The Moody Blues With The London Festival Orchestra Conducted By Peter Knight - Days Of Future Passed mp3 flac download

People here do realize that the 2017 remaster is actually a needle drop? By 1973, the original master tapes were so deteriorated they were mostly unusable.

Sounds like some of the songs are from the 1972 remix, and some of the songs are from the original 1967 mix.

I'm hesitant to pick up a copy of this title on MoFi. Around this time, DOFP had 2 versions in circulation depending on where and when you bought it. The original from 1967 was remastered by Tony Clark and Derek Varnals toward the end of the 70s, circa 1978. The later version sounds more live, there are editing changes in several songs, most notably The Sunset. Lyrics and chorus were changed, the 3 repeats of "evening time to get away" were changed to 2, reverb on the 1967 version is obviously absent. Very off putting when you are used to hearing one version for decades, then suddenly you hear the other. The biggest change I'm turned of by is the overall EQ. The highs were increased on every track on the later version, while mid warmth and bass was lowered. The 1967 version sounds warmer, thus better to my ears, even though it's flatter.The Moodies tracks were all warmer than the orchestral pieces mixed in. This is because they overdubbed the Moodies parts so many times during production due to multi track limitations. They chose bounce down the tracks multiple times versus make tapes of each, then mix them using multiple recorders. The orchestra stereo tracks were more or less recorded in one go, then both are mixed again to 2 tracks. I had heard the original master was missing or damaged, hen a new master was needed to make replacement stampers and pressers. A new production master was recorded, with differences in track mixes and overall eq. I prefer the earliest version to the late version. If MoFi used the later master, it would be a deal breaker as far as I'm concerned. Does anyone know which tapes Stan Ricker used for the MoFi release? How is the Eq'ing, typical smiley face eq prevalent during the period, or proper flat? One reason I believe MoFi''s are so well liked is because typical phono cartridges of the time were not able to track lots of bass or excess high frequencies. Look at the original first pressing for the Zeppelin II track Whole Lotta Love cut by Robert Ludwig, versus the recut 95% of us have heard since 1969. The bass energy made cheaper record players of the period jump, so the whole thing was recut shortly after debut using a far tamer cutting master. Most Lp's are mastered with being able to play on all turntables in mind. Those of us with a more serious kit had to suffer along until MoFi and 1/2 speed mastering came along. Then the whole thing got more popular in the 80's MoFi, CBS and others. Todays audiophile releases spread a single 2 sided LP remaster over 2 LP's (4 sides) that play at 45RPM. Those grooves are cut deep and wide, keeping well clear of each other and the center eliminating any chances mistracking and IGD (inner groove distortion). The pickup doesn't have any issues tracking. These releases sound far closer to the master tape. Yes, they are more expensive, BUT if you love a band or title and you want to hear as close as possible to what is on the master tape, it is the only way to go, unless you have the keys to the record company tape vaults or Iron Mountain! Typical 2 record 4 side 45 RPM releases cost around 45$, more if the title is from a 75 minute CD or on more than 1 LP originally. Most audiophile type remasters today cost over 35$ for a single LP, what iss another 10$ to own the best of the best? I only hope MoFi gets into the 45 RPM game as well.1/2 speed mastering is great when done correctly, but these 45RPM masterings have far and away more resolution than any single LP is capable of.

I disagree. I think THIS version showcases the typical warmth of the recording period, like a vintage RCA pressing that is refreshingly free from the classic "U-shaped" equalization settings that, a decade or so later, most engineers and listeners grew tired. I possess this edition along with the 50th anniversary release of 2018 and the orchestrated sections are comparable; the major difference is that the band segments have a sonic quality that fits more "alongside" the orchestra, like they were performing in the center of the hall; the 50th anniversary places the band audio on top of the orchestra for a truly unique listening experience. However, if you are into a more homogenized sound, this version works very well. Curiously, I have heard criticism of the 70s remix in that the flatness of sound introduced by the OP lies therein, regardless of clarity or cleanliness... I will have to investigate this.

Can't find any reference to this being a 'club edition' on my US made P-20006. It may well be. DR numbers are the same as all early editions of this release, so this is the first mastering. It sounds very good.

