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5.0 out of 5 stars Buy it before it's gone
With all the divergent reviews of the 2006-7 Moodies SACDs I have to wonder what the nay-sayers are listening to. Although this is not in surround it is still a(n) SACD and sounds wonderful compared to any edition including the MFSL version.
MFSL has DR of 11, while the red-book only layer of SACD is 10. MFSL loses out in detail retrieval when compared to the SACD...
Published 5 months ago by Hellenback
3.0 out of 5 stars Little more effort!
Not so bad....however, compared to the 1st UK pressing the printing (transfer of cover painting to front jacket) on this reissue pales in comparison.
Published 1 month ago by Seno123
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5.0 out of 5 stars Timothy Leary's dead - no, no, no, he's outside, looking in,
This album is another masterwork from the Moodies. Although it occupies third place in my private rank (behind To Our Children's Children Children and Days Of Future Passed ), it is also the very special and different one. Recorded in 1968, just in the middle of the hippie era, it was one of its important exponents, as well musically as lyrically. MB practically left this kind of hippie psychedelia on their next album (On The Threshold Of A Dream); they never tried it again. So, it is interesting as "one and the only" hippy Moody Blues. Also, they tried, even they HAD to make it great after their grandiose success with "Days Of Future Passed" where they perfectly blended rock with the symphony orchestra. Although they did not incorporate a symphony orchestra this time, they strove to emulate it themselves. The results are maybe not as stunning as on Days, but chapeau bas for rich arrangements, fine melodies, for all the grandeur. They used 24 instruments here, and all that worked perfectly! On the other hand, this is the first MB album I review here that contains some songs I just do not care so much for; nevertheless it still deserves five stars (I'd say 4.75). OK., now the songs:
Departure - a small portion of Graeme's poetry, a real departure to the trip outside and within that follows... 7/10
Ride My See-Saw - perfect song. Harder rocking than others, with hypnotising, driving rhythm section, fine guitar work (the short solo is a typical sparse, but delightfully melodic moody gem), great voices. Maybe it's this album's main manifesto: run away from everyday's slavery, ride with us and be free... but unlike many other songs of 68, not so literal - I can only guess what this ride would be... 10/10
Dr Livingstone I Presume - very 60's sounding midtempo song. Also very melodic but a bit lightweight here; pleasant but not great. Beatles fans should be pleased, but I rather appreciate that in MB what is different from Beatles, not what is similar. Still good 7/10
House Of Four Doors - I just don't get this song. I admit, it's very mystical, but I do not fully understand this mystic. If I tried an explanation, the doors symbolise different forms of human activity: visual arts, music, science... Finally, the last door is to travel within, which is the most difficult but brings a chance to find the truth. But probably there can be many explanations - just try for yourself.... The main melody is beautiful, no question, but the chorus and strange sounds here and there make me feel a bit uneasy. So, not a favorite, but for sheer artistic ambition and some (probably) profound metaphors deserves 6/10
Legend Of A Mind - killer song of Ray Thomas. "Timothy Leary's dead... No, No, No, No, he's outside, looking in..." So it starts. The longest and the most psychedelic here with its almost 7 minutes of superb performance, complex, changing melodies and rhythm patterns and interesting, although I guess not quite serious text. As far as I know, Ray was not at all so much into "opening the doors of perception" with the stuff Timothy Leary proposed...So, was it a praise or rather gentle joke? Who knows, Ray's lyrics are often strange and intelligent (check out "Lazy Day" from the next album). But the song was taken seriously and soon became one of the hymns of this era - funny thing because MB were into the flower power movement just for this one album, with some distance; very English way. Musically this song is maybe the best psychedelia in existence, beating everything from early Pink Floyd to Jefferson Airplane. Unbelievably great 10/10
House Of Four Doors part 2 - see part one 6/10
Voices In The Sky - this song started side 2 of the original vinyl album. It's offers the most ethereal and beautiful rock music ever created , bringing the minstrels of old ages to mind...Fine acoustic guitars, tablas, sitars, woodwinds, eastern and medieval flavours, beautiful soft voices and trademark mellotron create the unique, dreamy atmosphere. This song is also dreamy, also good, but maybe too pastoral and soft, on the verge of being dull. But pastoral scenes described pleasantly recall feelings we could experience lying on a green meadow on a sunny summer day...8/10
The Best Way To Travel - the killer song of Pinder. I love everything here: the praise of imagination and will as a driving force that allows us do and know virtually everything we need, to travel through endless space outside and within. Uptempo rhythm and the melody full of dignity but also very uplifting... The song that may bring the power and faith to depressed and weak, change their lives for better... 10/10
Visions Of Paradise - this song starts the most ethereal, mystical and profound part of the album. Also very psychedelic with its intriguing and varied instrumental backgrounds of acoustic guitars, flutes, woodwind instruments and eastern flavours. The dreamy atmosphere is emphasised by it's lyrics; it's a mystical love song...10/10
The Actor - again, the beautiful dreamy song. Pure escapism - dreaming, daydreaming, feelings of love...The stream of consciousness, loose pictures in a relaxing mode, so is the music. Evokes the feel of the music of old...the minstrels 10/10
"Two notes of the chord, that's our poor scope, and to reach the chord is our life's hope. And to name the chord is important to some, so they give it a word, and the word is OM" so ends the fine mystical introduction of Graeme Edge (as always, a piece of fine poetry). And so starts Mike Pinder's song that may help us find the lost chord.
