<P> After financial misfortune and a confrontation with an audience member, the band soon realised that their style of American blues covers and novelty tunes was not working, and decided to perform primarily their own material . (However, as appearances on French TV show, they continued to do two covers through at least the first half of 1968: the Hayward - sung "Don't Let Me Be Misunderstood," and "Bye Bye Bird," with the vocal and harmonica formerly done by Denny Laine now performed by Ray Thomas .) They were introduced to Decca staff producer Tony Clarke, who produced a recording session which saw Justin Hayward's "Fly Me High" and Mike Pinder's older - styled "Really Haven't Got the Time" (Decca F12607) as the' Mark Two' Moodies' first single released in May 1967 . These picked up both radio airplay and favourable reviews, but failed to chart in the UK . However, the sound gave clues about the direction in which their music would evolve . Their new style, featuring the symphonic sounds of Pinder's mellotron, was introduced on Pinder's song "Love And Beauty" (Decca F 12670) which was issued as a single c / w with Hayward's rocker "Leave This Man Alone" in September 1967 . This too was not a UK hit, but further established their "new" Moodies identity . Ray Thomas's flute had been in evidence earlier ("I've Got a Dream") on their debut album; however, it became a far more featured instrument from this point onwards as they started incorporating distinct psychedelic influences, which was later developed in a concept album revolving around an archetypal day in the life of everyman . </P> <P> The Moody Blues' contract with Decca Records was set to expire and they owed the label several thousand pounds in advances . The second album had never materialised either . They had the support, however, of Decca A&R manager Hugh Mendl, who had been instrumental in the recent establishment of London / Decca's new subsidiary imprint Deram Records . With Mendl's backing, the Moody Blues were offered a deal to make a rock and roll version of Antonín Dvořák's New World Symphony to promote the company's new Deramic Stereo Sound audio format in return for which the group would be forgiven their debt . </P> <P> The Moody Blues agreed, but insisted that they be given artistic control of the project, and Mendl (as executive producer) was able to provide this despite Decca's notoriously tight - fisted attitude to their artists . The group was unable to complete the assigned project, which was abandoned . However, they managed to convince Peter Knight, who had been assigned to arrange and conduct the orchestral interludes, to collaborate on a recording that used the band's original material instead . </P> <P> Although Deram executives were initially sceptical about the hybrid style of the resulting concept album, Days of Future Passed (released in November 1967) became one of the most successful pop / rock releases of the period, earning a gold record award and reaching No. 27 on the British LP chart . Five years later it reached No. 3 in the US / Billboard charts . The LP was a song cycle or concept album that takes place over the course of a single day . The album drew inspiration in production and arrangement from the pioneering use of the classical instrumentation by the Beatles, to whom Pinder had introduced the mellotron that year . It took the form to new heights using the London Festival Orchestra, a loose affiliation of Decca's classical musicians given a fictitious name, adding the term "London" to sound impressive, to provide an orchestral linking framework to the Moodies' already written and performed songs, plus overture and conclusion sections on the album, including backing up Graeme Edge's opening and closing poems recited by Pinder . Strings were added to the latter portion of the album version of Hayward's "Nights in White Satin" (absent on the single) but the orchestra and group never performed together on the recording, with the band's rock instrumentation centred on Pinder's mellotron . Despite being a lush concept album, the LP was cut in a very workmanlike manner, with the band recording a particular song, then the track being presented to Peter Knight who quickly composed a suitable "linking" orchestral portion, which the Decca musicians ("London Festival Orchestra") then recorded . The album was as much an original work by Knight himself as the group . The composing credits were listed on the sleeve as: "Redwave - Knight", although Hayward wrote "Nights ..." and "Tuesday Afternoon", Thomas provided "Another Morning" and "Twilight Time", Lodge penned "Peak Hour" and "Evening (Time To Get Away)", and Edge contributed the opening and closing poems (the first "Morning Glory" and the latter titled "Late Lament") read by Mike Pinder who composed both "The Sun Set" and "Dawn is a Feeling" (sung by Hayward, with Pinder singing the bridge section). </P>

What happened to the members of the moody blues