Departure of Moraz
Thomas' high value remained on stage primarily from his continued ability to sing out his 1960s and 1970s Moodies classics, and also in flute and keyboard duets he composed with Moraz which were only performed by the two during Moodies' concerts. The band had begun to reinforce their concert sound in 1986 with the addition of a second keyboardist (Bias Boshell was the first, replaced in 1987 by Guy Allison before Boshell returned by 1990), as well as female backing singers (see Personnel below).
In 1991, halfway through the production of their new studio album, Patrick Moraz made some comments in an article in Keyboard Magazine that suggested dissatisfaction with his role in the Moodies. His complaints ranged from the Moodies' music becoming too simple in structure, to the other members' reluctance to allow him to make significant contributions to the songwriting on their albums. He also was spending long amounts of time planning a music concert to celebrate his native Switzerland's 700th anniversary, instead of rehearsing with the Moodies. He was dismissed from further participation in the group before the project was completed. Boshell, as well as new keyboardist Paul Bliss, were brought in to finish the new album's keyboard tracks. Despite credits as an 'official band member' being included in any group photos on the four Eighties studio albums from "Long Distance Voyager" to "Sur La Mer" in recent years Moodies compilations now refer to Moraz as merely being an 'Additional keyboardist'. Moraz later took legal action against the group in the United States, which he won, but was then awarded only a nominal sum.
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“This house was but a slight departure from the hollow tree, which the bear still inhabits,being a hollow made with trees piled up, with a coating of bark like its original.”
—Henry David Thoreau (18171862)