DAYS OF FUTURE PASSED

1 The Day Begins is a classic start, the reason for my column on it; yes the prog is more there than on the crimson king, a start with everything bucolic, classic, perky, on a few notes we can already hear the night in the distance in a sheet of white satin; go solemn vocal after the birth of the day for the first day which frolics before you, magical, dreamlike, progressive of course 2 Dawn clarinet, oboe, flight of violins, it feels like the sorcerer's apprentice, just enough time to have... finally the first title sung, Justin but everyone will get involved except Graeme confined behind his drums; cutesy title about creation; solemn, religious limit this title, to settle down, to go and research how 3 The Morning: Another Morning bucolic intro before its time, folk tune before its time, languorous choirs before its time; a hint of the first BEATLES, a hint of space Charisma Label, a soundtrack of a spy film on the back of a big bi; final cinematic without knowing it, there was creative energy there... 4 Lunch Break: Peak Hour with another intro from BOF, all dynamic, we would say we are inside the classical orchestra, far, very far from the prog blood; suddenly the tune of the BEATLES again or vice versa, in any case a tune of young people on mopeds crisscrossing Birmingham; it increases suddenly, Justin's guitar strums timidly, it becomes very flowery with time, but thinking about it, daring to mix classical with pop-rock who would have thought it?

5 The Afternoon: Forever Afternoon (Tuesday?) / Time To Get Away, that's it, have you changed your face? The Mellotron suddenly... flowing, oozing, immediately divine and a title that will hit the critics; a genre fusion that works, leaving fans in disbelief; the voice on the left, sign of the recordings of the 60s, dreamlike; Well, this Mellotron is going well, surely heard in my mother's womb, it's not possible as I shudder decades later (mom, I love you); minimalist flute break, bam a second on a harp arpeggio and the violins which return like a flock of swans; 5 minutes and the moment when the program was born; a break which confuses the initial tune and this extension which we would later call progression; a grandiloquent composition I agree which draws on the emotion of classic and the joy of nascent rock, festive and young, prog, fundamentally musically dreamlike 6 Evening: The Sun Set / Twilight Time arrives, 3 chapters in this singular title more mystical pop folk; a tambourine and classical orchestration forward; a musical decline coming from Olympus I believe; hushed pop comes on stage, the violins return like will-o'-the-wisps, a horn in the distance, magical and magical atmosphere 7 The Night: Nights In White Satin ... for the slap; you have to remember the tune, the rise, the violins again and the 'Oh I love you'; the trumpets that come will do nothing, you are marked for life by this majestic air; of course as a concept, Michael rewards us with a cinematic finale, a Dantesque end to the film with this 'Late Lament' which leaves us in place, his voice-over closing the first issue of the prog group without knowing it..