With the album being dwarfed by the brilliant single “Nights In White Satin,” where so many radio listeners, entranced by the hypnotic flowing harmonies, music and lyrics, were almost defeatedly let down when they brought this album into the homes, thinking that it would contain more of the same. Which it does not. The notion of this is supported by the number of these albums that turn up at estate and garage sales, where the final track has been played to death, while the reset of the physical record are as pristine as they day it was purchased, rendering the album nearly valueless on the secondary market. Yet still, here I sit with an album that promises to unlock new sonic doors and present Days Of Future Passed as I’ve never experience it before.The one thing Days Of Future Passed had going for it, was that it was a concept album, a new and ambitious undertaking, an avenue that many bands were not venturing down. What the album didn’t have going for it was the London Festival Orchestra, along with the two spoken word poems, as these concepts at the time were seen as products of a bygone era, not compatible with current musical tastes and explorations. In short, this ambitious body of work, this opus delivered into the middle of the psychedelic 60’s, where anything and everything was envisioned in how it related to the drug culture, or more pointedly, how the music would sound if one were tripping. To that end, the album fell on deaf ears when compared to what The Beatles and others were doing at the time.Days Of Future Passed is neither here nor there, it was not old and it was not new, it wasn’t rock and it wasn’t classical, it wasn’t easy to digest, it was complex and complicated, perhaps the first widely accepted pieces of progressive rock to be embraced, musically representing a day in a (working) life. Leaving me to ask, Now where have I heard that particular concept before?” Nevertheless, while the Moody Blues would continue to venture vast and sweeping musical concepts, this rendition would be jettisoned … certainly bits and pieces would weave their way into future release, but as a whole, the bombastic orchestration would become a thing of the past. It’s interesting to note that the only time the band and the orchestra play together is on the final track, “Nights In White Satin.” With that in mind, most listeners and critics saw this outing as snobbish, as a higher art form, failing to embrace the common man that the Moody’s were singing about.Days Of Future Passed falls in and out of favor, certainly it’s a concerted cohesive dream, yet it stumbles, where like the abstract modern paintings, the album offered few places to rest, few places where one could be assured of their footing, other than the sections encompassing “Tuesday Afternoon” and “Nights In White Satin” … which I forever thought of as Knights in White Satin. The most productive and positive thing I can say about this album is in the form of a concept, rather than a word of praise, being the notion that Days Of Future Passed moved listeners from a black & white dream into one that was filled with and washed in colour, a dream that seemed nearly endless.As to that sonic wanderlust I was hoping for, it’s certainly there, though I’m wondering in the end, if the effort and expense were worth it, as when played side by side with my nearly mint copy from 1967, I’m not sure I hear much of a difference, other than in the treatment of the plastic (the vinyl), and it’s ability to carry the music with a better vibrational resonance.*** The Fun Facts: There is a side story as always, with the band’s label, Decca Records, wishing to to showcase its enhanced stereophonic sound technology, calling it “Deramic Sound.” Decca commissioned a hybrid orchestral/rock version of Dvorak’s New World Symphony. They decided on the Moody Blues as the rock band due directly to their A&R manager Hugh Mendl being an eager fan of The Moody’s. However, when producer Tony Clarke heard the new original material that the band had been working on, he abruptly decided to replace the Dvorek material and instead had the London Festival Orchestra, led by conductor and arranger Peter Knight, adapt sections from the Moody Blues’ originals. The result was a bit unique for the label who had no idea how to market the material.As to the album’s title: Consider with the Moody’s devotional philosophy of love and goodness, that they are suggesting that the idea of a future is passed (days of a future are passed), that we are living ‘in’ the eve of destruction, and all we have is right now, right here, this very moment in time.Review by Jenell Kesler

I buyed this pressing some years ago ( don't remember when )It has the same catalogue number and the same Matrix numbers but inside there is a 2011 Speaker Corner catalogue.Surely a repress, but I haven't found it on Discogs.Anyone has the same pressing?

I have this pressing as well. The "ZAL 8078-1K and ZAL 8079-1K" match the pictures above but I believe a mistake has been made by the person that shows the Matrix numbers above.

Is this the only "Waddell press" issue?Had to add this to my collection since it is the only one resembling to my copy. But the label's text arrangement is significantly different, and the letters' shape are not as sharp as pictured here, but kind of smudgy. My A-side matrix is: ZAL 8078-11 W BellSound sf. And my inner sleeve is advertising Verve jazz and MGM popular records apparently from around 1965-66, although that could be a mix-up by the previous owner.

