Thursday, 28 April 2011

Classic Song 38 - Fleetwood Mac "Albatross"


Let's talk about how one classic song influences another.

For instance, I've always noticed strong similarities
between The Beatles' "Sun King" and Fleetwood 
Mac's "Albatross", which was released as a 
single in January, 1969. That's about nine 
months before John, Paul, George and 
the luckiest drummer in history 
released Abbey Road.

I'm not saying that The Fab Four intentionally
copied some of the most identifiable aspects
of "Albatross", and refashioned them in
their own magical musical imagery, but 
it is certainly interesting to hear both 
songs, one after the other, as you now 
can, by checking out the two videos,
embedded at the end of today's blog.

Until the vocals begin in "Sun King", 
(at the 54 second mark) its instrumental 
intro shares the same key, the same two 
chord song structure and the same main 
guitar sound, played by Lennon (as an 
homage to Mac's mystical Peter Green?).

Have a look and listen to the two videos
and decide if you, too, are of the mind
 that The Beatles copied Fleetwood Mac.

I'm still trying to figure out whose visual style
 I ripped off, when I captured the following pic, 
during a spring 2009 Luv Shack getaway.

Mozz the Elder

www.vapormusic.com









Mozz the Elder - Random Rune 4


I think my melodies are superior to my lyrics.
When I'm dead, I want to be remembered as 
a musician of some worth and substance.


Freddie Mercury







Classic Song 37 - The Cowsills "Indian Lake"


Let's talk about musical influences.

Not mine, but those of the late Freddie Mercury.

Back in October of '83, I spent a few great weeks
at the old Record Plant recording studios in LA 
(before the complex burned down, obviously).


I was hired by Capitol Records to add stacked group 
vocals to about a dozen Alfie Zappacosta bedtracks, 
which had been cut a couple of months or so 
before that by Alf and Ed Thacker at 
Metalworks, back in Toronto.

Once I arrived at LAX, I cabbed straight to the
infamous Sunset Marquis, where I'd be staying
until my job was done. Having already been at the 
Marquis for a few months, Alfie welcomed me to
his home-away-from-home, as well as beautiful, 
downtown LA with a drink from the minibar.

He then decided my hair was far too normal 
looking. He totally mussed up, then covered 
my hair with hairspray(!!), and sat me in
front of a large mirror. I looked like
a narc... with Sting's 80s hairdo.

So when I first met Freddie, John, Roger and 
Brian of Queen, I felt like a small time, provincial, 
wannabe-rockstar tourist... withering in the presence 
of one of my favourite groups, as they arrived - one by 
one - in identical white stretch limos, and were instantly 
whisked inside the 'Plant', and down the long hallway to 
their studio... which was right next to Alfie's mix room. 

As they approached their studio doorway, I had a chance 
to say hi and make their acquaintance, just before they all 
disappeared for the rest of the day and night, recording 
various vocal and instrumental overdubs for their 
in-progress and soon-to-be-released 
tenth album, The Works.

As it turned out, I spoke with Brian, John and Roger
 numerous times after that, either inside the Record Plant 
walls or at the restaurant next door. I'd usually see bassist, 
John Deacon, in the little commissary, on the phone to his 
wife in England (as they'd just had a baby, I believe). I 
spoke with Brian May (and his keyboard programmer, 
Torontonian, Fred Mandel) about his multi-Vox AC30 
guitar rig, which was visible through the open studio 
doorway. I never met Mack, their producer, but I did 
yack with drummer, Roger Taylor quite often, as he 
spent a lot of his downtime, mastering his enviable 
pinball skills, and didn't seem to mind being 
quizzed by a narc with a bad Sting hairdo.

Unfortunately, I only spoke with Freddie once,
when he greeted me, as I was walking past him 
(and his two identical bodyguards), in the long 
and winding, old Record Plant hallway.

He said, "Lovely day, isn't it"?

I replied, "Sure is, man".

