DOCSLIB.ORG

The Moody Blues Days of Future Passed 50Th Anniversary Deluxe Edition Vö 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Moody Blues Days of Future Passed 50Th Anniversary Deluxe Edition Vö 17 im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected] THE MOODY BLUES DAYS OF FUTURE PASSED 50TH ANNIVERSARY DELUXE EDITION VÖ 17. November 2017 Am 17. November 2017 erscheint die 50th Anniversary Deluxe Edition von The Moody Blues’ Days Of Future Passed. Dieses 2CD/DVD Deluxe-Set enthält den kompletten Stereomix von 1967, der hier zum allerersten Mal auf CD erhältlich ist. Wegen eines beschädigten Masterbandes des Originalmixes wurde das Album 1972 nochmal in Stereo abgemischt und seitdem wurde immer dieser spätere Mix für CD-Reissues verwendet. Dank des technischen Fortschritts konnten die Originalmaster restauriert und das Album nun endlich auf CD1 dieses Sets und auf der 180g Vinyl-Version komplett präsentiert werden. Zu der Vinylversion gibt es einen Download-Code. Dieses neue Set enthält auch einen 5.1 Surround Sound Mix von dem Quad-Mix von 1972. Auf der DVD befindet sich bisher unveröffentlichtes Videomaterial von Liveperformances von drei Albumtracks bei der MIDEM Messe am 24. Januar 1968, acht Wochen nach der Veröffentlichung des Albums. Das 2CD/DVD-Set enthält ein von Ray Thomas entworfenes Plakat. Days Of Future Passed war das zweite Album von The Moody Blues und ein Meilenstein ihrer Karriere. Für viele ist es der Beginn ihrer psychedelischen Phase. Das Album beeindruckte mit seiner üppigen Orchestrierung mit dem Londoner Festival Orchestra. Es erschien nicht lange nach den Beatles Alben Sgt. Pepper’s und Magical Mystery Tour, war aber ein ganz eigenständiges und einzigartiges Werk. Auf dem Album befindet sich natürlich der Hit Tuesday Afternoon und das unvergessliche Nights In White Satin, wodurch The Moody Blues auch als Vorreiter in der Entwicklung des Progressive Rock gesehen werden. The Moody Blues stehen seit über 40 Jahren an vorderster Front in der britischen Classic Rock Szene und sind bis heute eine feste Größe auf Konzertbühnen, in Studios und im Radio. Nach ihren eigenen Aufzeichnungen haben The Moody Blues im Laufe ihrer wahnsinnig erfolgreichen Karriere über 70 Mio. Alben weltweit verkauft und zahlreiche, renommierte Preise erhalten. TRACKLISTING The Moody Blues - Days Of Future Passed (2CD / DVD Set) Disc 1 (CD 1) Original 1967 Stereo Mix - Previously unreleased on CD 1. THE DAY BEGINS 2. DAWN: Dawn Is A Feeling 3. THE MORNING: Another Morning 4. LUNCH BREAK: Peak Hour 5. THE AFTERNOON: Forever Afternoon (Tuesday?) / Time To Get Away 6. EVENING: The Sun Set: Twilight Time 7. THE NIGHT: Nights In White Satin Bonus Tracks - BBC Saturday Club Session 8. Long Summer Days 9. Think About It 10. Don’t Let Me Be Misunderstood BBC Easybeat Session 11. Love And Beauty 12. Leave This Man Alone 13. Peak Hour BBC Dave Symonds Session 14. Nights In White Satin 15. Fly Me High 16. Twilight Time Disc 2 (CD2) 1972 Stereo Mix 1. THE DAY BEGINS 2. DAWN: Dawn Is A Feeling 3. THE MORNING: Another Morning 4. LUNCH BREAK: Peak Hour 5. THE AFTERNOON: Forever Afternoon (Tuesday?) / Time To Get Away 6. EVENING: The Sun Set: Twilight Time 7. THE NIGHT: Nights In White Satin Bonus Tracks 8. Tuesday Afternoon (Alternate Mix) 9. DAWN: Dawn Is A Feeling (Alternate Mix) 10. The Sun Set (Alternate Version without orchestra) 11. Twilight Time (Original vocal mix) 12. I Really Haven’t Got The Time (B-side single) 13. Fly Me High (A-side single) 14. Love And Beauty (A-side single) 15. Leave This Man Alone (B-Side single) 16. Nights In White Satin (A-side single) 17. Cities (B-side single) Disc 3 (DVD) 5.1 Surround Sound Mix & 96kHz / 24-bit 1967 stereo mix 5.1 Mix des ganzen Albums, plus Live Performances von Peak Hour, Tuesday Afternoon und Nights In White Satin aufgenommen in der British Gala Du Midem, Frankreich 1968 The Moody Blues - Days Of Future Passed (180g LP) Side One 1. THE DAY BEGINS 2. DAWN: Dawn Is A Feeling 3. THE MORNING: Another Morning 4. LUNCH BREAK: Peak Hour Side Two 1. THE AFTERNOON: Forever Afternoon (Tuesday?) / Time To Get Away 2. EVENING: The Sun Set: Twilight Time 3. THE NIGHT: Nights In White Satin THE MOODY BLUES: Days Of Future Passed – 50TH Anniversary Edition (Limited) 2CD/DVD Deluxe-Set (Limited Edition) Vinyl-LP VÖ: 17. November 2017 Hamburg, im Oktober 2017 medienAgentur.
