Work away today, work away tomorrow.
Never comes the day for my love and me.
I feel her gently sighing as the evening slips away.
If only you knew what's inside of me now
You wouldn't want to know me somehow.
But you will love me tonight,
We alone will be alright in the end.
Give just a little bit more
Take a little bit less
From each other tonight.
Admit what you're feeling
And see what's in front of you;
It's never out of your sight.
(You know it's true.
We all know that it's true.)
[Repeat A section: Work away today, think about tomorrow]
[Repeat B section]
[Repeat C section: (Parenthetical remark 6x)]
With the album On the Threshold of a Dream the Moody Blues continued with a concept album formula that they’d discovered in Days of Future Past and brought to greater perfection with In Search of the Lost Chord. With this album, the formula was beginning to pay off, and the group achieved a #1 album in England while breaking into the U.S Top Twenty for the first time. They would continue to make concept albums that almost sound like one another for another three years, and the series of seven concept albums is sometimes treated a set by collectors. However, over the years, the Moody Blues shed their psychedelic trappings and became identified with progressive rock. On the Threshold of a Dream left off references to hallucinogens and ceased playing sitar, depending more on the mellotron to give them the sweep of orchestral “art rock”. This will be our last visit to Moody Blues output. Though Never Comes the Day would not be recognizable as psychedelic today, it is included here as an indication of the direction in which the Moody Blues would develop. The Moody Blues were far more successful as a progressive rock band than as a psychedelic one. One of their most popular works, Question (released in 1970) was essentially built by mirroring sonic architecture similar to Never Comes the Day.
The song was released as a single in 1969 and, despite the popularity of the album, barely broke into the U.S. Top 100. Its difference of fortune when compared to the similar Question a year later may be explained by the further acceptance of progressive rock by listeners, or it might be a matter of the difference in lyric content. Question was about larger issues of “hate and death and war”; Never Comes the Day is a romantic song which advises that the listener forget about work for a while and value the love that greets the poet when he arrives home. Work evidently brings up nasty feelings (If you only knew what was inside of me now / You wouldn’t want to know me somehow) that love can help ease. Still, the admission of insecurity, of something ugly that lives behind the surface of the poet, tends to remind me of the psychedelic song King Midas in Reverse by the Hollies, released in October 1967: If you could only see me / I know exactly what I am / You wouldn’t want to be me / I can assure you that. Incidentally King Midas was one of the first songs to use the orchestral sweep that Moody Blues would develop and depend upon.