In Search Of The Lost Chord (Deluxe Edition - Remastered) [Hybrid SACD] - Moody Blues (The)

...embark on another UK tour. In 2003 Universal Music embarked on a project to re-master the first five of the Moody Blues albums from the original tapes using modern production techniques. They also decided to issue additional tracks - alternative takes and versions - which were not included on the final album.

This is the 2006 deluxe SACD edition.

DISC ONE: THE ALBUM

This album was the second produced ...
...year it reached number 5 in the UK album chart and 23 in the USA. It is of interest to compare and contrast it with its predecessor 'Days Of Future Passed' ('Days') where the group was accompanied by a symphony orchestra. There are some aspects that are developed to a greater extent: the wall of sound, the clear diction, the distinctive vocals and the harmonies. There are other aspects which have moved away from the purely classical sound.
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It may seem strange to be reviewing an album that first saw the light of day nearly 40 years ago. However the Moody Blues have maintained their popularity and their loyal fan base through three generations and (down to three of the original members now) are about to embark on another UK tour. In 2003 Universal Music embarked on a project to re-master the first five of the Moody Blues albums from the original tapes using modern production techniques. They also decided to issue additional tracks - alternative takes and versions - which were not included on the final album.

This is the 2006 deluxe SACD edition.

DISC ONE: THE ALBUM

This album was the second produced by the Moody Blues for the Decca Record label but strictly speaking it is the group's first solo album. That year it reached number 5 in the UK album chart and 23 in the USA. It is of interest to compare and contrast it with its predecessor 'Days Of Future Passed' ('Days') where the group was accompanied by a symphony orchestra. There are some aspects that are developed to a greater extent: the wall of sound, the clear diction, the distinctive vocals and the harmonies. There are other aspects which have moved away from the purely classical sound.

'Lost Chord' is a part conventional, part experimental album. It was engineered for the Deramic sound system and in many ways is a better demonstration disc than 'Days'. I bought the vinyl at a time when I had a quadraphonic adapter (remember those?) for my Leak stereo amplifier. This consisted of a small box that allowed some signal to be passed to two rear mounted speakers. It was nothing in comparison with the 5 + 1 and Home Cinema systems of today. I well remember however the sheer bewilderment sitting in the middle of these four speakers as sounds spiralled around my head like demented birds. I recall watching a colleague suffer acute nystagmus (involuntary twitching of the eyeballs) as he tried to follow the sounds.

This disc was on the edge of flower power and the acid culture. The songs are a pastiche of the eastern, psychedelic and mystical. The words are used as auditory colours - and often the meaning may be somewhat obscure. All members of the band achieve this but the greatest exponent is Justin Hayward who can shade words and music to paint any mood. The line up is Justin Hayward, John Lodge, Mike Pinder, Ray Thomas and Graeme Edge. The range of instruments played by the band is prodigious: guitars (electric, acoustic, 12 string, bass), sitar, tables, piano, Mellotrons, harpsichord, cello, auto-harp, drums, snare drum, timpani, tambourine, flute, saxophone.

Uncharacteristic of later albums, 'Lost Chord' features only two songs written by Justin Hayward (and one further collaboration with John Lodge)

'Lost Chord' is quite a short album by modern standards (42 minutes). This is play list and my own personal assessment of each song (marked out of five)

1. Departure. ***

The album opens with a synthetic sound that climbs in pitch and grows in volume - a throw back to the start of 'Days'. In similar vein there is a short spoken verse which collapses into a bout of maniacal laughter.

2. Ride My See-Saw ****

This is a rock standard that has become one of the fixtures of the Moodys stage shows. They start their 2003 concert season in March and you bet this will be on the play list. It has a driving beat with voices in unison in the verses. The voices are also used as extra instruments in the non vocal sections - another hallmark of the Moody Blues sound.

3. Dr Livingstone I Presume. ***

This is a light upbeat song by Ray Thomas. It is lyrical but has fairly non-consequential words. There are good harmonies between the guitars and Mellotrons.

4. House of Four Doors *****

This mystical almost ghostly song starts with synthesisers and drums telling the story of an enchanted house in the midst of a forgotten land (?Lost in a Lost World). The choruses are sung falsetto with a regular verse counterpoint. There is a musical continuum between the verses that varies from an Elizabethan to a Rachmaninov feel. Listen to the stereo sound effects - especially the creaking doors. After the last door opens, the song blends into …

5. Legend Of A Mind. *****

This is a much more serious Ray Thomas opus and is a tribute to Professor Timothy Leary (the father of LSD). He has taken to using this as his 'solo spot' in the Moody Blues concert tours - usually achieving a standing ovation for it.

The pace is upbeat and it is a pronounced acid sound ('He'll fly his astral plane, take you trips around the bay, bring you back the same day … '). There is a change of tempo for each of the verses where plucked guitars, tympani and flutes accompany the voices. As the track nears a climax there is further evidence of the sound engineering of the album with ethereal sounds of swaying Mellotrons changing channels. This builds up to an intense wall of sound before the verse is repeated once more and the song blends back into …

6. House Of Four Doors (Part 2) *****

The same themes predominate accompanied by muted percussion, vocals in unison in the verse and in descant in the chorus. These three tracks occupied the second half of Side 1 of the album.

