DAYS OF FUTURE PASSED

Even when these guys are not exactly into the prog, they surely traced the road for many others later. Historically speaking if this album wasn't exists maybe the prog we know now will be something different.

Contemplating the musical horizon, there in the very beginning of rock psychedelic and symphonic rock, the silence of nighttime is leisurely being displaced by this sonorous record and 'The Day Begins' with the powerful strings of the London Orchestra's overture. A musical dawn on its most poetical expression, soft yet strong. As harmonious as sublime, the leitmotif paints the sky with clarinet sunlight.

And then 'Dawn: Dawn is a Feeling' breaks over the clouds of a cold British morning with Hayward vocals remaining the existence of being in another day, another morning beginning asking to open your eyes. If not jolly, the somber tune marks the last fight of the nighttime just before the sun displaced definitely.

Until 'The Morning: Another Morning' brings color and joy, a daybreaks in well terms, breathing the fresh air of the morning. Still last many hours before any happened, it's the very beginning and as such the entire orchestra plays rampant poppy tunes. So the pipes drives the rhythm a little further, hastening pace, still the eyes on the sun and the color change from the reddish dawn to the brightly white at 'Lunch Break: Peak Hour' with Lodge inviting to stand up for rocking.

The day still not over, keep moving forward trough 'The Afternoon: Forever Afternoon', with a quieter tune but magically, here becomes a little more progressive, the tempo changes, that playful interaction between the rock band and the orchestra, the lovely yet subtle mellotron, and the flute convening bridge to the orchestral transfiguration in the second part 'evening' portrayed since the keyboard direction, drawing the way home for an ending day. Ending and running across streets and reddish trees, before walks pacing with the eyes staring beholding the dusky lights of 'Evening: The Sunset', melodically a little more experimental, the foreign sounds from East drives lucid dreams of slumber and psychedelic adventures in 'Twilight Times'. Once again the orchestra's make its way for the rock flavor in the last minutes of the festive day and merge them into blurred clouds and a starry blue sky, the stars winking over the strings.

So 'The Night: Nights in White Satin' takes leave the day, with the first street lights accompanying Hayward's lament of a missing love on his way home. This ballad presents one of the most popular and still spectacular moments in the Moody's career. Once the classic rock ballad merges with the orchestral fanfare, the somber tune of the farewell becomes a little more obvious with the spoken 'Late Lament' contemplating a sole night waiting for a new day to breaks. A new progressive era has begun.