- 01. SIGNAL (2:50)
- 02. STUDIO ANIMALS (:34)
- 03. JESUS ROCKS (2:56)
- 04. RECORDS (1:25)
- 05. THE FLAVOUR IS MINE (4:33)
- 06. SOX (1:08)
- 07. BACK IN TIME (4:39) VIDEO
- 08. WITHOUT CAUSE (1:14)
- 09. TREAT ME (2:43)
- 10. SATISFACTION (2:59)
- 11. TECHNICAL DIFFICULTY (2:43)
- 12. GENUS LEPUS (:53)
- 13. WHO NEEDS GIRLS? (4:49)
- 14. DELICATE TENSION (3:43)
- 15. YOU AND ME (2:16)
- 16. JESUS CHRIST (1:20)
- 17. ROCK 'N' ROLL KIT (2:26)
- 18. CASSETTES (1:32)
- 19. OVEN LOVE (3:45)
- 20. YOU'LL NEVER GET ME (1:18)
- 21. GOODBYE PIANO (2:22)
MAY2014 Official CD REISSUE (w/6 bonus tracks/autographed) US$20 + shipping
Also available from CORDELIA
ORIGINAL LP LINER NOTES:|
Not very many music lovers realise the extent of the influence caused by R. Stevie Moore, born in 1972 on a tobacco farm near Goodlettsville, Tenn. For years this young singing idol has baffled record label honchos, side-stepping pressures to move onto different repertoire and sticking with the same exact song on as many as 12 different releases.
His first singles on the Sun label catapulted Little Stevie into worldwide acceptance, and their endless reissues on other budget lines helped the legend live on. It was with his stint as feature entertainer on Savoy Records that he acquired the title "King of Boogiepop."
Then, his career zoomed skywards with his live appearances (sic) for fighting soldiers in Libya and on other charity tours. R. Stevie helped the confused music industry profit with countless imitators spurring interest in mass sales again. Never before had dance music embraced such a true genius with such respect and devotion. And we're not likely to again.
This special edition album gathers some of his most well liked numbers from over the years, jukebox favourites you and your parents have hummed together, hard-to-get bestsellers from his early years, and several new sides RSM wrote and taped just for Cordelia. We take great pleasure in presenting this seventh R. Stevie Moore long player during his lifetime.
Thanks to Alan Jenkins
Rushden, Northants, England
by Dave Henderson
R STEVIE MOORE
?• • (two stars)
R Stevie is an enigma with a message, a pop purist whose symphonies are eminently catchy, never syrupy, and always spiralling towards a keener than sharp hook line. This collection of his work ranging from '76 to the present day mixes all of his songwriting skills over an array of sounds and a dictionary of finishes. There's even a cover of Satisfaction, which Stevie carries out in his own struggling style. One to be savoured and an investment that'll brighten any boudoir.
AMG REVIEW: A scattershot collection of 1976-1986 recordings by Nashville-born, New Jersey-based home recording pioneer R. Stevie Moore, (1952-19??) focuses on Moore's stranger material instead of his more straightforward pop songs. However, unlike 1985's Verve, which was released by a related label, this 22-track collection also avoids Moore's noise collages and most aggressive experiments. The songs mostly stick to traditional verse-chorus-bridge structures, but they're full of unexpected melodic shifts, idiosyncratic arrangement choices, and playfully bizarre lyrics. Mostly, the best songs are those that combine Moore's oddities with the strongest and most interesting melodies. In this respect, the Ramones-like "Jesus Rocks," which advocates staying home and listening to records on Sunday mornings instead of going to church, and the almost orchestral overdubs of "Technical Difficulty," about the mechanical frustrations of Moore's life as a bedroom-based one-man band, are the album's two highest points. Conversely, the overlong "Oven Love" is too muddy and the ranting "Sox" too annoying to have much impact. Two of the more interesting experiments are reworkings of songs that had appeared on earlier Moore albums. On 1978's Delicate Tension, the title track was a Hatfield & the North-like jazz-prog instrumental. Here, Moore sings new lyrics over the original recording, which adds an interesting new texture to the song. The 1983 re-recording of Phonography's "Goodbye Piano" is less successful, largely because it lacks the manic quality of the original and substitutes a chorused synthesizer for the out-of-tune piano.
–Stewart Mason, All Music Guide