The answer might be eastern philosophy that sees the unity of all things... I don't know, but I love this song, its eastern flavour, sitar improvisations, its slow pace. It really may help you find this lost chord if you try at least a little bit... 10/10
5.0 out of 5 stars This was the Paradigm,
I recently bought the mellenium collection--very awesome but it misses on RIDE MY SEE-SAW. So I got this on cd for the first time in years and this cd is awesome. Why they steered away from this format I'll never know but I think they suffered on the remainder of their works. There's no other music like this so the band has stood the test of time. Don't forget to buy this re-mastered work for your collection. Get it now!
5.0 out of 5 stars The Experimental Moodies,
With the huge success of their landmark classical-meets-rock album, 1967's "Days Of Future Passed," and it's smash hit single, "Nights In White Satin," the Moody Blues had beaten the odds & successfully transformed from the rhythm & blues combo of "Go Now" fame, to the masterful progressive-rock band known the world over. For the follow-up disc, 1968's "In Search Of The Lost Chord," the Moodies decided to retain the classical instruments from their previous hit album, with one major difference: they would play all the instruments themselves, including cello, oboe, harp, harpsicord, and, for a touch of Indian-flavored music, sitar. "In Search Of The Lost Chord" is arguably the Moody Blues' most psychedelic album, but it is also one of their all-time greats. Bassist John Lodge's rockin' "Ride My See-Saw," and flautist Ray Thomas' wonderful ode to Timothy Leary, "Legend Of A Mind," remain Moody Blues concert staples to this day. There's also Thomas' playful "Dr. Livingstone, I Presume," the experimental delights of Lodge's "House Of Four Doors" (with "Legend Of A Mind" sandwiched within it), guitarist Justin Hayward's beautiful "Voices In The Sky," "Visions Of Paradise," and "The Actor," keyboardist Mike Pinder's spacious "The Best Way To Travel," and the spiritual "Om," and drummer Graeme Edge's fine poetry in the forms of "Departure" and "The Word." Marvelously written, played, & sung by the band, handsomely produced by Tony Clarke, and remastered for superior sound quality, "In Search Of The Lost Chord" remains one of the Moody Blues' finest works.
5.0 out of 5 stars Controversial Moodies,
The Moody Blues has to be one of the most controversial rock/pop bands to emerge from the 1960's. The band has been enormously popular, had several hit songs, and sold lots of albums. But despite the public popularity, these guys were savaged by many critics. A critic in the "Rolling Stone Album Guide" comments "no major band has so relentlessly parlayed nonsense...were it not for their titanic success, in fact, they might easily be dismissed as an odd and overlong joke." The article goes on to describe the Moodies as bombastic, pretentious and pompous, with their biggest hits "tricked out with furiously strummed acoustic guitars [like those] from the Who".
That's pretty harsh stuff. If they're so bad, why have they been so popular? To be fair, their lyrics are often a little corny, especially now. Further, they probably weren't as musically creative as the Beatles, the Who, or some others. Nevertheless, the were among the first to experiment with the idea of the concept album, among the first to make effective use of sythesizers, and among the first to employ symphonic sounds in a rock format. Most especially, though, many simply found the Moodies' music nice to listen to. Their songs were based on pleasant melodies and featured nice harmonies. Critics may look for depth and originality, but the average consumer just wants a good sound. The Moody Blues, at their best, delivered that big time.
