Classic Song 46 - Gowan "A Criminal Mind"

Let's talk about truly classic music, folks.

Today, I pay tribute to a good friend, who goes by

the names of Gowan, Lawrence Gowan, Larry Gowan

and 

THE GREATEST ALL-ROUND ARTIST I'VE EVER 

HAD THE PLEASURE TO PLAY IN A BAND WITH.

My mind drifts back... back... back to the fall of 1977.

I was the bassist in a popular Toronto band called 

The Hunt. We were touring in support of our debut

album on GRT Records, and were performing in a

club in southern Ontario, when I was approached 

by a guy named Larry Sykes. He said he liked my

bass playing and that he managed another Toronto

act: Rhinegold. He further asked if I would be at all

interested in joining Rhinegold as their new bassist.

When I said 'no', he supplied me with various promo

articles on Rhinegold, including a five song demo,

on an open reel, 1/4 inch stereo tape that included

some wonderfully proggy, Beatle-y music that was

heavy on great vocals and great melodies. A song

named All Over Town totally grabbed me by the

ears, and made me reconsider my initial response.

I then got in touch with Mr. Sykes, who gave me

Larry's home number, which I called from a phone

booth on a cold, rainy night. I was living with The

Hunt's guitar playing leader, Paul Cockburn, at 

the time, and felt that I should at least be a 

bit discrete with my followup enquiry.

When I mentioned my interest in meeting and

possibly jamming with his band, Larry 

asked me one simple question:

"Who's your favourite group?"

"Yes!", I exclaimed, to which he replied,

"Okay. Right answer. You're in the band".

Of course, I still had to audition, but Larry 

and I really hit it off, to say the very least.

The rest is history, as they say. 

I joined Rhinegold and enjoyed a year and a half of

great playing and constant rehearsing and touring.

But we could NOT get ourselves a record deal,

no matter who we called or what we tried. We

could pack houses everywhere we went, but

could not get the powers-that-were to even

offer us an initial development deal.

So in June 1979, I left Rhinegold and joined

Surrender, another popular local act that was

signed to Capitol Records, and recorded and

toured with them until New Year's Eve 1980,

when I quit the club scene altogether and began

the incredibly slow process of reinventing myself

as a session player/songwriter/producer and such.

Meanwhile, Larry/Lawrence/LG/Gowan retired

Rhinegold and went solo, signing a record deal

with CBS and releasing his debut album, 

Keep Up The Fight.

By that time, I'd gotten lost, deep in the Toronto

jingle jungle... writing and demoing little thirty

second ditties for big Toronto ad agencies,

which is what I've been doing ever since.

But Larry forged ahead with his solo career,

releasing his multi-platinum, multiple award 

winning sophomore album, Strange Animal, 

in January 1985. The album is still as vital

now as it was then, and contains many

powerful songs, all self-composed.

To me and hundreds of thousands of

other Gowan fans, his signature song

on that album, A Criminal Mind, has

stood the true test of time, and still

ranks as one of the greatest songs

ever to emerge from a Canadian

artist of international stature.

Here are two videos of A Criminal Mind:

the first embedded video, filmed during

a Gowan show in 1990, shows just

how ecstatic his fans were (and still 

are) at the sound of the opening 

piano motif. The second video

(which would not embed, for

some reason - dammit!!!)

is proof positive that his

last ten years of singing,

playing, touring and

recording with Styx

have not, in any way,

diminished either his 

vocal or pianistic 

prowess one iota. 

Here's multi-named

and multi-talented Larry Gowan,

playing the inimitable "A Criminal Mind".

Mozz the Elder

www.vapormusic.com

Gowan - solo:

Gowan with Styx and The Contemporary 

Youth Orchestra and Chorus of Cleveland (2006):

http://www.youtube.com/watch?v=__coJMIqSno&feature=fvwrel

MozzLink 1 - Bruce Springsteen "Streets of Fire"

RIP Clarence 'Big Man' Clemons

Let's talk about Bruce Springsteen for a second,
or a minute or two - then watch a shitload of truly 
revelatory videos, filmed in true, cinema verite-ish
black and white, each with a stunning 'board' mix that
features Bruce's full-out, unsung, heroic guitar playing,
not to mention his razor-throated, take no prisoners lead
vocals. In concert with, and married to The E Street Band, 
Springsteen acts out each and every one of his songs' 
main protagonists' roles, aided greatly by the raw 
attack of The E Street Band - and the charisma 
and integrity of a truly big, engaging man - 
Clarence Anicholas Clemons Jr.