Load more

Recommended publications
  • The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos)
    7/5/2017 The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) JUNE 20, 2017 BY JASON DEBORD Fans of The Moody Blues got to experience the band like never before on Sunday night at Ironstone Amphitheatre.c Featuring “an evening with…” style concert presentation, The Moody Blues played two full sets in front of the massive crowd in attendance, the Úrst with various hits from their career and the second presenting a track by track playing of every songs from their groundbreaking album, Days of Future Passed, which celebrates it’s 50th anniversary this year.c They looked and sounded great, and there was a lot of magic in the air as they recreated this landmark album live on stage. http://rocksubculture.com/2017/06/20/the-moody-blues-at-ironstone-amphitheatre-murphys-california-6182017-concert-review-photos/ 1/10 7/5/2017 The Moody Blues at Ironstone Amphitheatre | Murphys, California | 6/18/2017 (Concert Review + Photos) What: Days of Future Passed 50th Anniversary Tour Who: The Moody Blues Venue: Ironstone Amphitheatre at Ironstone Vineyards Where: Murphys, California Promoter: Richter Entertainment Group When: June 18, 2017 Seating: (house photographer) Richter Entertainment Group’s Summer Concert Season at Ironstone Amphitheatre in Murphys in 2017 features Toby Keith, Boston, Joan Jett & The Blackhearts, John Mellencamp, The Moody Blues, Jason Mraz, Lindsey Buckingham and Christine McVie, matchbox twenty, Counting Crows, Steve Miller Band, Peter Frampton, Willie Nelson, Kenny G, George Benson, and more!c It’s all taking place in June, July, August and September this year.
    [Show full text]
  • The Complete Poetry of James Hearst
    The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring.
    [Show full text]
  • United States Court of Appeals for the Fourth Circuit
    PUBLISHED UNITED STATES COURT OF APPEALS FOR THE FOURTH CIRCUIT EDWIN RECTOR; EDWIN RECTOR, Trustee; EDWIN RECTOR 1995 CHARITABLE REMAINDER TRUST, Plaintiffs-Appellants, v. APPROVED FEDERAL SAVINGS BANK; APPROVED FINANCIAL CORPORATION; ALLEN D. WYKLE; STEPHEN R. No. 01-1191 KINNIER, Defendants-Appellees, and COOPERS & LYBRAND, LLP; PRICE WATERHOUSE; PATRICK M. BARBERICH; GRAY LAMBE, Defendants. Appeal from the United States District Court for the Eastern District of Virginia at Alexandria. Claude M. Hilton, Chief District Judge. (CA-99-499-A) Argued: June 6, 2001 Decided: September 11, 2001 Before WILLIAMS, KING, and GREGORY, Circuit Judges. Affirmed by published opinion. Judge Gregory wrote the majority opinion, in which Judge Williams joined. Judge King wrote a dissent- ing opinion. 2 RECTOR v. APPROVED FEDERAL SAVINGS BANK COUNSEL ARGUED: Thomas Hunt Roberts, THOMAS H. ROBERTS & ASSOCIATES, P.C., Richmond, Virginia, for Appellants. Glen Michael Robertson, PAYNE, GATES, FARTHING & RADD, P.C., Norfolk, Virginia, for Appellees. OPINION GREGORY, Circuit Judge: In this case of first impression, we must decide whether the 21-day "safe harbor" provision of Fed. R. Civ. P. 11 is a non-waivable rule of jurisdiction. We hold that it is not a jurisdictional rule and affirm the district court’s assessment of sanctions. I. On April 9, 1999, Virginia attorney Edwin Rector ("Rector"), per- sonally and as trustee for the Edwin Rector 1995 Charitable Remain- der Trust ("the Trust"), filed suit against Approved Financial Corporation, Approved Financial Federal Savings Bank, Coopers and Lybrand, PriceWaterhouse Coopers, Allen D. Wykle, Stephen R. Kin- ner, Peter Coode, Patrick M. Barberich, and Gray Lambe (collectively "Approved"), seeking "at least 60 billion dollars" in compensatory damages and an additional 20 billion dollars in punitive damages.