Excellent quality pressing, as usual with Speakers Corner. I A/B tested this against the awful 2017 50th Anniversary remaster and they're like 2 different albums. The 2017 remaster is dull, muffled, just plain awful, and lets not get me started about the bowl warp that seems to have affected a lot of these pressings.The Speakers Corner pressing is like a veil has been lifted off the record. Ok, the mix is the post 73 mix (as the original tapes were damaged beyond repair) but it's still all analogue, and as close to original as we're going to get short of buying an original pressing in mint condition. An excellent pressing, and worth buying as an alternative to that god awful 2017 abortion. A solid 10 out of 10 for this album, and likely the best post 73 pressing out there.

I am grading what appears to be a 1967 first, however side One appears to be recorded at 1.5 speed (very noticeably fast) while Side Two sounds like it should. Is this an actual release or is it a mispress?

My copy has the same issue! Side A is way to fast and high pitched. Does anyone have any information about this?

Actually, the album matches all descriptors for the original 1967 release including the runout, which is why I am questioning if anyone has heard of any mispressings for the original pressings. In this case the first side seems to be at 1.5 speed. Weird. Matt

Does the runout info match anything here? Could be a bootleg.

4.5 stars to be honest. I'm being nice here; it's an interesting record. Less psychedelic, more pomp and circumstance here but it works! Give it a chance if you like classical music

NOT A REISSUE!!! The DERAM brown & white label with LONDON at top was the FIRST issued USA DERAM label!!!

Sirvinylot NOT A REISSUE!!! The DERAM brown & white label with LONDON at top was the FIRST issued USA DERAM label!!! Eh, no. The first label was the red and white DERAM label in the US and the Deramic SS label in the UK.

NOT A REISSUE!!! The DERAM brown & white label with LONDON at top was the FIRST issued USA DERAM label!!!

I have found other releases of this album on 7" reel, manufactured by Ampex with Cat # X 77012, also have found Cat# DEM 77012

Got my third copy. I give up. Side 2 still has crackle in the same places. Still warped, though not as bad as the others.

very happy i read all of these comments before pissing away my dinero .too many modern re issues are just absolute crap and sound better on c.d .

