Nights in white Satin, Never reaching the end
Letters I've written, Never meaning to send
Beauty I'd always missed, With these eyes before
Just what the truth is, I can't say anymore
Cause I love you, Yes I love you
Oh, How I love you
Gazing at people, Some hand in hand
Just what I'm going through/ They can't understand
Some try to tell me, Thoughts they cannot defend
Just what you want to be, You will be in the end
And I love you, Yes I love you
Oh, How I love you, Nights in white satin
Never reaching the end, Letters I've written
Never meaning to send, Beauty I've always missed
With these eyes before, Just what the truth is
I cant say any more, Cause I love you
Yes I love you, Oh, How I love you
Breathe deep the gathering gloom
Watch lights fade from every room
Bedsitter people look back and lament
Another day's useless energies spent
Impassioned lovers wrestle as one
Lonely man cries for love and has none
New mother picks up and suckles her son
Senior Citizens wish they were young
Cold hearted orb that rules the night
Removes the colours from our sight
Red is Grey and Yellow, White
But we decide which is right
And which is an illusion???
When it was first released in 1967, it didn't even make it to the Hot 100 on the Billboard charts, but then in 1972 it became a hit when a DJ wanted to take a long smoking break (since it ran 5:38).
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."
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.
