John Lodge on Days Of Future Passed

In a new interview, John Lodge discusses the inspiration behind his reimagining of the classic Moody Blues album, Days of Future Passed. He explores the thematic elements of the new album, now symbolising the passage of time. John also recalls the original 1967 recording sessions and how Nights in White Satin held a special surprise upon its recording reveal. John also reveals to Jason Barnard the inspiration behind his greatest songs including Isn’t Life Strange, Ride My See-Saw and Steppin’ in a Slide Zone.

You have a fantastic new version of Days of Future Passed and we’ve already heard the advance track off that, Peak Hour. I’ve read the idea for it started to come from the live dates you were doing. Is that right?

Yeah, during Covid I recorded stuff in my own studio and it was rather insular. But I thought what am I going to do when Covid’s gone and back on the road. And I started to think about the concert and I thought about all the classic Moody Blues songs and everything. While I was talking with Alan Hewitt, my keyboard player, and my daughter Emily, who manages me, we realised it was the anniversary of Days of Future Passed.

I think jointly we thought, I wonder if it’s possible to do Days of Future Passed live. We did a few live concerts with the Moody’s of Days of Future Passed, but it was really short lived. I thought, I really hope we can do that, how do I do that? And I thought I would need one big tick to do this. It was Graham Edge. I went to see Graham and said, Graham, “I’m thinking of doing Days of Future Passed on stage. Would you record your poetry for me? And you’ll always have a place on stage with me. I will also film you and you’ll be on the screen on stage with me.” He said, “John, I’d be thrilled to. I’ve never recorded my own poetry. And I would love to do it. Great. Keep the Moody Blues music alive.”

And I did. It was unfortunate Graham never saw it on stage, which is a big disappointment. But when I was performing the album, I thought, hey, this is pretty good. The reaction was really good. Emily said to me, we should really record Days of Future Passed. So we went into the studio and we recorded the album. And I’m really pleased. The 10,000 Light Year Band, they really played well. I’m really, really pleased for them as well.

Graham’s voice, including on Late Lament. It is interesting listening to your version of the album now compared to the 60s, the passage of time adds a different dimension.

It really does. I felt an incredible emotion listening to Graham saying it because it came from deep inside of him because he wrote it. When I heard it, I thought, yeah, that’s Graham. It’s Graham in all his glory. And yeah, the passage. The time thing is strange because we made Days Of Future Passed. And now I’ve made another version trying to keep the same emotion of the album, because I think it’s a very imaginative album. But the new version, I want it to be more 2023 and probably more energy, because today’s music is more energy.

It’s also an opportunity to shine light on some of the songs that maybe didn’t get as much attention as last time, including one of yours, Evening Time to Get Away. That seems to be, I don’t think neglected is the right word, but certainly with this version, you can really put it out there.

Yeah, because the first version is amalgamated with Tuesday Afternoon, it didn’t have its own place. But the song itself has its own place in the album, in everybody’s life. I was really pleased that we, the band, really nailed it musically.

Hearing Jon Davison, currently from YES, on the album, on Nights In White Satin, as well as Tuesday Afternoon, works really well. Particularly, Tuesday Afternoon, it’s a really great version of that. How did you guys come across each other?

You’re right. Tuesday Afternoon on this album, there’s something special about it. There’s a fantastic drive on this version. In 2019 I did a tour of America supporting YES. And during the concert, for their encore, YES played Imagine because Alan White was the drummer with the Plastic Ono Band. They asked me if I’d join them on stage singing Imagine. So as one of my favourite ever songs, I said yes. So I joined them on stage singing Imagine and then I said, “If I’m joining you, can Jon join me for my encore, Ride My See-Saw. And he joined me for Ride My See-Saw and he’s been in every concert I’ve done since. Not only that, my daughter and he got married as well. So he is my son-in-law, as well. But it’s great, it’s fantastic.