Received my copy from a European seller. I was surprised to hear tape hiss even in the run-in Groove (guess the mastering engineer didn't want to jar listeners with a dead silent lead-in, to be followed by a sudden leap in noise floor levels. My copy is bowl-warped as well, with Side 1 being convex by about (I'm estimating) a third of a centimetre at the spindle hole: thankfully this side is saved by my spindle clamp. I'm playing the LP on my Rega Planar with shibata needle, but run through bass-boosting boombox speakers (rescued from the curb in a neighbor's "heavy garbage day" deposit) so you've been pre-warned: YMMV. The EQ'ing is reasonably robust, with lo-mids coming through a bit more than pressings I've heard from the '60s (I'm comparing mostly to early U.K. pressings on the DSS label, but not the original UK pressing as I'm still looking to find a copy). Certain elements leap out more than others (say, the trumpets in the orchestral outro for "Another Morning", which sound like they have a slap-back echo), and the orchestra does sound better recorded than the band, but still there are moments of sonic beauty in several places (while Justin's lead guitar on Peak Hour sounds a little glassy in the hi-end, the Mellotron remains defined despite the requisite reverb with which engineers would dress it to make it sound smooth... in fact, in the "a Capella with Mellotron" section in Peak Hour, the recording quality becomes surprisingly beautiful, with young John's vocal timbre coming through remarkably like Ray's characteristic tone, and you can even hear the slight "tape mechanical vibrato" on the attack of the notes on the Mellotron). The band sections do sound a little murkier than the orchestra sections (in general), and in general I do concur with WesHeadley's previous comments, but I would hesitate on going as far as saying a blanket was placed over the speakers: certain details (like the Mellotron and the acoustic guitar at the beginning of "Forever Afternoon (Tuesday?)") are reasonably present across the frequency spectrum. I get the feeling this edition was mastered according to the traditional "European EQ'ing standards" (which, if I recall correctly, were less bright as, but warmer than, US copies). My Side 2 started out as clean as my Side 1, but when I got to the first shuffle-ing bridge I was greeted with two surprises: 1) Justin's dry vocal in the left channel sounded remarkably present, albeit tape-compressed, and 2) it sounded like someone had also recorded a lit fireplace... oddly, though, the crackles disappeared as soon as that section was done, and the following orchestral section was remarkably click-free (apart from the odd subdued one when the whole orchestra takes a pause, just before the last cadence which segues into Time to Get Away. There seems to be something distorting between the arpeggiated Piano and guitar stretto, and the following phrase on electric bass may reveal the culprit: pronounced compression. The piano motif leading into the falsetto bridge is impressively detailed in the high-end (albeit the bass is just a little fuzzy)... but still in contrast, the orchestra's return at the end of the song leaps out of the speakers in comparatively full definition. The harmonies accompanying the falsetto are probably the most easily identified trait of the original mix versus the 1972/78 remixes (quad and stereo, respectively)... but I always thought they removed the harmonies for the remix because they reveal John's falsetto to be jarringly flat! Surprisingly again, "The Sunset" is strikingly well defined in its soundscape, to the point that the transition between band recording and the orchestral recording at the end of this piece sound like the same recording session, as much in performance as in sound... and Twilight Time isn't that far off either, until the drums are raised in the mix for the chorus, revealing pronounced tape compression and lack of hi-end frequencies... no guitars on this one, it seems. I get the feeling each band performance is affected by the number of bounces required to record the song in stereo onto 4-track tape (as the Moodies only first used an 8-track reel-to-reel on In Search of the Lost Chord): a song as sparsely arranged and ornamented as The Sunset comes through much more vividly than, say, the murky Nights in White Satin (which sounds like the lead vocal and orchestral overdub are several tape generations younger than the instruments, although the flute, Mellotron and backing vocals are so drenched in reverb that it's hard to tell on which tape generation they were recorded). The appearance of a few crackles in the first two lines of the second verse to "Nights in White Satin" startle me into realizing this copy's Side 2 has been remarkably as silent as Side 1 ever since the "Tuesday Afternoon" bridge "fireplace recording"... but marred somewhat by a subdued cyclical click in the softest part of the end orchestral section prior to the flute staccatos. (And just at the final cadence of the orchestra, I was surprised to hear a single bell clang sound compressed, compared to an overall uncompressed orchestral mix). To my ears on first listen, the overall recording sounds like an aging master tape which generally has been well taken care of (most likely due to the creation of the 1978 remix which pretty much ensured the original one's master tape remained safely in storage, unplayed for decades), which still has definition enough to reveal which sections were recorded in no more than four tracks, while which others were bounced and reduced from tape to tape in order to get all the overdubs in. (Interestingly, the tape hiss suddenly gets more pronounced at the very end of each LP side: one might be tempted to think the change in tracking from the track grooves to the lead-out might be to blame... until one witnesses the needle still in the last track on Side 1 when the increase in hiss appears! Could the leader tape on the masters be noisier than the actual magnetic tape itself?) Overall, a pleasant listen I would bring to audiophile friends' homes and turntables... but will this stop my search for an original UK pressing in decent condition? I think you already knew the answer to this one before I even wrote my first word. ;)

...re-listening to the shuffle section of Forever Afternoon (Tuesday?), I'm surprised yet again! Apart from the last sung line, it sounds like the aforementioned fireplace effect mostly disappeared! Did the needle de-horn the vinyl?