7. Voices In The Sky *****

This is a lyrical Justin Hayward composition with fine optimistic words and flute and string accompaniment. There is a more upbeat middle section.

8. The Best Way To Travel *****

Another psychedelic sound. This track has incredible stereo channel engineering. Listen if you can with the volume up high through headphones. There is a rhythmic guitar part with drum counterpoint. The Mellotron is a dynamic addition to the instrumental section.

9. Visions of Paradise ****

This is a much slower paced song. Again the lyrics are mystical in nature 'Visions of Paradise, cloudless skies I see, Rainbows on the hill, Blue onyx on the sea… ' The combination of sitar and flute is melodically pleasing.

10. The Actor. ****

A slow ballad from Justin Hayward using many instruments in a variety of combinations in the accompaniment. The words are much more lyrical and languid in feel. The instrumental section builds to a typical Moody's wall of sound.

11. The Word ***

Graeme Edge delivers the seminal verse of the album 'Between the eyes and ears there lie the sounds of colours and the light of a sigh … And to name this chord is important to some. So they give it a word and the word is "OM"'

12. OM *****

A track of eastern sounds, subtle mysticism and acid sound ('The rain is on the roof, hurry high butterfly'.) Much of the verses are chanted with flute, sitar and table accompaniment. The choruses are in unison. There is a sitar solo. The track builds up to a 'wall of sound' climax before fading to its conclusion.

DISC TWO: THE EXTRAS

I don't intend to describe the bonus disc in any great detail but rather give an overview. The running order of disc two is:

1. Departure (Alternate mix)
2. The Best Way To Travel
3. Legend Of A Mind
4. Visions Of Paradise
5. What Am I Doing Here
6. The Word
7. Om
8. A Simple Game
9. King and Queen
10. Doctor Livingstone I Presume
11. Voices In The Sky
12. Thinking Is The Best Way To Travel
13. Ride My See Saw
14. Tuesday Afternoon
15. A Simple Game

Tracks 1, 2, 3, 4, 6 and 7 are alternative takes of tracks that appear on the original album. Of particular note is the flute solo by Ray Thomas on "Legend". This was cut from the original album but here is a recording of the basis of what was to become his extended solo spot on many of the concert tours. "Visions" is played here as an instrumental. "Om" finishes with the unaccompanied descant chorus, capella style, which is faded out on the album.

"What Am I Doing Here" and "King And Queen" were both Justin Hayward compositions recorded at the time for possible inclusion. There was talk of them being released as a single but have only been issued as part of Moody's collections.

Tracks 10 to 13 were recorded specially for John Peel's "Top Gear" programme on Radio 1 (July 1968) and are effectively live performances. "Tuesday Afternoon" - a track from the previous album "Days Of Future Passed" is included as it was also a BBC recording of the time.

The two versions of "A Simple Game" are particularly interesting. This was a song written by Mike Pinder and 15 is his recording which became the 'B' side of the single "Ride My See Saw". 8 is an alternative version by Justin Hayward. It is also noteworthy that the song became much bigger hit when it was covered by The Four Tops in 1972.

THE TECHNOLOGY

I now have copies of both versions of this album in my collection now. Bearing in mind the increasingly petrified state of my auditory apparatus could I hear any difference between the 1986 CD and this 2006 upstart. Again I have to say that I was making the comparison using a Denon 2800 player which is not equipped with SACD circuitry. However the sound generally is appreciably rounded and smoother. The bass tones are also more pronounced without being overpowering. I used "Thinking" as the test bed here as this was the track which demonstrated the original quadraphonic sound. Played into a 5:1 surround sound amplifier, these sound effects were stunning.

I have my SACD player on order!!

THE PRESENTATION

The two disc set is housed in a fold-out "Digipak" style enclosure. For additional protection there is a plastic sleeve printed with the mantra "Deluxe Edition". The front cover reproduces the bizarre painting by Philip Travers (who painted many of their early covers) featuring a skull and foetus either side of the parting of the waves made up of the letters of the title. Above this there is the sun (or is it God), hands outstretched in greeting or blessing, with hair made up of the Moody Blues. Inside there is a tantric diagram. On the back are photographs of the members of the band as well as the track listing of both discs.

The accompanying 20 page booklet contains a history of the band and the album along with more photographs from the time. There is no songbook. The second half gives an indication of the source of the tracks on the bonus disc.

AVAILABILITY

IN SEARCH OF THE LOST CHORD - The Moody Blues (1968)
Deluxe Edition (2006) - Two disc set Hybrid SACD DERAM 983214-7 Amazon.co.uk £12.99

CONCLUSIONS

I have to admit that the Moody's have been one of my favourite two bands since the 1960s but I hadn't listened to these early releases for many years. Overall this is a more substantial and deeper album than 'Days'. Perhaps it should feel dated given its age and influences but in many ways I was pleasantly surprised it does not. It deserves an audience and will repay you with an understanding of the roots of the group.

If you haven't listened to the Moody Blues then this is an ideal place to start. Is the new version worth the extra money (the old CD is still available)? Yes it is. Funnily enough (having bought one anyway!!) I think there is enough new material and an excellently updated recording to make this a strong recommendation for the firm fan who already owns the album.

Chart statistics from "The Great Rock Discography" 6th edition. 2002 Strong M.C
 

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