His twin bodyguards stood their silent ground, 
as I totally forgot to ask Freddie the question 
that's been plaguing my mind, ever since:

"Were you influenced, vocally, by The Cowsills,
whose dense, multi-part group vocal arrangements 
on hits like "Hair", "The Rain, The Park, & Other 
Things", not to mention "Indian Lake", sound at
times to me like templates for your stunning, 
often one-man group vocals for "Killer 
Queen", "Bohemian Rhapsody" and 
countless other Queen songs?" 

Though it's probably a good thing I didn't 
ask him my burning question, I still have this
most likely misguided notion that Freddie 
WAS, indeed, inspired by The Cowsills.

I mean, I've yet to be proven wrong.

Here's "Indian Lake", featuring the vocals 
of pretty well the entire Cowsills family.

But first, here's me and Bob Rock, 
back in October of 2008, at the 
CBC Studios in Toronto.

Mozz the Elder

www.vapormusic.com















Tuesday, 26 April 2011

Classic Song 36 - Procol Harum "In Held 'Twas In I"



Let's talk about classic music.

And when I say classic, I mean progressive.

Introducing the very first 'prog rock' masterpiece:
"In Held 'Twas In I" by the immortal Procol Harum.

Recorded and released in '68, "IHTII" is a five movement,
17 minute suite that set a new standard for rock music,
heralding the coming of a vital and very complex 
style of music, which came to be known
as progressive or prog rock.

When my brother Rod bought and brought home 
Procol Harum's second album, Shine On Brightly,
neither he nor I had any inkling as to the content
on side two of the LP, since side one consisted 
of five powerful, yet concise compositions,
including the single,"Quite Rightly So".

As with their debut album (as well as with 
all of their subsequent releases), all lyrics were 
penned by Procol Harum's sixth band member, 
leader/composer Gary Brooker's trusty and 
enigmatic writing partner, Keith Reid.

Originally entitled "Magnum Harum", 
Reid retitled the piece, using the first lyric 
of each movement to form the acronym,
"In Held 'Twas In I".

Cited by The Who's Pete Townshend as a 
major inspiration for his band's masterpiece, 
the rock opera Tommy, "IHTII" hit this very
impressionable British Columbian square between 
the ears. During my very first listen (through Rod's 
headphones), I can still remember getting totally 
swept away by the emotional, near-symphonic 
fifth movement, "Grand Finale".

To say I was completely overwhelmed 
would be a major understatement.

As the final notes of the piece faded and I 
took off the headphones, I started to cry.

I guess I'm still just a sappy, ol' prog dawg.

Here's one of my all time favourite 
pieces of music, "In Held 'Twas In I", 
posted for you in two sections.

Mozz the Elder

www.vapormusic.com





Monday, 25 April 2011

Classic Song 35 - Moby Grape "Murder In My Heart For The Judge"

Moby Grape was a San Francisco-based band that,
at the start of their career in the mid 60s, were 
touted by their label, Columbia Records, 
as being the 'next big thing'.

The Columbia honchos were so sure of their hunch,
they released five Moby Grape singles at once.

Needless to say, radio programmers were confused
as to which song or songs of the five they should
focus upon, resulting in the lack of concentrated 
airplay for nearly all of the singles, with the 
notable exception of "Hey Grandma" 
and fellow rocker, "Omaha".

Columbia Records' grand misstep nearly killed off
Moby Grape, one of the sixties' greatest multi guitar, 
multi vocal rock bands. Though they would go on to 
record and release a good number of powerful albums 
(including their sophomore effort, Wow/Grape Jam, 
featuring "Murder In My Heart..."), The Grape, 
as they were nicknamed, never recovered 
from their record company's mistake.

Chalk up yet another record company disaster,
albeit aided and abetted by various Grapes'
 addictions, predilections or mental states.

Here's "Murder In My Heart For The Judge",
featuring bassist/vocalist, Bob Mosely, along
with the epic, three-guitar assault of Peter 
Lewis, Jerry Miller and Canadian-born 
eccentric, Skip Spence.