I had the pleasure of meeting and looking eye-to-eye
with The Big Man, himself. Yep. He was BIG. Way 
back in 1985, while employed as a security guard, 
during 2 massive Springsteen concerts in Toronto, 
at the now-gone CNE Grandstand. My buddy, 
Dave Beatty offered me (with absolutely NO 
security guard experience, eh-ver) the plumb 
job of 'backstage left security guard'. My role
was simple: keep all dogged, determined and 
prying fans AWAY from the backstage area, 
and specifically, assist Bruce and his merry 
band of rockstars (including both his then 
AND future wives) onto and off of the 
stage - before and after the incredibly
incendiary, legendary shows.

Which is exactly what I did.

In between performing my duties,
I watched (from directly behind Nils
Lofgren's amplifiers) Bruce, Big Man
and the band transform 52,000 people,
each night, into their best friends and 
lovers and close family - for ever.

To this day, methinks, all real Bruce
fans feel a kindred affinity with not
only his and his band's recordings
and shows, but with Bruce, Big
Man, Patti, Miami Steve and the 
whole E Street organization,
past, present and future.


And while, in the present and future,
there'll be no more banter between the
best-est of friends that Bruce and The 
Mastah of Disastah were, we are 
blessed with enduring memories,
prompted by links like the one
I'm a-writin' about, today,
showing Springsteen and
the E Street Band in their
early days - at The Capitol
Theatre in Passaic, New Jersey.

Be sure to check out this link, folks.

Try watching the related playlist.

This is one MF'in' B-A-N-D.

This is talent. This is timeless.

This is Bruce Springsteen
and The E Street Band.

Mozz the Elder

www.vapormusic.com




"Streets Of Fire"


http://www.youtube.com/watch?v=2EHG3PuXpF0&playnext=1&list=PL5DC8363F3F14C95B

Classic Song 45 - The Tornados "Telstar"

Alright -  time to talk about classic music.

Back in the years before The Beatles changed

everything, I was a little Kootenay kid that loved

pretty well all types of music that I heard, as I was

becoming more and more obsessed with the sounds

emanating from our radio and/or console stereo, and 

was constantly on the lookout for something new.

My brother Gord was my music hero, having

allowed me exclusive access to his band's

rehearsals (as detailed in Classic Song 

34). By eavesdropping on his daily 

guitar practice, whether played

on his '59 Jazzmaster or his

mid-50s Kaye, I heard many

exciting, reverb-laden tunes that

still resonate with me, over a half

century later, including guitar-centric

songs by Duane Eddy, The Ventures,

England's The Shadows or today's Classic

Song, featuring none other than The Tornados.

The story behind "Telstar" has been recounted 

often, so I'll give you only a snapshot summary of 

the salient points. The song was written and produced

by Robert George "Joe" Meek, who was not only into

music, but dabbled also in the occult, believing that he

could communicate with the dead, including the spirit

of Buddy Holly, himself. When not communicating

with ghosts, Meek was active in the British music

scene, having already had a couple of number

one UK records to his production credit. 

He was truly obsessed with futuristic sounds,

having already written and produced a concept

album, entitled I Hear A New World (which he

described as an 'Outer Space Music Fantasy),

for Brit act, Rod Freeman & The Blue Men.

But that was in 1960, and two years later, he was

determined to paint his audio masterpiece, with

the capable help of The Tornados. The title,

Telstar, refers to the US satellite that orbited 

the globe, in competition with Sputnik,

the Soviet Union's pioneering satellite.