IN SEARCH OF THE LOST CHORD was the band's second attempt at a concept album (DAYS OF FUTURE PASSED was the first, but was somewhat different because of the attempt to connect the songs with orchestral interludes). It was based around a consideration of "levels of consciousness" and eastern philosophical ideas that had been popularized at the time (circa 1967-8) by the Beatles. Lyrically, it may come across now as a little silly (if you don't recall the times or find such speculation of interest), but the music still sounds good. Much of the album has a bright, airy quality. Acoustic guitars and flutes dominate many of the cuts. The melodies are soft, but the tunes remain lively. I never hear this album without finding something from it playing in my mind hours later.
I originally bought this album soon after it was released. Now, I have it on CD as well. It's a purchase I have never regretted, and I still listen to it. It may not be brilliant and it may be a bit dated, but the sound is good. Compared to most of the contemporary rock music I've heard, it's great. Take a "trip around the bay" with these guys. You'll probably be glad you did.
5.0 out of 5 stars Another great one from the Moodies,
IN SEARCH OF THE LOST CHORD (1968) was the second album by The Moody Blues with Hayward and Lodge, and is still thought to be their best by many. I won't make that claim here; I am such a fan of this beguiling group that I find it exceedingly difficult to single out just one "best" from such a string of great albums. I will admit this has always been one of my favorites. It is a masterpiece that followed a masterpiece (DAYS OF FUTURE PAST--one of the few rock albums to extensively and successfully employ an orchestra without being the least bit haughty).
IN SEARCH OF THE LOST CHORD is filled with the group's euphoric music, which both explores the cosmos and comforts us with their emblematic, tuneful bliss. There is a remarkable, youthful enthusiasm in both the music and the lyrics, and the album is loaded with songs of unique, psychedelic charm. "Ride My See-Saw" has a mesmerizing groove, but it's intelligently energetic. "Voices In The Sky," "Visions Of Paradise" and "The Actor" are pure ecstasy, with such heavenly mixes of instrumental textures and heartfelt vocals. I don't find "Dr. Livingstone, I Presume" inferior in any way; in fact it's delightful (pay no attention to the detractors if you prefer inventiveness over trendiness). "Legend Of A Mind" is as haunting as you could ask for, and the instrumental break from 2:42 to 4:59 still takes me to OMville. "House Of Four Doors" is mysteriously enchanting, beautiful...captivating. This and "Part 2" frame "Legend Of A Mind" perfectly. And, how can any psychedelia-loving soul not delight in "The Best Way To Travel"? The meditative "OM" completes this musical treasure piece in splendid fashion.
The 60s was more than protests and flower power (the media has its way of warping and commercializing everything, including history!). It was a very revolutionary time for music. The music on this glorious album was highly original back then--still is! Nothing sounded like this before the late 60s. I have a tendency to harp on this: the changes--truly creative changes--that took place in the short span of eight years from 1965 to 1973 were extraordinary. That was an amazing time period that produced some amazing works of art. This album is one of them, and I cannot recommend it enough to those who love the stuff.
5.0 out of 5 stars A Mystical Journey,
This album could be the most exquisite and fantastical album ever written by this band. The entire album flows together as one, making it a journey through exotic soundscapes. From cascading harps, to journeys through the jungle, through mysterious territory, to paradise and on to the meaning within ourselves. A creative earthy experience is in store throuout the album as it flows gently through mystical truth and excursions. Wonderful melodys with acoustic guitars, electric guitars, and eastern insturments (tabla and Sitar), enhance the beauty and create an album completely different than any other they have accomplished. To me this is the best album and always provides a fantastic listening experience.
the 15 year old.
3.0 out of 5 stars Some great stuff, but... Uneven,
This is by far the weakest of the Moodies' 1st 7 albums. "Departure," "Ride My See-Saw," "Legend of a Mind," "Voices in the Sky," "The Actor" & "The Word" R all classics -- they've all got that great "moody" atmosphere, & the vocals & keyboards R gorgeous. But the rest is WILDLY uneven, & "Om" is the stupidest thing the Moodies ever did.
The rest is no bargain: "Dr. Livingstone I Presume" is silly; "House of Four Doors" is pointless & endless; "Best Way to Travel" is a weak Mike Pinder tune; "Visions of Paradise" is a not-quite-good Justin Hayward number. None of these tracks will change yr life.
A bonus track would've helped: On the 2-album THIS IS THE MOODY BLUES best-of you'll find "Simple Game," the original B-side 2 the "Ride My See-Saw" single -- I think it's Mike Pinder's best song EVER (those "doo-doo-doo" choruses'll get U every time!), & they shoulda included it here. Woulda raised my rating 2 3-1/2 stars at least!
Overall: This is the most dated & uneven Moodies LP. I'd save buying it til U have the rest of the 1st 7, LONG DISTANCE VOYAGER, Hayward & Lodge's BLUE JAYS, & THE PRESENT. This sure ain't no 4got10 classic.
