The follow up to Living in the Past. As I recall this was a hit at the back end of 1969 and on into 1970. The group’s second single to reach the top ten.
Archives » Friday On My Mind
Another admonitory tale.
I remember this single being advertised on the NME – complete with pictures of Lily.
There is a video of this on You Tube showing pictures of various Lilies. Not quite the thing for the blog though.
A Clive Westlake song that is lyrically reminiscent of last week’s first offering by Goffin and King in the lines, “Tomorrow will you still be here? / Tomorrow will come but I fear / that what is happening to me is only a dream…” but sung by the performer of the second.
Like Goin’ Back this is just a little heavy on the orchestral backing but it has power and pathos both.
I woke up this morning to the news that Gerry Goffin has died.
In his collaborations with Carole King hewrote the lyrics to some of the most enduring popular songs from the 1960s. The list is stunning. At the end of the article in the link are songs he wrote with others.
His lyrics tended to be carefully worked out and belied the frothy nature of the productions of the era.
Look at the words of Will You Love Me Tomorrow. Their underlying poignancy was highlighted in King’s own version on her album, Tapestry.
Tonight you’re mine completely/You give your love so sweetly.
Tonight the light of love is in your eyes/But will you love me tomorrow?
Is this a lasting treasure/Or just a moment’s pleasure?
Can I believe the magic of your sighs?/Will you still love me tomorrow?
Tonight with words unspoken/You say that I’m the only one
But will my heart be broken/When the night meets the morning sun?
I’d like to know that your love/Is love I can be sure of.
So tell me now and I won’t ask again/Will you still love me tomorrow?
This, though, is the early 60s take by The Shirelles.
And then there’s this:-
A little bit of freedom’s all we lack.
So catch me if you can I’m goin’ back.
Gerald “Gerry” Goffin: 11/2/1939 – 19/6/2014. So it goes.
Tuesday Afternoon was followed as a single by Voices in the Sky (with its flute flourishes and distinctive vocal from Justin Hayward) which, like its follow-up, the hard-driving perennial favourite Ride My See-Saw, featured on the next LP, the even more pretentious concept album, In Search of the Lost Chord. That was the first Moody Blues LP I bought – possibly my first ever and there’s barely a dud on it – with the possible exception of the spoken passages and the final track OM. Its standout is the Ray Thomas song Legend of a Mind embedded within the House of Four Doors sequence with its classical pretensions placing the group’s output firmly in Prog territory.
By this time the Moodies were firmly established as my favourite band.
Then we had this song – later to feature on On The Threshold of a Dream – which I remember in its review of the single the NME referred to as “beautifully constructed.” Here the group plays it live.
I didn’t buy the Moodies’ next single, Tuesday Afternoon, a song which – like Nights In White Satin – appeared also on the LP Days of Future Passed but I remember hearing it on the radio and thinking it was almost as good. It seems the single version was edited down to a ludicrous 2 minutes 16 seconds – missing out the repeat of the opening riff and Tuesday afternoon chorus.
This is how it appeared on the LP and so contains the orchestral afterpiece tagged on by conductor Peter Knight. Knight’s “classical music” interludes linked all the songs on the LP – supposedly to demonstrate the record label Deram’s new “Deramic Sound System.” The story that the band were asked to record an album based on Dvorak’s New World symphony but instead recorded their own songs without the label’s knowledge has been disputed.
Edited (7/6/14) to add:- Those orchestral interludes and the fact that it was a concept album probably make Days of Future Passed one of the first prog rock albums.
I missed the Moody Blues next single after Fly Me High, the Mike Pinder song, Love and Beauty, where his mellotron made its first appearance on record, but I actually bought the one after, the initial issue – on the Deram label, DM 161 – of Nights In White Satin, written by Justin Hayward, which crept into the UK top twenty, making no. 19.
I was impressed by the B-side too, also written by Hayward. That mono version has the harpsichord, which features more prominently on later stereo releases, much lower down in the mix.
This is the stereo version with the more pronounced harpsichord:-
(This is the way my mind works. One word different from last week’s title.)
This single comes from the time when Denny Laine and Clint Warwick had quit The Moody Blues and John Lodge and Justin Hayward had just joined the group. The change signalled a new direction in which they would only play their own songs, develop a more harmony based approach and an “orchestral” sound. Fly Me High was the new line-up’s first single and was something of a transitional song as Mike Pinder had yet to acquire what would become his trademark mellotron.
The hairy guys in the picture below would only appear a few years later. At the time of this recording they were much more clean-cut.
Same title as last week, different song.
Do It Again would have made a good title for this category.
The single represented something of a comeback for the Beach Boys and brought back memories of the early surfing songs.
As I recall Do It Again was one of the singles which featured in an unprecedented (and unrepeated) three-way tie at No 1 in the charts along with Herb Alpert’s This Guy’s in Love With You and a third one I’m not sure of but may have been the Bee Gees’ I’ve Gotta Get a Message to You.
You may remember me mentioning that one of my school mates was a big Beach Boys fan. He really liked Do It Again’s b-side Wake the World – a very short song indeed – which I include here for your pleasure.
The Beach Boys: Wake the World