Everybody then took a time of the day and consciously wrote something that evoked the feelings, events, beauty and symbolism of the segments of a day. Edge: We had a problem as we were writing the songs.
Pinder: Tony Clarke was always full of ideas. We called him the sixth Moody. He played bass and had a musical background, which allowed him Nights In White Satin - The Moody Blues - The Best Of The Moody Blues (Cassette) soar with us in the studio. Tony was a great producer and a great friend. It was decided that Pinder, with his dignified baritone, would recite the prose on record — which he did while laying flat on his back in the studio. Pinder: No doubt I was relaxing and in a meditative state when that was recorded.
It needed a focus and concentration to deliver the message of that poem, poignantly written by Graeme. Edge: At the time Mike had a much more gravely kind of voice. Cigarettes and whiskey had modulated his chords a bit more than mine. Despite the lofty sounding name, no such group actually existed.
In reality this was the banner for a group of anonymous Nights In White Satin - The Moody Blues - The Best Of The Moody Blues (Cassette) musicians under the stewardship of Peter Knight, who also scored the lush instrumental links. Rather than recording simultaneously with the Moody Blues, Knight and his orchestra gathered in the studio on November 3rd to play along Nights In White Satin - The Moody Blues - The Best Of The Moody Blues (Cassette) a tape of the unfinished album, filling in the gaps as they went.
Hayward: I went to the orchestral date for it. It was a three-hour session with one run through. They all knew Peter Knight well. They were ready for it. Then they had a tea break and did the recording. They were that good! And that was it — done. Then on the Sunday night we were all invited back and listened to it in the studio: me and Graeme with our girlfriends, the rest of the group, and maybe a roadie. There were some big Tannoy speakers that they had in studio.
It was lovely. When it first came out it was to demonstrate the Deramic Sound System. In an era when AM radio ruled the airwaves, the original version of the song was chopped to just over three minutes to meet the quasi-mandatory time constraints. A slightly longer edit initially peaked at Number 19 on the English charts, but then it never truly died away.
He was a lovely elderly gentleman and would come along and get a bit [of a] contact high from my joints. He particularly liked it.
Maybe they thought people had very short attention spans. Pinder: The Sixties and Seventies were very unique for the artist as well as for the listener.
I think the fans in those days were just as creatively turned on by the evolution of our music and our message as we were turned on by creating it. But record companies really did not have much creative capacity. Too profit-driven at the expense of creativity. Hayward: We were so fortunate with the birth of FM radio in America.
There used to be things called regional breakouts. Instead of the big conglomerate radio stations like now, there were these FM guys and they had their own playlists. Seven years later, having by Nights In White Satin - The Moody Blues - The Best Of The Moody Blues (Cassette) been covered by such disparate artists as Eric Burdon, Percy Faith, Giorgio Moroder and Californian punks The Dickies, the single charted again in Britain.
The song continues to enjoy a prolonged afterlife. The trio draw from an illustrious back catalogue spanning decades, but Nights In White Satin occupies a special place in the set-list. It wasn't untilthough, that the song became a huge American hit, when it was pulled out for a single.
It was, in fact, a Top 20 hit Nights In White Satin - The Moody Blues - The Best Of The Moody Blues (Cassette) less than three times in Britain: first just after the release of Days of Future Passed, then again in lateand then again in late If you're looking for a peculiar big-name cover version of "Nights in White Satin," check out the one War did in the early '70s, when Eric Burdon was still their leader and lead singer.
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