The song itself features a very catchy melody,

played on a unique little instrument, called

the Clavioline, a forerunner to the analog

synthesizer, that was also used on The

Beatles' "Baby You're A Rich Man"

and many other pop tunes by acts as 

varied as Esquivel, Del Shannon,

The White Stripes and a young

David Jones aka Bowie.

After Telstar's massive success, Joe Meek 

was sued for plagiarizing the melody from an 

obscure soundtrack to a French film, and though

ultimately (and posthumously) found not guilty,

he was denied all royalties to Telstar, during

his short lifetime, and ended up deeply in 

debt and massively depressed by his

sad and lonely circumstance.

Though he ended it all in 1967 by murdering 

his landlady and subsequently committing

suicide, Joe Meek's legacy has grown in 

stature, with each new generation that 

has searched for greatness, and

found this classic song.

Now, the incredible "Telstar", 

following a totally unrelated 

photo, taken from my vast, 

personal collection of

unrelated photos.

Mozz the Elder

www.vapormusic.com

BONUS!! Joe Meek's demo of Telstar!!

Classic Song 44 - Steely Dan "Kid Charlamagne"

Let's talk about classic music.

Synonymous with the term 'classic music',

the name Steely Dan conjures up memories

of my touring days in the 70s, especially with

Rhinegold, since our master soundman, Bob

Shindle, used to 'tune' our PA to each club

environment by playing various great 

sounding records through the board, 

including The Royal Scam.

I remember being in Halifax, setting up at

the infamous Zapata's (where our dressing

room was, in fact, the men's restroom), and 

hearing the jazzy opening strains of Steely's 

"Kid Charlamagne" signal that our PA was

ready for action. But before the band began

our full soundcheck, Bob and I listened to

KC a bit closer, noticing just how rich and

unadorned every instrument and vocal 

sounded. In particular, the drums had

that dry, in-your-face clarity that

Bob was able to effectively cop

for our drummer, Danny

Bourne's massive kit.

Though Steely Dan and Rhinegold

shared little, stylistically, we did both

aim for greatness: of song; of performance

AND of sound, and even though Larry and

I parted ways about a year after we played

our hearts out in Halifax, I will always

remember his huge musical influence

on me, not to mention the huge

musical influence Steely Dan

had on me and Bobby and

pretty well the rest of

the world, methinks.

Here's "Kid Charlamagne",

following a recently acquired

picture of yours truly, dressed

from head to toe in Malabar-

made stage clothes - circa

late '78 or early '79.

Mozz the Elder

www.vapormusic.com

Classic Song 43 - Paganini "Caprice No. 24"

Let's talk about classic music from 

a turn-of-the-century composer.

And by 'turn of the century', my little pretties, 

I mean the turn of the nineteenth century. 

The composer? Why, none other than Niccolo 

Paganini, who was certainly a proto-prog 

musician, if there ever was one. 

His astonishing violin virtuosity notwithstanding, 

he lived a life that we would today describe 

as that of a rock star, overindulging in sex, 

alcohol, drugs and serious, classical 

composition and concerts.

Before he descended into personal chaos and 

financial ruin, he graced the world with original 

music that was so far ahead of its time, many 

thought his more challenging works 

to be near-musical heresy.

Caprice No. 24 is the final caprice of his 

24 Caprices, and is one of the most famously 

difficult pieces ever written for violin soloists,

featuring a main theme, eleven astounding 

theme variations and a brief finale.

Performed by the great Jascha Heifetz 

(whose grandson is Danny Heifetz, 

drummer for Dieselhed and most 

notably, Mr. Bungle), here's a 

live performance, filmed in 

beautiful black and white,

following a picture, taken while 

I recorded with members of the 

Toronto Symphony Orchestra 

and other elite TO musicians.

I'm just a lucky guy.

Mozz the Elder

www.vapormusic.com

Classic Song 42 - Blonde Redhead "A Cure"

Let's talk about classic music from the turn of the century.

And by that, brave warriors, I mean the year 2000.

We'd all survived the runup to, and letdown from, 

the Y2K silliness, and were back to consuming 

way too much, way too often, with way too 

few concerns for way too many.

In other words, life was GREAT.

The fave album at the Fen-by household 

was Red Hot Chili Peppers' Californication.

