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

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

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

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

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

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

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

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

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