Early original presses of the Mark II (ie. Hayward/Lodge/Thomas/Pinder/Edge) Moodies albums are notorious for being described as "murky". These were mastered by (I believe his name was) Harry Wright, who was (if I understand correctly) Decca's mastering guy for classical recordings. I found out by accident that these early copies clean up dramatically when played with a shibata needle on a decent, higher-than-entry-level turntable (I only have a Rega Planar II with Moth MK-I tonearm upgrade, virtually bringing it up to the level of a Rega Planar III). These are surprisingly LIFELIKE... at least, the copies I've heard. The reverb is a "pillow" effect which seems to extend above the normal soundfield of a set of stereo speakers (as in, it sounds like the reverb is coming from above the speakers). Imaging becomes surprisingly vivid (my mind keeps returning to Ray's vocal in the bridge section of "Legend of a Mind", off "In Search of the Lost Chord"). It's hard to believe without hearing it first, but considering it caught me by enormous surprise, the first time I played a copy on my stereo system after I forgot I had installed a shibata needle (and was just looking for dinner music to cover the silence), I can't chalk this impression of mine to "wishful listening". However, my UK LP copy for "Days of Future Passed" did not give me the same impression... which led me to believe that they simply hadn't access to the same recording and mastering facilities/technology for Days of Future Passed as they did later albums... until I discovered my white label DSS copy of DoFP wasn't a first edition at all! Unfortunately, neither are several of the copies listed here on Discogs as such (I checked with the sellers). So I was hoping that perhaps this 50th Anniversary edition might tide me over until I find an original UK copy... until I read about the tape hiss. (My only hope is that this may mean it was mastered with a completely analog chain, as cleanup would usually require transferring the audio into the digital domain.) I'm keeping my fingers crossed that mine (ordered through a third party seller on Amazon, so technically not bought _from_ Amazon themselves) is flat, clean, and free of noise. It'll only be my eighth copy of the album... *roll eyes*.

Will be checking out my second copy today. My first copy-- and yes, pressed by GZ Media (pronounced Cheezy Media) sucks. Typical for this presser-- they eschew quality control and are well known among collectors as a presser to AVOID due to very poor quality AS A RULE. There are occasional exceptions, but this does not seem to be one of them. Will update this post after reviewing my second copy. The first one was warped, dirty, and loaded to the gills with obnoxious surface noise that could not be cleaned off with my Hannl RCM. Likely another big FAIL. We'll see...... and later that day... copy two arrives! Let's just say that if I were to plug the spindle hole I could use this copy as a soup bowl! Yes, it's that warped. I'll have to make a short video of it.... and a word on the sound quality (side one was playable, so I cleaned it). The first thing you notice is the EXTRA loud tape hiss. Loudest I've heard on an LP of that era in a long time. Then you notice the muted highs, the dull vocals, and after a while missing the acoustic guitars that were mixed so low they practically vanish. The orchestration that was so beautiful and vibrant on my other copies sounds like a blanket was thrown over the speakers on this reissue. This reissue sounds truly awful compared to my MFSL or Speakers Corner copies-- this is on a high-end system BTW-- a truly crappy sounding piece of vinyl. Astonishingly bad (if faithful?) reissue. Stick with the 1972 or 1978 remixes-- vastly superior sound.

Got my second one from amazon.us yesterday. The first was a preorder from amazon.de. This is a later pressing, there is no hype sticker, no poster, no mp3 download ticket. This one is warped worse (dish warp, but no ripples or waves at least) than the first, but side 1 is nice and quiet. Side 2 is still noisy as hell, after two VPI cleanings using Tergitol in step one of three. While getting a warped copy may be due to amazon's incompetent handling, the noise is not their fault. I'm going to try a third time if there is no hassle getting a refund on this one. It does sound nice and I would really like to have a clean copy.This might be one of those albums that is worth more used and play graded than new, sealed and condition unknown. Too much of a crap shoot. And it might be one of the most returned albums of all time.

I refuse to buy anything from amazon. They are warped 8 out of 10 times and I hate how they package them.If you can, go to a local store and pick this up. I did and mine sounds fantastic. No issues at all.

I bought this over the counter at my local record store..... Bowl warped. Please don't blame Amazon, they get records from the same distributors as the record stores, so it's a bit unfair. I have never (touch wood) had any issues with anything I've bought off Amazon UK

Got mine in today from Amazon.de. Its the thickest LP I've ever seen and dished out about 2mm but flat as in not warped with waves. Had to raise my tonearm up .5mm to get it to sound proper because of how thick it is. Sadly it has unacceptable noise on both sides around the 4 min mark that last about a minute on both sides and some serious pops later on on both sides. This going to have to go back to Amazon in Germany from Ohio which I hope is not going to be a hassle. Never had to return a newly issued re released record before.But to the sound that was noise free. It was great and the vinyl was very quiet. The mastering is faithful to the original 1967 The Moody Blues With The London Festival Orchestra Conducted By Peter Knight (5) - Days Of Future Passed that I bought new as a kid. I just played back the rip files from both and keyed on Lunch and Tuesday Afternoon. With the proper tonearm angle tweaking, I could get them to sound virtually the same. The 50th is an excellent job done if you get a clean pressing and really know and love this album. You will be happy.Update regarding the return: Amazon refunded the entire price including shipping and told me to keep it. Better than I expected. I will try again to find a good copy of this album because I have heard how good it can sound.

