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2LP
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PI 005LP
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"As with all matters related to Ariel Pink and R. Stevie Moore the exact details are vague -- but the origins of this compilation can be traced to Ariel Pink's My Molly EP from 2006. Included with the EP was a postcard insert that featured a hand drawn road-map to what Ariel considered to be RSM's best songs from each era. This illustrated his deep appreciation for, and understanding of, R. Stevie's vast catalog. Nearly all of the selections on this release come from that list and all were recorded between 1973 and 1984. The final sequence for Ariel Pink's Picks, Volume One was sent by Ariel to R. Stevie around 2006 -- but the release didn't materialize until 2011 when Nick Noto (Big Muff Radio) discovered it while assisting with the digital reincarnation of the RSM Cassette Club. Later in 2011, Laughable Recordings released a limited run of 100 cassettes that quickly sold out and have been highly sought-after by fans ever since. It is worth noting that the majority of these songs do not appear on R. Stevie Moore's many other compilations; and this is the first time that eleven of the seventeen tracks have ever appeared on vinyl. This essential collection was carefully remastered for vinyl release by Carl Saff in early 2014."
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LP
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CARE 109LP
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LP version. There can't be many who possess a back catalog containing more hidden gems and scarcely-touched-upon curios than R. Stevie Moore. Dubbed "The Grandfather of DIY" by some, it's the only tag that's ever stuck for this prolific, chameleonic artist, whose cult status has grown over nearly half a century of music-making, and whose back catalog -- which numbers in the hundreds of releases -- has influenced everyone from Sonic Youth's Thurston Moore to lo-fi pop king Ariel Pink. This wave of musical admiration from peers, both contemporary and new, has helped push this once most outsider of musicians towards the wider consciousness; the past two years have seen him appear on the cover of Wire, record a session for the BBC, tour Europe and tread festival stages -- the consequences of a most endearingly unfashionable artist suddenly finding himself in fashion. Personal Appeal both showcases why such acclaim is several decades overdue, but in its body of material it actually goes back to way before the magazine covers and rise to cult iconicity that Moore can now justly enjoy. These tracks have been taken from a period in between 1973 to 2001, an era during which he forged a deep connection -- for better or worse -- with New Jersey, after moving there from his native Nashville in 1978. The sheer volume of releases that have come out through Moore's career perhaps explain the wider overload of thought that occupies this most frenetic of minds. As he was releasing music on a number of labels, including his uncle's HP Music, he also put out swathes more on his own mail-order Cassette Club, which operated out of his NJ home. The cuts on Personal Appeal all derive from this vast, largely un-catalogued well of material that he was creating and self-producing alongside his more official output. The selection tells a story, not through comprehension, but through mood and representation. It veers through surf-rock, freak-folk, touches on bluegrass and country -- a nod to his formative years -- and sprawls outwards to include orchestral flourishes and broader rock sounds; Moore's writing has always mixed humor with melancholic sincerity, as indicated on track-titles like "Why Can't I Write a Hit?" and "Pretend for a Second That You Are Very Intelligent." Personal Appeal is a series of snapshots and insights into the mind of a man for whom the only editor he had or could answer to during his NJ years was himself. It's a narrative applied to a mass of frequently brilliant full recordings, half-ideas and experiments, and a reflection on the ups and downs of an artist who continued to strive for his music even when hope of any wider recognition seemed lost.
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CD
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CARE 109CD
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There can't be many who possess a back catalog containing more hidden gems and scarcely-touched-upon curios than R. Stevie Moore. Dubbed "The Grandfather of DIY" by some, it's the only tag that's ever stuck for this prolific, chameleonic artist, whose cult status has grown over nearly half a century of music-making, and whose back catalog -- which numbers in the hundreds of releases -- has influenced everyone from Sonic Youth's Thurston Moore to lo-fi pop king Ariel Pink. This wave of musical admiration from peers, both contemporary and new, has helped push this once most outsider of musicians towards the wider consciousness; the past two years have seen him appear on the cover of Wire, record a session for the BBC, tour Europe and tread festival stages -- the consequences of a most endearingly unfashionable artist suddenly finding himself in fashion. Personal Appeal both showcases why such acclaim is several decades overdue, but in its body of material it actually goes back to way before the magazine covers and rise to cult iconicity that Moore can now justly enjoy. These tracks have been taken from a period in between 1973 to 2001, an era during which he forged a deep connection -- for better or worse -- with New Jersey, after moving there from his native Nashville in 1978. The sheer volume of releases that have come out through Moore's career perhaps explain the wider overload of thought that occupies this most frenetic of minds. As he was releasing music on a number of labels, including his uncle's HP Music, he also put out swathes more on his own mail-order Cassette Club, which operated out of his NJ home. The cuts on Personal Appeal all derive from this vast, largely un-catalogued well of material that he was creating and self-producing alongside his more official output. The selection tells a story, not through comprehension, but through mood and representation. It veers through surf-rock, freak-folk, touches on bluegrass and country -- a nod to his formative years -- and sprawls outwards to include orchestral flourishes and broader rock sounds; Moore's writing has always mixed humor with melancholic sincerity, as indicated on track-titles like "Why Can't I Write a Hit?" and "Pretend for a Second That You Are Very Intelligent." Personal Appeal is a series of snapshots and insights into the mind of a man for whom the only editor he had or could answer to during his NJ years was himself. It's a narrative applied to a mass of frequently brilliant full recordings, half-ideas and experiments, and a reflection on the ups and downs of an artist who continued to strive for his music even when hope of any wider recognition seemed lost.