    [Show full text]
  • Moody Blues Release
    Adrian Bohm Presents…… THE MOODY BLUES WORLD TOUR 2005 MELBOURNE PALAIS THEATRE SUNDAY APRIL 10 SYDNEY STATE THEATRE TUESDAY APRIL 12 WEDNESDAY APRIL 13 THURSDAY APRIL 14 BRISBANE CONVENTION CENTRE SATURDAY APRIL 16 With a career that spans almost 40 years The Moody Blues are one of the most enduring rock bands in music history. They have generated a legendary list of hit songs that are regarded as some of the most groundbreaking and innovative music of our time. Justin Hayward, John Lodge and Graeme Edge continue their magical music legacy with the first Australian tour in 18 years. A legendary band with an incredible list of hits including NIGHTS IN WHITE SATIN, RIDE MY SEE SAW, THE STORY IN YOUR EYES, ISN’T LIFE STRANGE, QUESTION, I’M JUST A SINGER IN A ROCK AND ROLL BAND, to name few. The Moody Blues have sold over 55 millions albums and received multi platinum and gold albums and have, over the course of several decades, performed sold out tours, making them one of the top grossing album and touring bands ever. The Moody Blues first album DAYS OF FUTURE PASSED was released in 1967 and was a ground breaking concept album that for the first time fused an orchestra with electric guitars. The album was so unique in its approach that it became a landmark moment in popular music history. Their record company, Decca Records had requested that the band record an album to test stereo recording, which was in its infancy at the time. Decca being a mainly classical label asked the Moody Blues to record a rock version of Dvorak’s 9th Symphony.
    [Show full text]
  • The Musical Characteristics of the Beatles
    The Musical Characteristics of the Beatles The Government of the Hong Kong Special Administrative Region Education Bureau 2009 The Musical Characteristics of the Beatles Michael Saffle Government of the Hong Kong Special Administrative Region. All rights reserved. No part of this publication can be reproduced in any form or by any means, or otherwise, without the prior written consent of the Government of the Hong Kong Special Administrative Region. Content 1 The Beatles: An Introduction 1 2 The Beatles as Composers/Performers: A Summary 7 3 Five Representative Songs and Song Pairs by the Beatles 8 3.1 “Love Me Do” and “Please Please Me” (1962) 8 3.2 “Michelle” and “Yesterday” (1965) 12 3.3 “Taxman” and “Eleanor Rigby” (1966) 14 3.4 “When I’m Sixty-Four” (1967) 16 3.5 “Lucy in the Sky With Diamonds” (1967) 18 4 The Beatles: Concluding Observations 21 5 Listening Materials 23 6 Musical Scores 23 7 Reading List 24 8 References for Further Study 25 9 Appendix 27 (Blank Page) 1 The Beatles: An Introduction The Beatles—sometimes referred to as the ‘Fab Four’—have been more influential than any other popular-music ensemble in history. Between 1962, when they made their first recordings, and 1970, when they disbanded, the Beatles drew upon several styles, including rock ‘n’ roll, to produce rock: today a term that almost defines today’s popular music. In 1963 their successes in England as live performers and recording artists inspired Beatlemania, which calls to mind the Lisztomania associated with the spectacular success of Franz Liszt’s 1842 German concert tour.