Compared it to this US first pressing The Moody Blues With The London Festival Orchestra Conducted By Peter Knight (5) - Days Of Future Passed . Still waiting on my 3rd copy from Amazon.

Thanks for sharing your comments! When you mention "not true to original", do you mean the jacket's graphics have been modified (the copy I've seen online is virtually identical to the original UK pressing, apart from a "Stereo" mention to the top left), or rather the cover materials themselves (ie. "Laminated with Clarifoil", tip-on gluing, etc)? Thanks again!

Thanks for the review! You mention comparing this edition to the original... by original, do you mean original US/North American pressing, or original UK "DSS" pressing? There is a dramatic difference between the two, with the US sounding quite a deal more "tape compressed" (ie. compression which seems to occur when stacking generations of copies). Thanks!

I reordered from Amazon US. Its backordered until Dec 8. Hopefully pressed after the initial batch of returns with a little bit better care. We'll see. Considering who is buying (generally knowledgeable and fussy listeners who already own at least one copy) it could be one of the most heavily returned re releases of all time.

I received a copy from Amazon in CA today. Seriously dish warped. Soft dynamics. The Speaker's Corner version stomps all over this one IMO. I also have a MFSL version that's a lot better. Cheap jacket-- not true to original, a so-so pressing with generally noisy vinyl. Back it goes for another try! Not hopeful.

Mine is not noisy and not warped, it sounds good and soft. Dynamically not the greatest, but no complaints also, very much listenable.

If you have heard any of the better reissues-- like MFSL or Speaker's Corner-- this reissue is a YUGE disappointment. Sounds awful by comparison-- just plain bad. More than just "soft", more like DULL.

Added more info. No good news. But LP looks better than GZ, and more like Record Industry, though by numbers it's GZ

Mine has a different runout so I added it. It also has a gold 'demonstration only' stamp on the front. Also, the color stripe at the top in the photos looks a bit greenish whereas mine looks yellow. Is it just the photo?

Any comments about that 50th anniversary edition based on the original 1967 stereo mix ?

Reports of bad warping are everywhere. Made by bottom-feeders-- GZ Media.

Simply stated; my two copies were warped, unacceptably noisy, dull sounding, and lifeless. I have the MFSL and Speaker's Corner releases and both BLOW THIS POS AWAY! Pressed at GZ Media the poor quality is not a surprise-- they are not known for their quality work-- cranking out low quality dreck is their specialty.

I have the MFSL, the 1967 and a 1977 UK. Beats both the MFSL and the 77 UK. Equal to the US 1967.

Maybe I made a mistake, but I the one I bought this afternoon is warped !

I don't see that. I don't see any for the 50th.On Amazon, from what I saw it was for another LP of this from a different year.I too would like to know how this one sounds. I have the MFSL, which I think sounds fine and wanted to know if it is worth getting this one too,

There are many comments on amazon about a noisy and warped wax.

what comment do you need? It's really based on original stereo mix.

I have a copy of this record with the correct Days of Future Passed label on side B but the A side label is for In Search of the Lost Chord (DES-18017). Anyone else have a similar copy?

This is not the original cassette. This one is from the mid 1970's and may be from either Columbia House, Capitol or RCA record club. Original copies, the first design, had a paper label with the title in pink and Ampex did not have the words "stereo tapes" underneath. The second design from around 1970 was a black shell Ampex tape in a slip case design box. DKX 77612 is the cat no for the original tape and is listed below as an "unknown" year.

Hello everyone. Anybody has more info about this release, please?

The only issue I have with Speakers Corner reissues is that they are so accurate in their replication of the original pressings that I have had a hard time identifying the version in my possession. My copy is heavyweight vinyl, precisely 180 grams. Matrix stamp on side one is ZAL 8078 - 1K and on side two is ZAL 8079 - 1K no other markings, whether etched or stamped in the matrix.No stickers or UPC's on the jacket either. In fact, there is no indication that this is a Speakers Corner pressing other than it's weight and matrix stampings. Oh, and perhaps the most important indication - sound quality. The quality of this pressing is unmistakable. Quiet vinyl, wide and deep soundstage, great dynamics - all traits of a Speakers Corner pressing.

