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r.stevie moore librarian << |
R. Stevie Moore Is Worth It
NJ146 July 1985 2CD/C90
DISC ONE (74:58)
DISC TWO (74:58)
Guess Drummers:
Lee Miller A1, B1,3
Mark Cudnik A3,7,10, B6,7
Frank Balesteri B8
David Crigger B4,5
Also sensed: Chusid Price Ravis
Making Hits Again
Gettin' On Base
Headphone Dolby Soup
Live Tracks:
The Jetty, Bloomfield NJ
Mon 20 May 1985
RSM-vcls, gtr
Chris Bolger-bass
Lee Miller-drums
Jim Price-drums
Frank Balesteri-FX, vcls
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all tracks composed by moore, except:
A3 harrison, A6 tymes, A12 madison avenue beerdrinkers, A14 checker, B14 valenti, B15 stevens, B16 richardson
Having a collection is nothing like having
a hobby. Hobbies, like wood-working and
needlepoint, are supposed to be soothing.
Collecting can be high-pressured and ego-
consuming. Nor is collecting to be confused
with shopping––though many collectors
may be great shoppers. Collecting is more
abstract, nonspecific and open-ended. If
anything, it's like hunting: I never quite know
what I'll find on my hunts, and I don't really
care––the search is satisfying enough. Col-
lectors are romantics, after all, willing to look
long and hard for something that may not
even exist. Every collector's secret motto is
"I'll know it when I see it."
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AMG REVIEW: R. Stevie Moore Is Worth It was recorded in June and July of 1985, at the same time that Moore was starting preparations on Glad Music, his first album of new material for the French New Rose label. As is his wont when working on a relatively high-profile, pop-oriented project like that, Moore fills this album with his more experimental ideas, things that are uniformly interesting and often very good, but perhaps not the best showcase to a new and wider audience. As a result, much of this two-disc set is devoted to extended instrumentals and near-instrumentals like the opening "Your Dancing Ears," a multi-section workout for electric guitar that recalls some of Frank Zappa's more accessible instrumental work (this nearly eight-minute take was wisely redone, at less than half the length, for Glad Music) or the seven-minute "Without Progress," woozy psychedelia with found-sound voices built on a backwards drum part by Mark Cudnik. On the poppier side, this album introduced "Shakin' in the Sixties" and the absurdly bouncy "You Love Me, Do Something," two of Moore's most popular songs from this period, as well as an early, dreamier version of the exquisite faux-Beatles psych pop of "Colliding Circles," possibly R. Stevie Moore's most famous song of all time. The two-CD version adds on an odd concert recorded in Moore's adopted hometown of Bloomfield NJ, on May 20 1985. Along with his usual rhythm section of bassist Chris Bolger and drummers Lee Miller and Jim Price, Moore shares leader duties with his friend Frank Balesteri, who adds vocals, found sound from an on-stage television, and tape loops to an unfocused but intriguing set that at times sounds like a mid-'80s indie rock version of the sort of amorphous soundscapes that would be played in the rave scene's chillout rooms half a decade or so later.
–Stewart Mason, All Music Guide
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Download available at Bandcamp
Also available on 2CDR $20
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