"Nights in White Satin" | ||||
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![]() French single sleeve | ||||
Single by the Moody Blues | ||||
from the album Days of Future Passed | ||||
B-side | "Cities" | |||
Released |
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Recorded | 8 October 1967 | |||
Genre | ||||
Length |
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Label | Deram | |||
Songwriter(s) | Justin Hayward | |||
Producer(s) | Tony Clarke | |||
The Moody Blues singles chronology | ||||
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Audio sample | ||||
"Nights in White Satin" |
"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 9. 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. [6] The 1972 single release of "Nights in White Satin" was inducted into the Grammy Hall of Fame in 1999. [7]
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. [8] 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 [9] 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." [10] 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. [11]
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. [11]
The melody of the song resembles that of Ben E. King's 1963 song "I (Who Have Nothing)", although the instrumentation makes "Nights in White Satin" sound different. [12]
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, [13] which would come to define the "Moody (Blues)'s signature sound". [14]
The song is written in the key of E minor [15] and features the Neapolitan chord (F). [16]
The two single versions of the song were both stripped of the orchestral and "Late Lament" poetry sections of the LP version. The first edited version, with the songwriter's credit shown as "Redwave", was a hasty-sounding 3:06 version of the LP recording with very noticeable chopped parts. However, many versions of the single are listed on the labels at 3:06, but in fact are closer to the later version of 4:26.
Some versions, instead of ending cold as most do, segue briefly into the symphonic second half ("Late Lament") and, in fact, run for 4:33 (but are also listed on the label as 3:06). For the second edited version (with the song's writing credited to Hayward), the early parts of the song were kept intact, ending early at 4:26. Most single versions were backed with a non-LP B-side, "Cities".
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." [17]
Classic Rock critic Malcolm Dome rated it as the Moody Blues' greatest song, calling it "one of the best singles from the late 60s." [18] Ultimate Classic Rock critic Nick DeRiso rated it as the Moody Blues' 2nd greatest song. [19] Classic Rock History critic Brian Kachejian rated it as the Moody Blues' 8th greatest song, calling it "a great song, a beautiful historic song." [20]
Graeme Edge credits the song's belated success in 1972 to autonomous DJs in the United States who would play the song despite its length. He explains to Rolling Stone in 2018: "There used to be things called regional breakouts. Instead of the big conglomerate radio stations like now, there were these FM guys and they had their own playlists. DJs were stars in those days and they prided themselves on discovering new talent. We had a regional breakout in Seattle. I think after the breakout started happening, there was a decision to re-promote it in other areas. It spread from Seattle down to San Francisco and down to L.A. It was going great everywhere, slowly going up the charts again until in the end it got to Number Two. But it sold a hell of a lot of records because it took so long to get up there." [21]
The spoken-word poem heard near the six-minute mark of the album version of the song is called "Late Lament". Drummer Graeme Edge wrote the verses, which were recited by keyboardist Mike Pinder. On Days of Future Passed, the poem's last five lines bracket the album and also appear at the end of track 1 ("The Day Begins").
While it has been commonly known as part of "Nights in White Satin" with no separate credit on the original LP, "Late Lament" was given its own listing on the two-LP compilation This Is The Moody Blues in 1974 and again in 1987 (without its parent song) on another compilation, Prelude. Both compilations feature the track in a slightly different form than on Days of Future Passed, giving both spoken and instrumental tracks an echo effect. The orchestral ending is kept intact, but mastering engineers edited out the gong (struck by Mike Pinder) that closes the track on the original LP as it relates to the closing of the original album (with Side 1 beginning with the gong fading in) and not the track alone.
From 1992 through the early 2000s, the Moody Blues toured with shows backed by live orchestras. When with orchestral accompaniment, they often took the opportunity to include "Late Lament" in the performance of "Nights in White Satin". On these occasions, Edge recited it himself, since Pinder had left the band.[ citation needed ]
Chart (1967–1968) | Peak position |
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Argentina [22] | 9 |
Belgium (Ultratop 50 Flanders) [23] | 6 |
Belgium (Ultratop 50 Wallonia) [24] | 1 |
Canada ( RPM ) [25] | 30 |
Germany (Media Control) [26] | 21 |
Netherlands (Single Top 100) [27] | 1 |
Switzerland (Schweizer Hitparade) [28] | 6 |
UK (Official Charts Company) [29] | 19 |
US Hot 100 ( Billboard ) [30] | 103 |
| Year-end charts
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Region | Certification | Certified units/sales |
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United Kingdom (BPI) [42] | Gold | 400,000‡ |
United States (RIAA) [43] | Gold | 1,000,000^ |
^ Shipments figures based on certification alone. |
"Nights in White Satin" | ||||
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Single by Sandra | ||||
from the album Fading Shades | ||||
Released | April 1995 | |||
Genre | Pop | |||
Length | 3:35 | |||
Label | Virgin | |||
Songwriter(s) | Justin Hayward | |||
Producer(s) | Michael Cretu | |||
Sandra singles chronology | ||||
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Licensed audio | ||||
"Nights In White Satin (Radio Edit)" on YouTube |
A cover version of "Nights in White Satin" was released by German singer Sandra on her sixth studio album Fading Shades (1995). It was produced by Michael Cretu.
