Turn Blue is the eighth studio album by American rock duo the Black Keys. It was co-produced by Danger Mouse and the band, and was released on Nonesuch Records on May 12, 2014. The record was the group's fourth collaboration with Danger Mouse, following their previous studio album, El Camino (2011), which was their biggest commercial and critical success to that point. For Turn Blue, Danger Mouse reprised his role from El Camino as an equal songwriting partner alongside guitarist Dan Auerbach and drummer Patrick Carne.
This aptly named disc showcases James Booker's piano playing; his stretches and runs are breathtaking in their fluidity. This disc (along with its Rounder partner, Resurrection of the Bayou Maharajah) was culled from some 60 or so hours of tapes that John Parsons recorded at the Maple Leaf Bar from 1977 to 1982. The main difference in the music on the two discs is that this one is purely instrumental.
Alicia Keys' debut album, Songs in A Minor, made a significant impact upon its release in the summer of 2001, catapulting the young singer/songwriter to the front of the neo-soul pack. Critics and audiences were captivated by a 19-year-old singer whose taste and influences ran back further than her years, encompassing everything from Prince to smooth '70s soul, even a little Billie Holiday. In retrospect, it was the idea of Alicia Keys that was as attractive as the record, since soul fans were hungering for a singer/songwriter who seemed part of the tradition without being as spacy as Macy Gray or as hippie mystic as Erykah Badu while being more reliable than Lauryn Hill. Keys was all that, and she had style to spare – elegant, sexy style accentuated by how she never oversang, giving the music a richer feel. It was rich enough to compensate for some thinness in the writing – though it was a big hit, "Fallin'" doesn't have much body to it – which is a testament to Keys' skills as a musician.
As much as The Moody Blues have earned the right to make a mediocre album, they shouldn't have been given the keys to the studio without a better batch of ideas than what ended up on Keys of the Kingdom. Like Sur La Mer three years earlier, many of the songs on here feel like prefabricated studio pop: programmed drum beats, sterile keyboards and soulless guitars pop up in the speakers seemingly untouched by human hands, compounded by brass arrangements and backing singers that were never a part of the Moodies' original vision…