But first, picture this.... taken from Pam's
and my suite in Rome's Inn on The Steps,
during our honeymoon, way back in 2002.

Mozz the Elder

www.vapormusic.com








Classic Song 34 - Paul Revere and the Raiders "I Had a Dream"

Let's talk about classic music.

Let's talk about why I became a musician.

Mom says that when I was about six months old, 
I really began reacting to the radio that she'd play, 
while doing her daily Mom stuff. Though I have 
no recollection of these momentous events, I do
recall that music was ever-present in the Mosby
household. My oldest brother, Gord was in a
quite popular Vancouver Island band, The 
Renegades, beginning in the late 50s.
He says that when I was just a tot, 
during their rehearsals, he would 
often sit me on his amplifier or 
near the drums, so I could 
truly FEEL the music.

Whatever did transpire, I became infatuated 
with all the music I was hearing, whether it was a 
hit from the day (Duane Eddy's "Rebel Rouser", 
or "Riot In Room 3c", a "Rebel Rouser" rip by 
The Knockouts, or the great Johnny Horton's 
"The Battle of New Orleans", or maybe 
The Champs' "Tequila", or even a country
spiritual, like Ferlin Husky's "Wings Of A Dove"), 
or simply the life changing, cacophonous thrill of 
being allowed to be a 'baby on the amp' at some 
of The Renegades' legendary band rehearsals.

By the time the Mosby family had moved to the West 
Kootenays, I was being daily inundated with new 
and exciting sounds, emanating either from the 
kitchen or one of the brothers' car radios or 
from our brand new console stereo(!!!).

With this inundation came an insatiable 
desire to hear everything musical that I possibly 
could. So when my four older brothers began buying 
and bringing home all the new 45s and LPs, I quickly
learned how to operate the console stereo's turntable,
and often found that the flipsides (B-sides) of hits, or 
the lesser known hits from popular acts were worth
hearing, just as much as their bigger hits were.

Which brings me to Classic Song 34, Paul Revere
and the Raiders' "I Had A Dream". At their height
of popularity in the mid to late 60s, The Raiders 
had a string of hits that, to me, ranked right up 
there with the best singles of the British Invasion.

Being a Pacific Northwest kid, myself, I was already 
well aware of Paul Revere and the Raiders from their
surf music era, regional 'garage' hit, "Like, Longhair" 
as well as their raucous version of "Louie Louie", cut 
in the very same Portland, Oregon studio in which 
The Kingsmen recorded their definitive, mumbly 
take on that choice, rock n roll standard.

When "Kicks", "Hungry", "Just Like Me" and "Him 
or Me" were dominating the airwaves, I was by then 
firmly in the habit of playing and memorizing all of
their other sides, including the lesser known tracks
like "Action", "Night Train" and most especially,
the mid-sized pop single, "I Had A Dream", 
which features some features that I'd like 
to highlight for you now. 

Check out this fabulous, almost-psychedelic pop
nugget from Paul Revere and The Raiders, and
whilst doing so, alert your ears to the sinuous
bassline that winds itself under the two main 
verses (0:27-0:37 and 1:12-1:22), as well as 
what I believe is the first, ever rap vocal,
vamped by lead vocalist Mark Lindsay,
during the verse fade-out (from 1:57).

Prior to doing so, have a look at my kinda rock.

Mozz the Elder

www.vapormusic.com









Wednesday, 20 April 2011

Mozz the Elder - Burnt Offering One

It's hump day, and I'm virtually sleepless,
having spent last evening with friends,
old and new in good old Hamilstone.

Firstly, I've had such great feedback about
LTACM, that I'm galvanized, energized
and intent upon exposing you to what
I consider to be great, timeless music. 

However, as much as I want to spend the 
night, waxing effusive about each 
great track in its minutiae, I'm 
completely and utterly 
BURNT.