    [Show full text]
  • ENT Hayward Prepdf
    Twenty-First Century Troubadour: Justin Hayward on French Connections, Songwriting, and Literature Interview with Barbara Havercroft Born in 1946 in Swindon, England, Justin Hayward is the lead singer, song- writer, and guitarist with the legendary band The Moody Blues. His renowned, highly successful career in music is now in its sixth decade, and is characterized by excellence and innovation in popular music. The Moody Blues have sold more than seventy million albums and have been awarded more than a dozen platinum and gold discs. Justin Hayward has also released seven solo albums and has received numerous prestigious awards, such as the Ivor Novello Award for Outstanding Achievement in Music, awarded in May 20131. The following telephone interview was conducted at the University of Toronto on Monday, June 10, 2013. Barbara Havercroft §1 After you and John Lodge joined the Moody Blues in August, 1966, the band continued performing the rhythm and blues music played by the previous incarnation of the group. At this point, in the late sixties, you and your four band- mates decided to travel to Belgium to work. Why did you choose Belgium? Were there conditions in Belgium that were conducive to the band’s metamorphosis and the conception of new material, including the Days of Future Passed composi- tions2? Justin Hayward Actually, the band’s metamorphosis came a bit later. You must remember that nothing is planned in this band. We just stumble into things and lucky accidents and great big slices of luck happen to us. So there was no plan. We went to Belgium playing the old rhythm and blues set, which we continued playing for about three or four months after John and I joined [the group] and we simply weren’t very good at it.
    [Show full text]
  • Edinburgh Research Explorer
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Edinburgh Research Explorer Edinburgh Research Explorer ‘Grand Masters of Vinyl’ Citation for published version: Walker, G 2008, '‘Grand Masters of Vinyl’' The Times Higher, pp. 41-44. Link: Link to publication record in Edinburgh Research Explorer Document Version: Preprint (usually an early version) Published In: The Times Higher General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Feb. 2015 Off Piste: Grand masters of vinyl 11 September 2008 Prog rock devotee Greg Walker takes an affectionate look at an intelligent and gloriously ambitious genre, and asks us to celebrate the era when rock's dinosaurs roamed the Earth In the beginning were the Prog Lords: vast, bloated rock beasts who bestrode the musical world like colossi, force-feeding alienated audiences with their vacuous musical excess. Then came punk to save the world by blowing them all away. That, at least, is what standard histories of popular music would have us believe.
    [Show full text]
  • The Moody Blues Tour / Set List Project - Updated April 9, 2006
    The Moody Blues Tour / Set List Project - updated April 9, 2006 compiled by Linda Bangert Please send any additions or corrections to Linda Bangert ([email protected]) and notice of any broken links to Neil Ottenstein ([email protected]). This listing of tour dates, set lists, opening acts, additional musicians was derived from many sources, as noted on each file. Of particular help were "Higher and Higher" magazine and their website at www.moodies- magazine.com and the Moody Blues Official Fan Club (OFC) Newsletters. For a complete listing of people who contributed, click here. Particular thanks go to Neil Ottenstein, who hosts these pages, and to Bob Hardy, who helped me get these pages converted to html. One-off live performances, either of the band as a whole or of individual members, are not included in this listing, but generally can be found in the Moody Blues FAQ in Section 8.7 - What guest appearances have the band members made on albums, television, concerts, music videos or print media? under the sub-headings of "Visual Appearances" or "Charity Appearances". The current version of the FAQ can be found at www.toadmail.com/~notten/FAQ-TOC.htm I've construed "additional musicians" to be those who played on stage in addition to the members of the Moody Blues. Although Patrick Moraz was legally determined to be a contract player, and not a member of the Moody Blues, I have omitted him from the listing of additional musicians for brevity. Moraz toured with the Moody Blues from 1978 through 1990. From 1965-1966 The Moody Blues were Denny Laine, Clint Warwick, Mike Pinder, Ray Thomas and Graeme Edge, although Warwick left the band sometime in 1966 and was briefly replaced with Rod Clarke.
    [Show full text]
  • A Brief History of Analog Synthesis Ondioline
    Product Information Document Synthesizers and Samplers K-2 Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format ## Amazing analog synthesizer with dual VCO design allows for insanely fat music creation ## Authentic reproduction of original circuitry with matched transistors A Brief History of and JFETs Analog Synthesis ## Pure analog signal path based on The modern synthesizer’s evolution authentic VCO, VCF and VCA designs began in 1919, when a Russian physicist ## Semi-modular architecture named Lev Termen (also known as with default routings requires no patching for immediate Léon Theremin) invented one of the performance first electronic musical instruments – ## First and second generation filter the Theremin. It was a simple oscillator design (high pass/low pass with peak/resonance) that was played by moving the performer’s hand in the vicinity of the ## 4 variable oscillator shapes with variable pulse widths and ring instrument’s antenna. An outstanding modulation for ultimate sounds example of the Theremin’s use can be ## Dedicated and fully analog heard on the Beach Boys iconic smash triangle/square wave LFO hit “Good Vibrations”. ## 2 analog Envelope Generators for modulation of VCF and VCA ## 16-voice Poly Chain allows Ondioline combining multiple synthesizers for In the late 1930s, French musician up to 16 voice polyphony Georges Jenny invented what he called ## Complete Eurorack solution – the Ondioline, a monophonic electronic main module can be transferred keyboard capable of generating a wide range to a standard Eurorack case of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by ## 36 controls give you direct and real-time access to all important depressing a key and using side-to-side finger parameters movements.
