Keys of The Kingdom (1991)

WARNING!!

These reviews are given in the spirit of a personal editorial and of personal opinion. If you would find yourself offended by these views and criticisms within the body of these reviews, please do not read further. It is not our intention to offend or injure someone's views on their favourite band. We wrote these as one-time fans who now, after many years, revisited these albums and wanted to write fair and unbiased reviews of The Moody Blues' material. If indeed, a member of The Moody Blues does happen to read these reviews, please take into consideration that these are simply opinions. These reviews present an alternate perspective.
Thank You,
Shawn and Andrew Dow,
March, 2007

Album Review by Andrew Dow

Album Review by Shawn Dow

Album Review by Andrew Dow

After the success of the single "I Know You're Out There Somewhere" and the disaster that was "Sur La Mer", the Moody Blues took three years off instead of just the now standard two. Hayward had his solo material on the go so the band maintains a degree of limbo (or hiatus as they like to call it). So, after the break, they reconvened with Tony Visconti once again and still maintained Patrick Moraz as keyboardist.

However, all was not well in the land of make believe. Mid-way through sessions for "Keys To The Kingdom", Moraz stated in an interview with Keyboard magazine about his increasingly unhappy role in the band, and how the band relied heavily on technology to help them through their material. Soon after this article appeared, Moraz was terminated from the band. Then, in a surprise move, Tony Visconti was terminated as well. Then the Moody Blues went shopping around for different producers. There are three different producers on this album, each one promoting a different sound for the band. This is also the first time that Ray Thomas was invited back to the studio to write and record with the band, and this album also marks the first time musicians other than the main group would replace band members, namely in the drums department.

Another turbulent chapter in Moody Blues history was being written, with the following album being the end product, the first Moody Blues album not to chart at all.

Say It With Love (produced by Christopher Neil): The album starts off with this bright rocker from Hayward. The song has some little bits where he sound like Buddy Holly, Hayward's idol. The electronically produced drums sound upfront and clear and it seems they're all I can hear. There is some nice hi-hat/drum interplay that is definitely not Graeme Edge playing. The song is polite in its delivery and has a twagny little guitar solo in it. The song tries to command some authority, but comes off weak actually and its not very memorable.

Bless The Wings (That Bring You Back) (produced by Alan Tarney): Hayward's first ballad on the album with what I can only attest to being a ton of keyboards and an annoying little tambourine to guide it. The song goes for the power ballad with Hayward's weak and wispy vocals, guaranteed to drive chicks "ga ga". And do I dare say that I hear chick backup singers? The middle 8 section reminds me of Hayward's solo material. Then it just repeats itself to its bombastic, orchestral soaked ending, and then it revamps itself and fades out. More slow dance sap.

Is This Heaven? (produced by Tony Visconti): The first Hayward/Lodge composition is a polite little ditty that comes off making the band sound fresher and more vital than the last two albums have. The beat comes in and we get some nice vocals and it does have some sap to it, but it has some nice bluesy guitar parts by Hayward. The only problem is the repeat of strings doing the main vocal melody, and the song tends to stay in its chorus too long. Then, what the hell is that, a tap dancer singing! Gross. For all the songs faults, I think its a refreshing change from their past two albums, but why a tap dancer?

Say What You Mean - Parts I & II (produced by Tony Visconti): Hayward's back to the programming and sounds like "Deep" from "Sur La Mer". I just can't see these guys doing the Euro-dance deal. Then the horns, real ones mind you, come in and remind me so much of Deep. The backing vocal "ooh, ahs" are silly. The constant twirling keyboards are just there to simply hide just how barren the song is. Then the song goes up an octave (sorry) and tries to change feel by slowing down and repeating itself with Hayward reciting a poem, I guess about being in the forest and getting naughty again. I'm almost embarrassed for Hayward having to do that in front of a microphone. "The raw exquisite ecstasy rushes in", like the tide, Justin? Stick to love songs and not sex tunes eh, Jus?

Lean On Me (Tonight) (produced by Christopher Neil): A big keyboard introduction starts Lodges ballad/rocker in a moderate tempo, somehow reminding me of the Beatles. With drums that sound like the ones from "Say It With Love", obviously programmed, they sound good in this place. If that is indeed a real bass, Lodge should be applauded for some of his inventive lines. The song moves along in its happy/sad mood, then rolls into a middle 8 that brighten in tone, then a clear, clean guitar solo by Hayward, backed well by the rest of the, well, programming I guess. The bright sounding keyboards make me think of Christmas (or Xmas) and "Jingle Bells". The "oohs" by Lodge remind me of John Lennon. Nice little number. At least it had a pulse to it.