As in speechless...

SO, with the above in mind, here's 
Burnt Offering One: a concise but
potent potpouri of classic music
that has my ears by the balls.

First up:

Premiata Forneria Marconi "Celebration"





Next up:

Mahavishnu Orchestra "Trilogy"





Now, here's ELP with a live rendition 
of "Promenade and The Gnome"

(it looks like Keith Emerson's 
wearing my old satin jacket)





Today's final Burnt Offering
is the classic studio version 
of Jethro Tull's "Fat Man"





Mozz the Elder

www.vapormusic.com












Classic Song 33 - Rush "Caravan"

Like any red blooded Canuck buck, I'm a big Rush fan.

My first TO band, Trina, was their next door neighbour at
Barry Cobus' rehearsal place in Ajax, during portions of
their late '74 to early '75 rehearsals with a still-new,
but highly exciting drummer named Neil Peart.

My first interaction with Geddy, Alex and Neil was when
I went down the hall to their big corner suite and politely
asked them to 'play a little bit quieter', because Trina
was working on a ballad named "Sail Away", and
every time we rehearsed our chorus reprise, all
we could hear was THEIR song's chorus and
instrumental section, pounding in an odd
time signature (most likely 7/4) through
the paper thin walls of Barry's place.

Seeing as I was the new guy in Trina (and a former
lifeguard at that), I was dispatched by my bandmates to
see if I could convince the Rushians to 'tone it down
a little'. I'll never forget Al, in answer to my request,
saying 'oh yeah, we'll definitely turn it down for ya'.

Of course, the moment I returned to Trina's unheated
hovel with the good news for my mates, Rush simply
picked up where they left off and drowned out any
attempt by our little assemblage to get 'all dainty'.

Trina broke up on March 15th, 1975, and our
original music never was heard from again.

Rush, on the other hand, persisted and resisted all attempts,
whether by bonehead former lifeguards, club owners,
booking agents, management and/or record company
cadavers to do any, single thing that ran counter to
THEIR vision of who they were or wanted to be.

I still consider the Rush story to be a personal life lesson.

Here's yet another astonishing piece of magic music
from one of the world's greatest ever progressive
rock bands. From their forthcoming album,
here's "Caravan" by Geddy, Al and Neil.

But first, have a glance at a few fuzzy pix,
taken during their amazing show in Hamilton.

A big, big thanks to my longtime bud,
Lorne 'Gump' Wheaton, for allowing
TJ and me to experience Rush's
awe-inspiring power and
precision - up close.

TURN IT UP!!!!

Mozz the Elder

www.vapormusic.com













Saturday, 16 April 2011

Classic Songs 31 + 32 - Edgar Winter "Fire and Ice" and "Peace Pipe"

For some years now, I've been searching for Youtube 
postings of songs from Edgar Winter's debut LP,
Entrance, which to me ranks way up near the 
top of my desert i-land iPhone play/wish list.
Until today, I've come up, empty-linked 
and frustrated at the thought that 
no-one else thought as much
about that album as I.

Well, imagine my surprise when my eyes spotted
the prize I've been striving and YT diving for:

2 video/song postings - from the same person -
popped up as results of my latest search. Both 
are now embedded here, along with my 
most hearty and heartfelt praise for 
this astonishing debut from
a young Edgar Winter.

I first heard the album in 1970. 

A pretty big year for music, 1970 was:

12 Songs (Randy Newman); Abraxas (Santana); 
Deja Vu(CSN&Y); Led Zeppelin III; 
New Morning (Bob Dylan); 
Moondance (Van Morrison); 
Lizard (King Crimson);
 Straight Life (Freddie Hubbard); 
My Goals Beyond (John McLaughlin);
Hello, I'm Johnny Cash, not to mention 
John, Paul and George's first solo albums, 
plus about a hundred or so more 
timeless, GREAT records.

