The Moody Blues live 1968 in Color - Nights In White Satin (Stereo Mixed fr 2 Performances) скачать в хорошем качестве

The Moody Blues live 1968 in Color - Nights In White Satin (Stereo Mixed fr 2 Performances)

"Nights in White Satin" is a song by English rock band the Moody Blues, written by Justin Hayward. It was first featured as the segment "The Night" on the album Days of Future Passed. When first released as a single in 1967, it reached number 19 on the UK Singles Chart and number 103 in the United States in 1968. It was the first significant chart entry by the band since "Go Now" and its recent lineup change, in which Denny Laine and Clint Warwick had resigned and both Hayward and John Lodge had joined. When reissued in 1972, the single hit number two in the US for two weeks on the Billboard Hot 100 (behind "I Can See Clearly Now" by Johnny Nash) and hit number one on the Cash Box Top 100, making it the band's most successful single in the US. It earned a gold certification for sales of over a million US copies (platinum certification was not instituted until 1976). It also hit number one in Canada. After two weeks at #2, it was replaced by "I'd Love You to Want Me" by Lobo. It reached its highest UK position this year at number nine. Although the song did not enter the official New Zealand chart, it reached number five on the New Zealand Listener's chart compiled from the readers' votes in 1973.The 1972 single release of "Nights in White Satin" was inducted into the Grammy Hall of Fame in 1999. The song enjoyed a recurring chart presence in the following decades. It charted again in the UK and Ireland in 1979 reaching numbers 14 and 8, respectively. The song charted again in 2010, reaching number 51 in the British Official Singles Charts.It has also been covered by numerous other artists, most notably Giorgio Moroder, Elkie Brooks, and Sandra, and has been used in a variety of cultural mediums, including commercials and films. Band member Justin Hayward wrote and composed the song at age 19 while touring in Belgium and titled the song after a girlfriend gave him a gift of satin bedsheets. The song itself was a tale of a yearning love from afar, which leads many aficionados to term it as a tale of unrequited love endured by Hayward. Hayward said of the song, "It was just another song I was writing and I thought it was very powerful. It was a very personal song and every note, every word in it means something to me and I found that a lot of other people have felt that very same way about it." Hayward also said: So with "Nights", I sat on the side of the bed and just wrote the two verses. I was at the end of one big love affair and the beginning of another. These are the things that boys, when they're in the middle of love affairs, they think about. Every word in that song makes perfect sense to me, but trying to explain it to someone is difficult. I mean, I lived every one of the lines in that song.[ Hayward also remembered playing the song for the band for the first time, when he was a new member of the band: I played it to everyone in the rehearsal room, and people were mostly indifferent. But then Mike [Pinder] said, "Play it again." He'd just gotten his Mellotron and he went [sings Pinder's string-sample riff]. Suddenly everyone was interested and the song just seemed to make sense. It was a little bit of relief, you know? I was sure the other guys were thinking, We'll get rid of this guy as soon as we can and move on, because if you've got nothing to offer, it doesn't make any difference if you're in or out. It's always an interesting dynamic in a young group. The London Festival Orchestra provided the orchestral accompaniment for the introduction, the final rendition of the chorus, and the "final lament" section, all of which were in the original album version. The "orchestral" sounds in the main body of the song were actually produced by Mike Pinder's Mellotron keyboard device, which would come to define the "Moody (Blues)'s signature sound". Although it had only limited commercial success on its first release, the song has since garnered much critical acclaim, ranking number 36 in BBC Radio 2's "Sold on Song Top 100" list. Cash Box said that the "intense mood of the funk orchestration serves up an atmosphere that penetrates to the very core of this depressed love ballad" and praised the "terrific instrumental break and a searing vocal." Classic Rock critic Malcolm Dome rated it as the Moody Blues' greatest song, calling it "one of the best singles from the late 60s."Ultimate Classic Rock critic Nick DeRiso rated it as the Moody Blues' 2nd greatest song. Classic Rock History critic Brian Kachejian rated it as the Moody Blues' 8th greatest song, calling it "a great song, a beautiful historic song."