‘Days Of Future Passed’ Resonates Live 56 Years Later: Review

WARMINSTER, PA —The Moody Blues were in trouble in 1967.

Founder Denny Laine had given the group success with his hit “Go Now,” but had left the group and their prospects were looking slim.

Enter Justin Hayward and John Lodge, a dynamic duo on guitar and bass, who took over as the main songwriters and joined organist Mike Pinder, multi-instrumentalist Ray Thomas and drummer Graeme Edge to form a tight tandem.

But the group was out of money and had one last stab at a record, to test out sound equipment for a classical album. Instead, the group worked with its record company Decca to combine classical orchestration with rock and pop components.

The result was “Days of Future Passed” and the album cemented the Moodies as one of music’s legends.

Lodge, who along with Hayward tour separately these days after the death of Edge, presented “Days” in its entirety at the Keswick Theatre in Glenside last Saturday night along with some of his war chestnuts during the group’s heyday.

You know his songs: “Isn’t Life Strange?” “Gemini Dream,” “Ride My See Saw,” and “I’m Just a Singer in a Rock and Roll Band.”

After an eight-song opening set, Lodge and his solid backup band put on the real show, showcasing “Days” as one of music’s most classic albums. It really was a group effort but Lodge stepped in and picked up some of the songs sung by Pinder and Thomas.

At 77, Lodge is an English gentleman. He’s a humble fellow and a solid bass player who can still flash some of the vocal range of yesteryear though he left the heavy lifting on the two “Days” classics to guest vocalist Jon Davison from the group Yes, who while hanging the range did not have the power and emotion of Hayward’s vocals.

“Days” is a concept album in the true sense. It’s the day in the life of a day, from dawn to dusk.

What makes the album special as well is the poetry Edge uses to introduce and close the album.

Lodge kicks off Hayward’s “Dawn is a Feeling” after the introduction and shows his versatility to jump into Thomas’ “Another Morning.”

Then comes his own lead, the Beatles-style “Peak Hour,” a rocker that would make George Harrison smile.

As the day progresses through lunch, the first big hit comes with Davison shining bright on “Tuesday Afternoon,” before more orchestration and Lodge’s own “Evening (Time To Get Away).”

The remarkable combination of “The Sunset” and “Twilight Time” yields to “Late Lament,” poetry recorded by Edge before his death. And then comes one of the greatest songs of all-time, “Nights in White Satin,” again sung by Davison.

This album may never be played again live. Not with the ages of Lodge and Hayward.

So to hear this one more time just shows the magic of music and an album that will always stand the test of time.