5.0 out of 5 stars Perhaps the most cohesive of the Moody Blues albums,
I love this album and I've owned it since it came out. I now have the remastered version on CD, and the sound is stunning. Perhaps more than any other Moody Blues album, this one flows seamlessly from slow, melodic waves to high peaks and all points in between. The classic "Legend of a Mind" (Timothy Leary's dead...) is reason alone to buy this. The album opens with the self-titled "In Search of the Lost Chord" and the listener is taken on an aural journey that is unmatched by any other group of the era. It's not all serious stuff, though. The delightful "Dr. Livingstone, I Presume" shows the Moodies didn't take everything seriously. But it's with House of Four Doors, which leads into Legend of a Mind, that the album hits its pace and the listener is carried effortlessly from the homage to the then-very-much-alive Leary through an epic journey with such classics as Voices in the Sky, the surreal The Best Way to Travel, on to Visions of Paradise, the profound The Actor, on to The Word, and finally Om, which closes out the album much as In Search of the Lost Chord opened it. The Moody Blues produced some great music in their heyday, but many of their albums were a mix of top-quality tunes and other meanderings that sound more like filler than transitions. With In Search of the Lost Chord, the Moody Blues, in my opinion, found their voice and it rings clearly and seamlessly from beginning to end. This is absolutely a stunning album, and the remastered audio makes listening to the tiny nuances such a joy. Buy this. You won't regret it.
5.0 out of 5 stars The Best Way To Travel,
This album is so undescribable. See, it came right after Days of Future Passed (which was also excellent), and I believe the band may have been a bit more comfortable because now they had a record deal and everything. Justin's voice seems to have matured in some way- yet he sounds the same. I say this because if there was a song that ever made me cry it would be The Actor. By far the greatest song on the album (but the whole thing is fantastic). The sound of Justin's voice is so mysterious. He sounds so sad, and then the words are so emotional. I die when Justin sings- The sound I've heard in you hello-oh darling, you're almost part of me, oh darling, you're all I'll ever see.
Yeah! So buy the CD, you'll have no regrets. Moodies albums are the only ones I can listen to from beginning to end, usually I find myself skipping around on the CD's of other artist's- not so here. Enjoy. Oh and I would have given it all of the stars in the universe, but that's just not physically possible.
5.0 out of 5 stars True Progressive Rock,
Many groups have been described as "progressive rock" during various times in their careers. To truly understand the definition of progressive rock, put yourself in 1968 listening to this album for the first time. The Moody Blues surpassed the Beatles with exquisitely complex orchestrations, using instruments that often were (and are) played only in obscure classical presentations. The lyrics are often incredibly spiritual without being denominational and without offending any specific denomination, a difficult feat in any era.
This album was a follow up to the ground-breaking "Days of Future Passed" album, and set the expectations for all future Moodies albums. So many groups get into a groove, and keep playing that groove endlessly and monotonously. The Moodies made seven concept albums in a row, none of which was identical. Most were only similar in that they had elements of fantasy, science fiction, and hope for a better world and a better life. The expectations for each Moodies album was (and continues to be): what unusual thing are they going to try to do this time?
In this album they played with using instruments to achieve various effects, such as the doors opening on the "House of Four Doors", and the combination of instruments on "Om" that evokes a feel of India without being Indian. The use of the sitar on this album is one of the best in a rock album, if not the best.
This album ranks as one of my all time favorites. There is no need to evaluate individual songs because they are all very good. This album deserves to be ranked with albums such as "Sgt. Pepper's Lonely Hearts Club Band" and Led Zeppelin's Runes or ZOSO album.
In some ways you may consider this album as a peak for the Moodies, and their subsequent albums are continually compared to "Days" and to "The Lost Chord." Fortunately the Moodies have never been disheartened by the unexpected success of their first two albums, and have kept on making more music.
If you are new to the Moodies, you will find this album to be one of their best. However, you will find that even an "average" Moodies album is better than the "best" of many other groups. Typical criticism of a Moodies' album comes from comparison to other Moodies' albums, because it is difficult to compare the Moodies to other groups.
If you like this album, you may also enjoy "To All Our Children's Children's Children," "On the Threshold of a Dream" and "Every Good Boy Deserves Favour." Each of these is similarly experimental, with varying degrees of success.
Regardless of your feelings toward this album, it helped defined progressive rock as a genre with the few other progressive rock groups of the late 60s and early 70s, and will always hold a special place for those who looked for the next evolution of rock music beyond the Beatles.
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