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Most of this blog is related in some way to the music, books and films produced by Gonzo Multimedia, but the editor has a grasshopper mind and so also writes about all sorts of cultural issues which interest him, and which he hopes will interest you as well.

Tuesday, 14 October 2014

YES: The Patrick Moraz Double Minimoog


It might take me a little while to get there, but give me a minute or two and I’ll make it. I promise.

It all started many years ago when I got Chris Squire’s solo album Fish out of Water. I’m a huge Squire fan, and I’ve always loved that album. The problem is, I only had it on vinyl so I couldn’t really play it anymore. I don’t really like re-buying the same albums again and again, except for a very few. (Some notable exceptions are Close to the Edge, of which I have far too many copies, mostly because I kept wearing them out from playing the LPs so often when I was a lad, and also 2001, which sorta counts and sorta doesn’t because it’s both abook and a movie and I have several copies of each. But I digress. Although I -did- warn you of that at the beginning.)

Anyway, I’ve never really loved buying music from iTunes because of the DRM, although I’ve bought a good amount of music there over the years, so I’ve recently started to buy mp3s from Amazon’s music store. No DRM, which is actually rather refreshing (but I digress again). The beauty of this is that it’s actually pretty inexpensive for many older albums. I got Fish Out Of Water and The Lamb Lies Down On Broadway for US$14 for both of them together. That’s not a bad deal.

I’m getting there. Trust me.

The point of this is that I just about a week ago got Fish Out of Water, and while I certainly remembered the album, I had more or less forgotten that Patrick Moraz plays most of the synthesizers on it. It was almost a revelation. After the first time I listened to it, I almost immediately played the Relayer album. And that brings me to Moraz’s incredible synth sound. I’ve had Relayer since the early ’70s when it came out, but despite having played many synths in my time I was never sure how Moraz got that “liquidy” in-motion kind of joyful sound out of his synths.


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Live In Princeton 
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