Out of Edgar's fruitful mind (and somewhat 
overshadowed by the aforementioned list
of new releases) popped Entrance,
a still-fresh synthesis of jazz, blues,
pop, classical, improvisational
and truly sensational music,
featuring Edgar's multi-talents
on keyboards; saxes; percussion
and vocals. With the capable assistance
of his prodigious brother, Johnny, Edgar 
created and laid down - for all time - 
tracks that are still forward thinking
and dead-in-the-pocket.

A somewhat interesting tidbit, with respect to Entrance 
is that one of the songs (I believe it's "Hung Up")
contains a visceral, early reading of what would 
become the alternate instrumental riff that 
helped drive Winter's future hit, 
"Frankenstein" to the top of the 
airplay and sales charts, 
about two years later.

Here are video/audio clips for "Fire and Ice"
and "Peace Pipe", preceded by a couple
of pix that I thought you might like...

seeing as everything I'm doing today's in 'twos'.

Mozz the Elder

www.vapormusic.com







Friday, 15 April 2011

Classic Song 30 - Dixie Dregs "Take It Off The Top"

Let's talk about classic musicians....

...guys like Steve Morse and fellow University of Miami
alumni, Rod Morgenstein, Mark Parrish, Allen Sloan 
and Andy West, together comprising the first 
and arguably best lineup of Dixie Dregs.

I first heard the 'Dregs' when I was on tour with 
Alfie Zappacosta in our EMI band, Surrender. 
At the time, we were in high demand on the 
club scene, with hits on Canadian radio 
and fans cueing up to see and hear 
us wherever we played. 

It was the early fall of 1979. Surrender was heading
west, after our first, weeklong stay in Winnipeg,
playing for the denizens of the Norlander Hotel,
and following a weeklong residency in Portage
la Prairie's finest local watering hole... 
and I mean HOLE.

I remember somebody (maybe guitarist, Steve Jensen)
loading a cassette into the van's cheap, in-dash player,
announcing that this tape was totally "the shit"....

Before I knew it, the opening guitar harmonics-led 
riff from "Take It Off The Top" filled the inside 
of our little jam packed rust-bucket, instantly 
transporting me from the back seat of a 
smelly van to the far reaches of the 
known rock universe.

Song after unbelievably well played song assaulted
my ears and - once the album was over - left me 
emotionally drained and begging for info....
anything of interest... about this new 
band of rock superheroes.

Needless to say, that tape never once left the van,
staying safely inside the cassette player for the 
duration of our western-Canada-and-back tour. 

Thirty-two years later, I'm still awed by the Dregs,
especially "Take It Off The Top", one of my 
all-time favourite rock anthems.

Here's the original album recording, following
a snapshot of Surrender, playing the legendary
El Mocambo in the sweaty summer of 1980.

Mozz the Elder

www.vapormusic.com







Classic Song 29 - Esquivel "Cherokee"

Let's talk about the inventor of 'space age pop' 
or 'loungecore', as it was called in the mid 90s.

His name was Juan Esquivel.

Back in '95, when I was working at Jungle Music,
my producer forwarded me an mp3 of a piece of
music that our ad client liked, as a template or 
'temp track' for the commercial we were to
score music to, by the end of that day.

He said "it's an example of 'loungecore', by a
now-obscure 50s/60s artist named Esquivel",
whose career was enjoying a resurgence with
the youthful dance and club crowd, thanks to
the rerelease of his late 50s and early 60s gems.

I clicked on the mp3 'play' tab and... OH MY GOD!
The sounds that bathed my senses were unlike anything
I'd heard before or since. The orchestration that Esquivel
had devised was highly idiosyncratic, featuring very tightly 
played arrangements for a melange of seemingly unrelated 
instruments, including slide guitar, kettle drums, wordless
vocal hooks or phrases, exotic percussion, as well as
Esquivel's masterful grand piano performances.

