The Beatles had invited them along as support on their final tour of England in late ’65, after which the Fab Four bonded with Thomas and Moodies keyboard player Mike Pinder. The Moodies decided its follow-up would reflect their fascination with the culture that surrounded them. Only when it landed them a Top 30 hit on both sides of the Atlantic (in the US it actually reached No.3) were they prepared to give the band another chance. Days Of Future Passed, a dawn-to-night concept album made in conjunction with the London Festival Orchestra, was greeted with barely suppressed horror by the company executives who bankrolled it. By the time they paired the band up with staff producer Tony Clarke, ostensibly to record music as a sales tool for the label’s new Deramic Stereo Sound, the debts were piling up. Their label, Decca, were becoming increasingly desperate. But they failed to build on the momentum: there’d been a flop album of R&B songs, a number of personnel changes and a steady stream of 45s that made no impression at all. The Moody Blues had hit big with Go Now, a Larry Banks cover that topped the UK singles chart in January 1965. “We were trying to preach peace, love and outta sight. “We were very optimistic,” asserts Thomas.
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