I was constantly scouring music periodicals to find out 

more about their resurgence, and during one particular 

interview with their guitar great, John Frusciante, he 

mentioned he was a big fan of a band which was 

opening for the Chilis, called Blonde Redhead.

So I followed Frusciante's lead and picked 

up Blonde Redhead's fifth album: 

'Melody Of Certain Damaged Lemons'. 

I popped the CD in the house system and... 

wow... I liked... no... LOVED what I heard. 

The band's three-person lineup (minimally augmented 

with tasty studio overdubs) yielded an inventive, musically 

challenging sound that appealed directly to both me AND 

my lovely lady, Pamela. Which was quite a big feat, 

considering that our musical tastes differed mightily,

with respect to anything that sounded 

remotely like progressive rawk.

I think the main difference between 'normal' prog rawk 

and the permutation performed by Blonde Redhead was 

that their lead singer was - and still is - a quirky Japanese 

woman named Kazu Makino, whose accented vocal 

prowess cast a spell on both Pam and me.

Her musical partners, twins Amedeo and Simone Pace 

also added high quality vocals to the mix, not to mention 

their Boston-trained percussive and stringed prowess.

The songs themselves run the gamut from the 6/8 

intensity of Melody Of Certain Three, to the almost 

Parisien pop of In Particular, to the stark, emotive 

balladry of Hated Because of Great Qualities 

to... 

my favourite track on the album: "A Cure".

With great shared lead vocals, "A Cure" feels at once 

like a Yes song, albeit with PFM-like male vocals, 

accented by Kazu's breathy rejoindres. 

The combination still feels fresh and invigorating, 

a full decade or more down the road of life.

Here's "A Cure", following a brief backyard 

visual from my trusty camera eye.

Moss the Elder

www.vapormusic.com

Classic Song 41 - The Doors "When The Music's Over"

When I was 13 years old, 

my brother Gord took me to my 

first ever rock concert, headlined

by none other than The Doors.

Mom, Dad and I were in Vancouver,

visiting relatives, and while spending an 

afternoon with big brother Gord, he

asked if I'd be interested in seeing

The Doors that very evening,

July 13th, 1968 at the

Pacific Coliseum.

Needless to say, I voiced an unqualified 'yes',

which was followed by Gord, wanting to 

make absolutely sure I was into seeing 

the band, since the 2 tickets'd 

cost him about 8 bucks.

I guess my job of convincing him was... 

convincing, for the next thing I knew,

I'd gone and bought a Nehru shirt at

Woolworth's, and Gord and I made

our way to the Coliseum - first,

to see the 3 opening acts, The 

Crome Syrcus, The Hydro-

Electric Streetcar and solo

singer, Tom Northcott.

Remember: this was my first rock concert,

so I was overwhelmed by a few things,

such as the pre-show crowd revelry 

(which got me all worked up), not

to mention (to the parents) my

first, ever contact high....

which really got me worked up.

So when the hockey PA speakers echoed the 

following announcement: "Ladies and gentlemen,

from Los Angeles, California, THE DOORS", I 

nearly leaped straight out of my skin and onto

the stage, except that it was about 20 rows 

away, and I was too young to be allowed 

to disappear from within Gord's sight. 

I stayed in my seat, straining to take in every, 

single moment of Morrison's and his band

mates' performance, albeit from row 20.

The concert changed my life, without a doubt.

Who knows? If I'd not seen this show at the

impressionable age of thirteen, would I have

been galvanized enough (without its impetus)

to want to be in the music business, when I was 

old enough to try my luck and my folks' patience?

Most likely, the true answer would still be 'yes',

even without my experiences, during that singular

and influential evening with the Lower Mainland 

hippies, the multi-named, long maned opening 

bands, followed by Northcott and The Doors.

I'm just so glad it happened, and forever 

grateful to Gord for making it happen.

The embedded video was taken during 

The Doors' '68 European tour, which

followed hot on the heels of their

tour of the US and Canada.

The poster and ticket stub 

were screen-grabbed from 

www.MildEquator.com

Mozz the Elder

www.vapormusic.com