To me, the mind blowing aspect was this: in the 50s, 
when the audio standard was definitely mono (monaural),
or single track mixdown and mastering, Esquivel recorded
and released numerous LPs in gloriously, previously unheard
of and unimaginable stereo. His methodology was prescient:
he was known to contract two separate orchestras, and have
them situated in two, completely discrete recording studios,
playing from a score that had been split into two submaster
scores that, when played by the two distinct orchestras
and recorded individually, then subsequently mixed
together into one assembled master, yielded music
that was technically and musically light years
ahead of his 50s/60s contemporaries.

Even now, a half century after most of his classic 
LPs were released on an unprepared world, Juan
Esquivel's musical endeavours continue to
entertain, challenge and inspire.

Check out Esquivel and his unique, multi-orchestral  
take on the Ray Noble chestnut, "Cherokee",
immediately after spying yours truly in my 
most reflective Buck Lake disguise.

Mozz the Elder

www.vapormusic.com







Mozz the Elder - Random Rune 3


You got to be careful if you 
don't know where you're going,
because you might not get there.


Yogi Berra



Thursday, 14 April 2011

Classic Song 28 - Max Webster "Lily"

Let's talk about a classic, yet highly underrated band.

Toronto's Max Webster, to be exact.

Formed in 1973 by guitarist/vocalist/composer, Kim Mitchell,
'Max' was an awesomely talented assemblage of musicians,
dedicated not only to the creation of timeless music, but 
also to its league of diehard, battle hardened fans 
who followed Kim and his merry cohorts 
anywhere...... and everywhere.

I know. I, myself was one of those fanatic fans.

I had the pleasure of seeing the initial Max Webster lineup,
including Mitchell, bassist Mike Tilka, gifted keyboardist,
Terry Watkinson and future bandmate, Paul Kersey on
drums. Having arrived in Toronto just after Max's
formation, and being perpetually out of work,
I tried to catch as many of their shows as
possible. Whether they were at Larry's 
Hideaway, The Gasworks, The Knob 
Hill or The Piccadilly Tube (all long
since shut down and relegated to
the dust of my memory banks),
Max Webster truly were a
fearless and fearsome 
band to behold.

Especially for a twenty year old kid from Castlegar.

Here's "Lily", a scintillating standout track from their 
debut album. Featuring words by band lyricist, 
Pye Dubois, "Lily" still sounds to me like a 
ballad that's been mashed up with a 
progressive rock rhythm section, 
yielding a sound that is at 
once pervasive, evasive 
and - iconically -
'Max Webster'.

Prior to playing the song, have a gander at a late 70s 
photo I found of Kim, pointing the way....

Mozz the Elder

www.vapormusic.com












Tuesday, 12 April 2011

Classic Song 27 - King Crimson "Prince Rupert Awakes"

Let's talk about a classic musical collaboration.

One of the most significant, for me, is the pairing up
of King Crimson (Mark II) with Jon Anderson of Yes.

Almost two years before I finally 'got' Yes, my pantheon
of musical influences had already broadened outward
from The Beatles-led British invasion and its
American imitators to a secondary wave
of international and Canadian
artists - all determined to
push the boundaries
of popular music and
challenge both themselves
and their listeners, old and new.

By the dawn of 1970, I was now firmly caught
in the imaginary grip of acts like The Moody Blues,
The Band, Sly and The Family Stone, Moby Grape,
Creedence Clearwater Revival, Led Zeppelin,
and The Doors, as well as a host of other
visionaries. like Jimi Hendrix, The
Mothers of Invention, Chicago
Transit Authority and Simon
and Garfunkel. The Beatles
were beginning their slow,
but sure disintegration,
and I was scrambling
to find something or
someone new that
would push my
mind further,
into exciting,
uncharted
musical
waters.

Enter 'Lizard', the third album by King Crimson.