Hope And Pray (produced by Christopher Neil): A fast, tambourine-laden rocker from Hayward, complete with keyboard flourishes and some nice guitar bits. Hayward's vocal is not too over-extended, but still a bit wispy. The occasional bass accent is nice, if it is a bass. The middle 8 brightens the tone, continuing the driving feel with some half decent vocals. Not much really happens in the song actually, and just tick-tocks, until another nicely executed guitar solo with a clean sound. Not too bad for a monotonous rocker, if there can be such a thing. At 5 minutes, the song is just too long, and goes on and on, feeling like it's padded. A hit single that didn't.

Shadows On The Wall (produced by Alan Tarney): Lodge goes for the blues complete with female backup singers and a start/stop intro, then going for the orchestral accompaniment in the chorus. Formulaic and do I dare say mediocre? Quoting Loge's "on the sea of mediocrity". The song chugs away on and on and Lodge doing his best John Lennon impersonation. The song reminds me so much of "Natural Avenue" type material, I get deja vu. The song has a set pattern that is revisited over and over, inducing a coma in me.

Once Is Enough (produced by Alan Tarney): More soft dance stuff in the "Slings And Arrows" shuffle mode, with the Moodies trying to get down with their sax backed selves. This was a CD only bonus track in the days when LP and CD clashed. You know the band is getting old when they quote their old material, like using "Days of Future Passed" in a lyric. This tune is so unlike the Moodies, till you get the chorus of "ahs" deal again. I can just see them jiving to the beat and getting down in the studio, singing into the mic. Now, that is a sight I would've died to see and get a laugh out of. The song just repeats and repeats and doesn't fit these guys at all. Another Hall And Oates copy. At three minutes, the song should've stopped, but oh, no, we get another full minute of this dull stuff.

Celtic Sonnet (produced by Tony Visconti): Ray Thomas comes back in a big way here, complete with the sounds of the ocean and flutes to back his best mellow Roger Whittaker impersonation. "And The Tide Rushes In" all over again, just like "For My Lady", unfortunately it gives me the feeling that this is simply rehash. 2 minutes in I'm ready for a glass of warm milk and bed. I guess Ray can't rock anymore, he's got to be the Mike Pinder for the band now, drowning in excess and pretentiousness. The easy cop out would be to say, "At least he's on the album". I don't' really get a Celtic feel from this tune at all, just making casual listeners think they're hearing something Celtic. Just mellow new-agey stuff, of which I can do without.

Magic (produced by Tony Vicsconti): Lodge goes for a rocker with this one. Opening the song with his solo vocal against Hayward's acoustics, then, what I can only say is the funniest drum intro and attempt at badass rock I've ever heard from these guys. It's just so lame. Then more horns, just like stuff off "Natural Avenue" and "Octave" and "Sur La Mer". Then the song repeats itself and just beats along. Hayward tries to pull out a double-tracked guitar, but its buried amongst the chorus of vocals, which try to give the song some authority. Then the frantically delivered middle 8 making these guys classic rockers (old time rockers trying to stay hip and current). The guitar solo is so brief by Hayward its over before it starts. "I'm in a state of permanent confusion", I guess you are John. Then a sax solo. More "I'm Just A Singer (In A Rock 'N'Roll Band) revisited. Not very inspiring.

Never Blame The Rainbows For The Rain (produced by Tony Visconti): The last tune is a slow one by both Hayward and Thomas, the first time thats happened since Watching And Waiting. The song is a mellow moaner about past regrets I think I almost think this song was done as a conciliatory gesture to Ray Thomas. There's really not much to the song, just it's plodding manner. It reeks of sappiness and trying to resurrect a past style, by now long dead and gone for these guys. By the third repeat, I am so tired of this tune and can't wait for it to end. Then they go up a step to liven the tune up and then Hayward then pulls out a nice little guitar line off the side. The tune ends with a steel guitar slide up the scale. Pretty song. Pretty dull.

Summary

This album did not do well for the Moody Blues. There was no hit to propel the band, not even a minor one. The album did not chart and it simply vanished. The album is better than "Sur La Mer" to be sure, however it is inconsistent and shows one thing: the increasing role of John Lodge in the band. He seemed to have more energy in his material than the rest of the band, and he in a way did push the band to continue, in my opinion.

It almost sounds like the other guys have had it by this point. Just trying for another hit single and who cares about good songs as long as the label is happy, right? Three different producers, all of various styles still couldn't save the band.

Not the greatest album, there are some moments like "Is This Heaven?" and maybe "Say It With Love", but the rest of the album is so down in tone, I usually sleep through most of it.

This was the last album for quite a while from The Moody Blues. The Moodies later resurfaced as a Vegas act. Now there's the real sell-out, but they still had more to say, but, was it worth listening to?

Star Rating (out of 5)

*1/2 out of *****

Album Review by Shawn Dow

Watch for an upcoming Review by Shawn Dow