The song was released as the lead single off Fading Shades in the spring of 1995 and failed to match the success of Sandra's previous singles. The song only reached #86 in Germany, becoming her least successful lead single there to date, and #34 in New Zealand, where it remains her only charting single. It fared much better in Israel where it peaked at number 1, and was a Top-20 hit in Finland, and a top 10 airplay hit in Poland. [44]
The music video, directed by Angel Hart, showed only close-ups of Sandra's face as she was pregnant at the time. A still from the video was later used on the Fading Shades album cover. The music video was released on Sandra's 2003 DVD The Complete History. [45]
Chart (1995) | Peak position |
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Australia (ARIA) [46] | 163 |
Germany (Official German Charts) [47] | 86 |
New Zealand (Recorded Music NZ) [48] | 34 |
Elkie Brooks recorded the song for her 1982 album Pearls II .
Chart (1982) | Peak position | Ref. |
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IRMA Irish Singles Charts | 14 | [49] |
UK Singles Chart (OCC) | 33 | [50] |
The work was reinterpreted as the focus of Nights in White Satin: The Trip, a dark ride at the Hard Rock Park theme park in Myrtle Beach, South Carolina, U.S.A. The attraction, which included 3D-black light and fibre-optic lighting effects and purpose-made films, was developed by Sally Corporation and Jon Binkowski of Hard Rock Park. Riders entered through a bead curtain and were provided with 3D glasses.[ citation needed ]
The attraction operated as "The Trip" for the single 2008 season the park operated as Hard Rock Park, but was rethemed as "Monstars of Rock" with the sale and retitling of the park as Freestyle Music Park; "park officials said the experience will be similar but the presentation will be changed." [59] Freestyle Music Park would cease operations after its only season as such in 2009.[ citation needed ]
Nights in White Satin was the title of a 1987 film directed by Michael Barnard, and starring Kip Gilman and Priscilla Harris. [60] The Moody Blues recording of the song was featured prominently in the soundtrack, particularly during a rooftop dance sequence.
In late 2023, the song was featured in a commercial for Bleu de Chanel featuring actor Timothée Chalamet. [61] The song also gained further attention for its use in the 2012 Tim Burton film Dark Shadows , where it features as a prominent part of the soundtrack and saw use in marketing material.[ citation needed ]
The Moody Blues were an English rock band formed in Birmingham in 1964. The band initially consisted of Graeme Edge (drums), Denny Laine (guitar/vocals), Mike Pinder (keyboards/vocals), Ray Thomas (multi-instrumentalist/vocals), and Clint Warwick (bass/vocals). Originally part of the British beat and R&B scene of the early–mid 1960s, the band came to prominence with the UK No. 1 and US Top 10 single "Go Now" in late 1964/early 1965. Laine and Warwick both left the band in 1966, with Edge, Pinder and Thomas recruiting new members Justin Hayward (guitar/vocals) and John Lodge (bass/vocals). They embraced the psychedelic rock movement of the late 1960s, with their second album, 1967's Days of Future Passed, being a fusion of rock with classical music that established the band as pioneers in the development of art rock and progressive rock. It has been described as a "landmark" and "one of the first successful concept albums".
Days of Future Passed is the second studio album by English progressive rock band the Moody Blues by Deram Records. It has been cited by Rock and Roll Hall of Fame and others as one of the earliest albums of the progressive rock genre and one of rock music's first concept albums.
David Justin Hayward is an English musician. He was the guitarist and frontman of the rock band the Moody Blues from 1966 until that group's dissolution in 2018. He became the group's principal vocalist and its most prolific songwriter over the 1967–1974 period, and composed several international hit singles for the band.
To Our Children's Children's Children is the fifth album by the Moody Blues, released in November 1969.
Seventh Sojourn is the eighth album by the Moody Blues, released in October 1972. The album reached No. 5 in the United Kingdom, and became the band's first American chart-topper, spending five weeks at No. 1 there to close out 1972.
