CREDITS: DISC ONE / Stevie directs and performs the entire show, with extra interpretations by: Ted Taylor (piano 8) Mike Hopper (production assistance and flute 7, acoustic guitar and chord progression 10) Bill Anderson (tambourine 1, synthesizer 5, drums 10) Gary Moore (basses 5, tambourine 7, gong and effects 11, priceless brotherly enthusiasm.) Thanks to the Franz Metronome, Linda Moore's Sony, and Billy A's kind use of instruments. Mastered 7½ips ¼track stereo into the Bicentennial All tunes by Moore, except 5 (Richard Berry), 8 (Newell-Canfora), 17-19 (Maclen)     Recorded and perfected at Mom's Apt. 180, 510 Heritage Drive in Madison TN. Varous basic tracks and/or overdubs at Hop's Mom's on Berkley or Billy A's new mansion on Pennington Bend.    Manufactured December 1975-February 1976 Directly in the midst of the infamous LSI beatlesessions, managed and financed by Harry E. Palmer Jr. 17, 18, 19 - Recorded at LSI Studio (16 trk), 17th Ave So. Engineer: Steve Messer 16 - recorded/assembled at 913 N.12 St. '75 DISC TWO / all songs composed by Moore, except 5 (Gordy/Davis/Gordy) all songs recorded 1975 at 913 N. 12th Street, East Nashville TN, except 2, 3 & 4 (226 Chapel Ave) all songs performed exclusively by Moore alone all songs dedicated to Harry Palmer's November visit Stevie's many instruments include:  Hagstrom electric guitar, Fender Precision Bass, Yamaha acoustic guitar, Alvarez classical guitar, Cardboard box bass drum, Fischer cabinet grand piano, Premier snare drum, maracas, tambourine, Cry Baby Wah Wah pedal, Jordan Creator sustain pedal, Realistic frequency equalizer, Maestro phase shifter, Univox echo chamber, Hi hat cymbal, extra cymbal, Sony mixer and microphones, Teac 3300 and A1500 tape decks, Panasonic cassette player, Koss and Vanco headphones, Fender Twin Reverb and Eenque amplifiers, voice.

OLAN MILLS

AMG REVIEW: A key album in R. Stevie Moore's early career, 1976's Stevie Moore Returns is an effortlessly eclectic set ranging from prog rock-influenced instrumentals (like the melodic, almost jazzy "Melbourne," and the colder, electronic "Magnusifence"), to scrappy little pop songs (an interesting new version of Moore's early standard, "Sort of Way," with a peculiar bongo-like drum track, or the joyous, Modern Lovers-like "Milk Shake") with plenty of Moore's patented experimentalism on display. This time out, the experiments involve an interest in funk and disco (in particular, the powerful "Everybody Is So Ignorant" works up a good wah-wah-powered head of steam), and the hilarious "Frank Jones Interview," where Stevie takes a radio station promo disc from Monument Records (the label his father, Nashville session legend Bob Moore, both co-owned and recorded for) and inserts his own increasingly daffy and desperate answers to Frank Jones' unctuous questions in place of his Dad's. The CD version of Stevie Moore Returns includes one of the more delightfully odd items in R. Stevie Moore's early catalog, The Voice/Lake Inferior, a mostly spoken word collection of surreal stories, stream of consciousness autobiography, found sounds, and tape loop experiments, like the gorgeous, mysterious "Quo Pah." Segments from the three-part "The Voice" would eventually appear on Moore's first LP, Phonography (under the titles "Explanation of Artist," "The Voice," and "Mr. Nashville"), as would "Melbourne," the soon-to-be-legendary "Goodbye Piano," and two of Moore's finest early pop songs, "I Wish I Could Sing" and "I Want You In My Life." –Stewart Mason, All Music Guide

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