    [Show full text]
  • In That So Clare's Sonnets Green the Requirements for the Degree Of
    ne, ne « / +• In That So Gentle Skys A Study of John Clare’s Sonnets Richard L. Gillin A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1971 í» © 1972 Richard Lewis Gillin ALL RIGHTS RESERVED ii ABSTRACT In 1820 John Clare became the most popular literary figure in London following the appearance of his Poems Descriptive of Rural Life and Scenery. By 1827, after the publication of three subse­ quent volumes of poetry, he was virtually ignored even though his poetic abilities had increased significantly. In this study the nature of John Clare’s achievement as a poet was analyzed in con­ junction with his sonnets. Clare’s best work appears in his short poems. The sonnets he wrote indicate his concerns and suggest the degree of his maturity as a lyric poet. The significant biographical and historical influences on Clare have been delineated in association with his poetry. An examination of the poems in each volume of poetry published during his lifetime revealed that the sonnets reflect the major impetus of each volume as well as suggesting the direction his later work would take. Experiments with sonnet forms such as the Shakespearian and regular innovative forms of Clare’s own creation are traced and analyzed. As a fledgling poet Clare's greatest problem was to reconcile the various elements of his perception and verse. Often, it has been shown, there is a cleavage between the subject matter and the speaker’s response to the subject in the early sonnets.
    [Show full text]
  • An Alternative Narrative of the Fez Festival of World Sacred Music Adrian Stover Connecticut College, [email protected]
    Connecticut College Digital Commons @ Connecticut College Music Department Honors Papers Music Department Spring 5-1-2008 Worlds of Music Apart: An Alternative Narrative of the Fez Festival of World Sacred Music Adrian Stover Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/musichp Recommended Citation Stover, Adrian, "Worlds of Music Apart: An Alternative Narrative of the Fez Festival of World Sacred Music" (2008). Music Department Honors Papers. 1. http://digitalcommons.conncoll.edu/musichp/1 This Honors Paper is brought to you for free and open access by the Music Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Music Department Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. WORLDS OF MUSIC APART AN ALTERNATIVE NARRATIVE OF THE FEZ FESTIVAL OF WORLD SACRED MUSIC BY ADRIAN STOVER SPRING 2008 THESIS ADVISOR: DALE WILSON 1 I would like to express my gratitude to everyone who helped me complete this thesis, especially my thesis advisor Dale Wilson, who helped and encouraged me throughout the entire process, and my friend Jihan Hakimi, who helped me learn so much about Morocco. 2 TABLE OF CONTENTS Introduction 4 Chapter 1 17 Chapter 2 39 Chapter 3 54 Conclusion 70 Bibliography 72 3 ABSTRACT The intention of this thesis is to describe how the Fez Festival of World Sacred Music generates a narrative of globalization that is largely outside the Western academic perspective.
    [Show full text]
  • HISTORY of the SABBATH and FIRST DAY of the WEEK by J
    HISTORY OF THE SABBATH and FIRST DAY OF THE WEEK By J. N. Andrews PREFACE THE history of the Sabbath embraces the period of 6000 years. The seventh day is the Sabbath of the Lord. The acts which constituted it such were, first, the example of the Creator; secondly, his placing his blessing upon the day; and thirdly, the sanctification or divine appointment of the day to a holy use. The Sabbath, therefore, dates from the beginning of our world's history. The first who Sabbatized on the seventh day is God the Creator; and the first seventh day of time is the day which he thus honored. The highest of all possible honors does, therefore, pertain to the seventh day. Nor is this honor confined to the first seventh day of time; for so soon as God had rested upon that day, he appointed the seventh day to a holy use, that man might hallow it in memory of his Creator. This divine appointment grows out of the nature and fitness of things, and must have been made directly to Adam, for himself and wife were then the only beings who had the days of the week to use. As it was addressed to Adam while yet in his uprightness, it must have been given to him as the head of the human family. The fourth commandment bases all its authority upon this original mandate of the Creator, and must, therefore, be in substance what God commanded to Adam and Eve as the representatives of mankind. The patriarchs could not possibly have been ignorant of the facts and the obligation which the fourth commandment shows to have originated in the beginning, for Adam was present with them for a period equal to more than half the Christian dispensation.
    [Show full text]