DAYS OF FUTURE PASSED

THE MOODY BLUES' excellently crafted and surprisingly philosophical (for such a simple) concept became the foundation of album-writing that progressive rock would adopt. Mostly because, well, this IS a progressive rock album. Not the first - that title goes to FREAK OUT!, released in the previous year - but nonetheless an eloquent summary of the genre (namely, Symphonic Prog), featuring many of its trademark characteristics: wide adoption of the modern, never-used-before Mellotron and heavy influences from classical music.

Actually, DAYS OF FUTURE PASSED isn't "influenced" by classical music, it HAS it. Lush amount of orchestral arrangements - visibly present, for instance, in the opener The Day Begins - akin to a soundtrack of a 60s Hollywoodian masterpiece; they are uplifting, warm and romantic. There's also a localized - yet thoroughly amazing - moment (Evening) with Hindu influences, both percussion and melodically.

For all its progressive glories, DAYS OF FUTURE PASSED still sounds like a 60s psychedelic/pop rock album, with 60s pop-rock (Morning or Peak Hour) or psychedelic rock songs (Afternoon). However, it's a refined form of pop ("baroque pop") featuring lush Mellotron textures accompanying the simpleton 60s arrangements, so it's not boring early THE BEATLES or something. Mentioning this detail might sound I'm arguing this isn't prog, but that's not the case - I'm merely stating the album sounds somewhat poppish. "Progressive pop rock"? No, not really. "Symphonic prog with pop tendencies"? More like it.

Well, I'm not fond of the 60s, but other than the overrated White Satin (In the Court of the Crimson King's older yet worst sibling), I had no issue going through this album. In fact, it'd be no problem to go through it all again.

Definitely worth checking out.

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