Featuring Robert Fripp, Mel Collins and lyricist
Peter Sinfield, and augmented by a new cast
of band members, including precision
drummer, Andy McCulloch and
vocalist/bassist, Gordon Haskell,
Lizard's five tracks signalled a
sea change in King Crimson's
overall direction, as they began
exploring new musical vistas and
incorporated powerful jazz elements
into their ouevre, courtesy of eclectic
pianist, Keith Tippet, Nick Evans on the
trombone, Mark Charig on cornet and the
true 'master of the cor anglais', Robin Miller.

But it was the inspired inclusion of Jon Anderson
as lead vocalist on the album's opening track on
side two, "Prince Rupert Awakes", that totally
awoke my still-slumbering sensibilities, and
in doing so, created a new and significant
musical milestone for 15 year old me.

"Prince..." also set the stage for my soon-to-be,
full initiation into the still-nascent, prog
rock army, once I'd matured a little,
and had occasion to review and
revel in all things YES.

Here's the definitive "Prince Rupert Awakes",
immediately following a snapshot of me in 1970
(taken by my brother Ken, the meditator in the
photograph accompanying Classic Song 23).

Mozz the Elder

www.vapormusic.com









Monday, 11 April 2011

Classic Song 26 - Seals and Crofts "Hummingbird"

Let's talk about a timeless, classic pop single.

The first time I heard Seals and Crofts was in 1970, 
when my brother Rod bought and played their 
earthy sophomore album, Down Home. 

Produced by John Simon, 
whose credits read like the who's
who of mid 60s - mid 70s recording artists,
Down Home catapulted me into the very complex
vocal and instrumental duality of Jimmy Seals 
(guitarist, vocalist and main composer) and 
Dash Crofts (mandolinist and vocalist).

I became a devoted fanatic of their music,
and searched high and low for any news
or new songs from the dynamic duo.

I soon found out that they were
followers of the Baha'i faith,
and re-read Seals' lyrics with a
slightly more contextual sense of
their import and meaning, both within
and without the song structures they were
married to. When their third album, Year of 
Sunday was released, I dove headlong into 
the new songs with a determined desire
to both memorize and - hopefully - 
understand their original
reasons for being.

Time passed...

The next thing I knew, 'twas the summer of '72.

Seals and Crofts released their fourth album, 
featuring the truly stunning lead-off single, 
"Summer Breeze". But it was the album's
first song on side one (and second single)
that totally knocked me off my big feet. 

Here's "Hummingbird" in two versions:
the first video features the single itself
(as well as the album cover artwork),
while the second blurry video shows
Seals and Crofts playing "Hummingbird"
for themselves and a small studio audience.

First, let's have a look at Peter Pigeon,
feathered native of Kinsale, Ireland 
(and master mason, apparently).

Mozz the Elder

www.vapormusic.com













Update from Mozz the Elder - My pictures


Good morning.

The pictures I post on LTACM are from my vast collection,
assembled over the past twelve+ years. Most of my photos
have been taken on digital cameras (I've had four so far),
however some of my pix have recently been digitized.
From their original, weathered and scratched form,
I've transformed these mostly ancient, analog, 
visual documents into slightly skewed new 
digital masters, by re-photographing 
them and loading, fixing and 
storing them in my iPhoto.

Their presence on LTACM is my way of trying to balance
my passion for music with my passion for photography,
 which is my sure-fire antidote to the often overbearing, 
creative pressure that I feel, when confronted daily 
with new musical conundra, whose solutions
require complete focus and dogged ethic.

So have a gander at the picture in each LTACM post.
If you want to have a closer look at a photo, simply
click or double-click on its thumbnail and voila!

Mozz the Elder

www.vapormusic.com







Sunday, 10 April 2011

Mozz the Elder - Random Rune 2


Music is the mediator
between the spiritual
and the sensual life.


Ludwig van Beethoven



Saturday, 9 April 2011

Mozz the Elder - Random Rune 1


All that we are is the result of what we have 
thought. If a man speaks or acts with an evil 
thought, pain follows him. If a man speaks 
or acts with a pure thought, happiness 
follows him, like a shadow that 
never leaves him.

Buddha