoon: Forever Afternoon (Tuesday?) a/k/a Tuesday Afternoon
6. Evening; The Sun Set: Twilight Time
7. The Night: Nights In White Satin
 
Moody Blues - Days Of Future Passed - 180g LP
                               
20 Years pure Analogue

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 20 Years pure Analogue

 
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
 
60 Years Pallas
 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 
 
 
   
    
   
   
   
   
    

 

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