his way back to Brazil, Moraz stopped in Miami as he had some free time. At the hotel, he received a call asking him to join the Moody Blues after Mike Pinder left the band. Moraz proceeded to sing "Nights in White Satin" and "Tuesday Afternoon" on the phone, and accepted an audition in London in July 1978. Before his arrival, Moraz performed at the Montreux Jazz Festival with Brazilian musicians Airto Moreira and Gilberto Gil. The audition with the Moody Blues was successful, and Moraz "Got the gig that very afternoon". Moraz toured with the Moody Blues in support of their ninth album, Octave (1978), which began in late 1978. Their next album, Long Distance Voyager (1981), became the band's biggest hit, reaching No. 1 in the US. This was followed by The Present (1983), The Other Side of Life (1986), and Sur la Mer (1988). During his tenure with the Moody Blues, Moraz completed several solo projects. He toured with his group from Brazil, recorded with Chick Corea, and released two albums with drummer Bill Bruford as Moraz-Bruford. The two toured worldwide between 1983 and 1985. In May 1986, he worked on some "temporary cues" and "not the final scores" to the soundtrack to Predator (1987) and Wild Orchid (1989). The project gave him the opportunity to visit the filming of Predator in Mexico, and to meet Arnold Schwarzenegger and Mickey Rourke. However, Moraz could not fully complete the score for Predator because of an upcoming tour with the Moody Blues, leaving Alan Silvestri to compose the rest. He also operated Aquarius Studios in Geneva with Ristori. Moraz performed the score to The Stepfather (1987). During the recording for Keys of the Kingdom (1991), Moraz was interviewed for Keyboard magazine. He expressed a feeling that The Moody Blues' music had become too confined and that the group had become stagnant, offering "no musical challenge". The other members, he thought, were unwilling to use his musical compositions and claimed his only composition during his 13 years with them was "half a song with the drummer". Before the Moody Blues toured the album, Moraz was fired from the band. In September 1991, Moraz sued the group for $500,000 as well as wrongful dismissal, claiming the group decided to split their profits four ways instead of five, and wished to be paid royalties he felt were owed to him as a