Graeme Charles Edge was an English musician, songwriter and poet, best known as the co-founder and drummer of the English band the Moody Blues. In addition to his work with the Moody Blues, Edge worked as the bandleader of his own outfit, the Graeme Edge Band. He contributed his talents to a variety of other projects throughout his career. In 2018, Edge was inducted into the Rock and Roll Hall of Fame as a member of the Moody Blues.
Prelude is a 1987 compilation album by the Moody Blues consisting of tracks from 1967 to 1968, all but one of which were not included on albums.
"Go Now" is a song composed by Larry Banks and Milton Bennett and first recorded by Bessie Banks, released as a single in January 1964. The best-known version was recorded by the Moody Blues and released the same year.
This Is The Moody Blues is a two LP compilation album by the Moody Blues, released in late 1974 while the band was on a self-imposed sabbatical. Though all of the songs were previously released on albums, several of them are heard here in distinctly different mixes. Like the Moody Blues albums of the time – but unlike most compilation albums, including later Moody Blues compilations – the songs on this album segue seamlessly, without silence between tracks. On the original LP, this was true of the songs on each side; when the album was remastered for CD, each disc was also blended, so that "Legend of a Mind" segues into "In the Beginning", and "Watching and Waiting" segues into "I'm Just a Singer ".
"Tuesday Afternoon" is a 1968 song written by Justin Hayward that was first released by English rock band the Moody Blues on their 1967 album Days of Future Passed and later released as a single.
"Question" is a 1970 single by the English progressive rock band the Moody Blues. It was written by guitarist Justin Hayward, who provides lead vocals. "Question" was first released as a single in April 1970 and remains their second highest-charting song in the UK, reaching number two and staying on the chart for 12 weeks. The song reached number 21 on the Billboard Top 40 in the USA. It was later featured as the lead track on the 1970 album A Question of Balance. The single also features the song "Candle of Life" on its B-side, which was from the Moody Blues' previous album To Our Children's Children's Children.
"Gemini Dream" is a song written by Justin Hayward and John Lodge that was released by The Moody Blues on their 1981 album Long Distance Voyager and also as the lead single from the album. It reached number 12 on the US Hot 100, as well as number 1 on the Canada RPM Top 100 Singles chart. It ranked as the 28th biggest Canadian hit of 1981.
Anthology is a compilation album by the progressive rock band the Moody Blues. It was released in the US on 20 October 1998. It was not released in the UK until 2001 under the title The Collection with different artwork but with the same tracks as the US release.
"Driftwood" is a 1978 single by the English progressive rock band the Moody Blues. It was the second single released from the album Octave, after "Steppin' in a Slide Zone". Written by Justin Hayward, "Driftwood" is a slow love ballad, in a similar manner to "Nights in White Satin" and "Never Comes the Day."
Greatest Hits is a compilation album by the progressive rock band the Moody Blues, released in 1989. The band recorded new versions of "Isn't Life Strange" and "Question" with orchestration by the London Symphony Orchestra. The arrangements were overseen by Anne Dudley, who also produced the recordings with Justin Hayward and John Lodge. In 1990, only a year after its original release, the album was re-released as Legend of a Band: The Story of the Moody Blues with different artwork to coincide with the release of the home video documentary of the same name.
"Forever Autumn" is a song written by Jeff Wayne, Gary Osborne and Paul Vigrass, and sung by Justin Hayward. The original melody was written by Wayne in 1969 as a jingle for a Lego commercial. Vigrass and Osborne, the performers of the original jingle, added lyrics to the song and recorded it for inclusion on their 1972 album Queues. Their interpretation was also released as a single and gained moderate commercial success in Japan, selling more than 100,000 copies and becoming a top-20 hit on the country's record chart.
Fading Shades is the sixth studio album by German singer Sandra, released on 12 June 1995 by Virgin Records.
Voices in the Sky: The Best of The Moody Blues is a greatest hits compilation for The Moody Blues, released in 1984.
"A Simple Game" is a 1968 song by the progressive rock band the Moody Blues. Written and sung by Mike Pinder, it was released as a non-album B-side to "Ride My See-Saw", a track from the album In Search of the Lost Chord. The song was produced by Tony Clarke and arranged by Arthur Greenslade. The track was included in the band's 1974 compilation, This Is The Moody Blues, remixed and with an earlier fade than on the single. It was also included, with its original mix and length, in the 1987 compilation Prelude.
Days of Future Passed Live is a live album by The Moody Blues that consists of their live performance at the Sony Centre for the Performing Arts in Toronto in 2017. The album was released on 23 March 2018.
A yearning love song, it was drenched in what would become the Moody's signature sound - the synthetic strings of the Mellotron.