"In fact, there is no indication that this is a Speakers Corner pressing other than it's weight and matrix stampings"."In fact", there's a rather obvious sign that it's not an original SML 707 -- the Speaker's Corner uses the post-'74 remix, quite "unmistakable" if one listens for something more than 'soundstage' and 'dynamics'...

Why did you disabled the photos? I have an identical copy to your photos (even my no stickers): is not the same release?

I was under the impression, According to "Goldmine", that the label you have illustrated with this listing is the early label. So it would be the 1967 issue? I have seen many variations of the DES 18012 label with the top half reddish brown and the lower white. variations of band name location stereo and cat number placement. It is all over the place. Where can one find a definitive description of the label?

I have 6.21583 AO boxed in upper right back cover so and I need matrıx runout because ıt ıs true or not? wıll you help me thanks

This is a seminal recording, affecting so many artists afterward. Perhaps this was the birth of a whole new genre of music, classical rock.

Days of Future Passed is the second album and first concept album by English rock band The Moody Blues, released in November 1967 by Deram Records. After two years performing as a struggling white R&B band, The Moody Blues were asked by their record label in September 1967 to record an adaptation of Antonín Dvořák'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 between 9 May and 3 November 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.

I have a copy of the above LP (same artwork and label). The LP uses the 1978 remix. It came with a "Home Taping Is Killing Music" inner sleeve with a date stamp of 11 / 83.

Wrong Cover! Mine (1967) has the 1968 German Version Cover

Does anyone know for sure whether this is a genuine mono mix or just a fold-down from the stereo?

headphoneland Does anyone know for sure whether this is a genuine mono mix or just a fold-down from the stereo? It's a fold-down. The original is the stereo edition recorded using "Deramic Sound System (DSS)" which is a stereo mixing technique used by the label.

Does anyone know if the opening of track 2-17 is cut off, as it is on the Youtube recording? Nights opens normally with guitar and keyboard, not heard on the posted version.

The original hit version is 2-05 (mono). Album version is 1-07.

This track is a BBC Recording, not from the album.

Each track serves its own unique, essential purpose in constructing this monolithic soundtrack for the freethinking new-age traveler.

407 256 9757

It seems that's there's a little mistake in "Matrix / Runout (Label Side B): ZAL 8078" that should be ZAL 8079.

On my record next to Matrix stamps simbol Smoked sigarette, 17 ... , w, Bell Sound , sf

My copy also has bell sound in the dead wax. It and also has what appears to say bestway.My matrix also has ZAL 8078-1 and 8079-3. It has something faint on side 1 that must be the 11-6-69 stamp

If anyone has seen this one or knows if it is real of counterfeit please let me know. It seems like a very poor/flat recording.

I can't say if this one sounds any different than the other American issues (or from any other country), as I haven't heard it, but the UK edition doesn't sound very good either. It's very muggy and unclear sounding. Add to that that American vinyl from the 60s was usually worse than the UK counterpart. There was a remix made in the 70s from the original multi-track tapes as the master tapes were deteriorating, and that produced a much cleaner, clearer and better sounding mix. If you want to hear this mix, you can either download the CD version from 2008 or probably find it at your local library (I did). There are of course people who prefer the old mix, but most people prefer the new. That said, most vinyl copies in circulation is the old mix. The new mix was first released in either 1973 or 1978 - I can't remember which of the two but I think '78.

This release is incredibly detailed yet quiet and has a very wide soundstage. There are plenty of modern recordings less open than this and When you think that this is a 1967 recording, it is impressive indeed.

Look up "pretentious" in the dictionary and you'll find a photograph of the Moody Blues. I was twelve years old when I first heard the song "Nights in White Satin" and I thought it was great! Hey, what did I know?I understand the Moodys have quite a fan base, but it didn't take me long to realize that these guys were art rock "poseurs"....this lp is so pompous. If you're going to listen to classical music, I suggest you go right to the source and listen to Mozart, Beethoven, Rachmaninoff, whomever.None of this material has dated well. To me, the Moody Blues best song is still their breakout hit "Go Now", a nice mix of pop, blues and gospel music.

Have a nice day.

I was being pretentious like your precious moody blues.

Knights? Hello - did you quit school when you were 12 too?

"JadedTom", indeed.Piss off, maggot.