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LP
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PI 001LP
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"Personal Injury is pleased to present R. Stevie Moore's classic second album Delicate Tension, originally released by Stevie's uncle on HP Music in 1978. Delicate Tension is regarded as an absolute highlight of RSM's massive discography and was featured as one of his six most essential albums in the Wire's (issue #340) cover article. Reissued for the first time on vinyl in an exact-repro sleeve and mastered from a digital transfer off the original analog reels." Includes a download coupon.
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LP
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PI 002LP
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"Personal Injury is pleased to present R. Stevie Moore's legendary album Glad Music, originally released on the French label New Rose in 1986. Glad Music is regarded as one of the highlights of RSM's 400+ album discography and was featured as one of his six most essential albums in the Wire's recent cover article. Reissued for the first time on vinyl in an exact-repro sleeve and remastered from an analog source." Includes a download coupon.
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2LP
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MEGA 024LP
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R. Stevie Moore's music sounds like so many different things, yet like no one else. He's been making home recordings since the late '60s as an underground artist and only now is he seeing a much larger recognition of his work. His friend Jason Willett compiled this record over the course of 17 years, digging deep into Stevie's cassette catalog. Hearing Aid is a collection of Stevie's songs that cover a wide range of variety: pop genius, sublime instrumental country surf, electronic experiments, bizarre spoken-word theater, dark disco rock, field recordings, etc. The end result is not a "greatest hits" collection but rather a diverse sculpture of the early world of R. Stevie Moore. This is one of the only readily available R. Stevie releases and 95% of Hearing Aid has never appeared before on vinyl. It features 32 songs that were recorded from the late '60s to the early '80s, over 87 minutes of audio. This compilation of rare tracks is produced on limited double LP vinyl only, in a deluxe gatefold sleeve (featuring 284 images of R. Stevie).
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2LP
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TPS 001LP
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2011 release. "In Fall 1979, R. Stevie Moore squeezed into a midtown Manhattan building at 56 West 45th Street, entered a tiny eighth floor jingle studio run by Englishman Tom Clack, and proceeded to bond big time with ambitious engineer Jon Child (who Uncle Harry Palmer had earlier sought out to assist in assembling the original Phonography album) to create one of his greatest collections of music. Still awestruck by his recent move north, R. Stevie first met Jon and Tom when the studio was utilized for compiling the Delicate Tension LP. With a cache of great new songs and experiments, he now was set, aimed to break down all barriers and collect audio styles galore in a 'professional' eight track environment, a major jump from mere tape deck home demos. The project extended well into the next year (decade). Those many sessions are gathered on this 60 minute masterpiece, simply titled CLACK! from which many of Moore's greatest all-time hits emerged." Includes a download coupon. Last copies...
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CD
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RER RSM1
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"Phonography was Stevie's first LP release, and an out-of-the-blue masterpiece: terminally idiosyncratic but with all the compositional qualities of great pop. A gifted songwriter, R Stevie (son of Bob Moore, Elvis' bassist) grew up and was steeped in Nashville's countrypolitanism; but, as a recidivist rebel, he inevitably slipped into strange byways, following his own, unique path into celebrated obscurity - as this strange and compelling record attests. Hans Arp said, 'My paintings are like fingernails: they keep growing and I keep cutting them off'. R Stevie's songs seem to follow the same rule. They create worlds, tell stories, trifle wantonly with form, harmony, structure and execution, and throw off passages of casual brilliance on the way. Lo-fi is integral to its purpose. You can't pay to get a sound like that. So, when nobody seemed to want to keep Phonography in print, ReR Megacorp were happy to oblige - it's history. We took the opportunity to re-master and restore it to its original form. Instruments used: Red plastic Hagstrom electric guitar, Gibson SG Junior electric guitar, Fender Precision Bass, Yamaha acoustic guitar, Alvarez classical guitar, Premier snare drum, upside-down cardboard box bass drum, various full drum kits, Fischer grand piano, Franz metronome, Maracas, Tambourine, Cry Baby Wah Wah pedal, Jordan Creator sustain pedal, Korg synthesizer, Elka string synthesizer, Magnus chord organ, Realistic frequency equalizer, Maestro phase shifter, Univox echo chamber, hi-hat cymbals, extra cymbal (old), Panasonic cassette player, Koss and Vanco headphones, Fender Twin Reverb and Eenque amplifiers, Cords, Picks, Voice."
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