everything200.jpg r.stevie moore

FRENCH PRESS for the
New Rose Album
"EVERYTHING"
Spring/Summer 1984
Dateline Paris



actuelmag.jpg ACTUEL (Sommaire No. 53, Mars 1984)

LE CHAMPION DU MONDE DU ROCK INTROUVABLE ET FAIT-MAIN s'appelle R. Stevie Moore et va peut-etre connaitre la gloire grace a une marque de disques francaise, New Rose. Depuis 1973, Moore diffuse exclusivement sur cassettes et par correspondance – les deux ou trois cents membres du R. Stevie Moore Cassette Club, a travers le monde, recoivent regulierement la R. Stevie Moore Cassettography. A ce jour, soixante-dix cassettes d'une heure ou une heure et demie, soit plus de deux mille chansons, improvisations et tranches de son sur le vif. L'auteur enregistre chez lui, sans arret, et il ne jette jamais rien. Quelques fans collectionnent tout, les autres choisissent en s'aidant d'une note, de 1 a 10, evaluant le quotient d'ecoutabilite de chaque livraison. Pas de stocks inutiles : les cassettes ne sont pas dupliquees en serie, mais copiees a l'aide de deux magnetophones, salon les demandes...
   ‹‹ Une musique si bonne que vous n'en avez jamais entendu parler ›› (c'est son slogan) : ennemi jure de l'industrie du disque, R. Stevie Moore s'est enfin laisse convaincre par le petit label New Rose a Paris. Le monde etonne va decouvrir un ahurissant double album de ses oeuvres choisies. Une pincee de faceties dada-Zappa-punk e surtout une brochette de tubes, refrains infectieux, uitares enervees, ambiances sournoises, d'une excentricite souriante, a l'anglaise, comme les grands moments des Kinks, de Kevin Ayers ou de Syd Barrett. Pour tout dire, le meilleur disque de 1984, a l'aise! Caramba, je suis accro, il va falloir que j'adhere. (R. Stevie Moore Cassette Club, 429 Valley Road, Upper Montclair, NJ 07043, USA).
J.P.L.

actuelsticker.jpg [English translation]:
"THE WORLD CHAMPION OF HANDMADE HARD TOFIND ROCK is R. Stevie Moore, and he will perhaps get a taste of glory thanks to a French recording company: New Rose. Since 1973, R. Stevie Moore reaches out exclusively on cassette and by correspondence. The two or three hundred worldwide members of the R. Stevie Moore Cassette Club receive regularly the R. Stevie Moore Cassettography. To this day, seventy one and a half hour cassettes, representing more than 2000 songs, improvisations and genuine slices of sound. The author records at home nonstop, and he does not throw anything away! Some fans collect everything, others choose from a reference scale graded from 1 to 10, evaluating the listenability quotient of each delivery. There is no useless stock: cassettes are not mass produced, but duplicated with two tape recorders according to the demand.
His slogan is "Such good music that you've never heard of it!" He is the sworn enemy of the recording industry. But R. Stevie Moore was convinced by the small Parisian record label New Rose. The astonished people out there will discover an amazing double-record set of his chosen pieces. A pinch of Dada-Zappa-Punk pranks, but mostly a brochette of hits, infectious choruses, unnerved guitars, sneaky atmospheres of smiling eccentricity, reminding us of England's great moments with the likes of the Kinks, Kevin Ayers or Syd Barrett. To say it all, this is easily the best album of 1984. Caramba, I'm hooked, and I must become a member!

every9.jpg


carpetmirror.jpg GLORIA (Mars 1984)

R. STEVIE MOORE. Celui-la fait partie des feles geniaux, des touche-a-tout sans complexes, des illumines du microsillon en liberte, que New Rose regulierement va debusquer aux quatre coins de l'Amerique. Apres Armand Schaubroeck, The Count, voici donc Stevie Moore. Un double album All you always wanted to know about Stevie Moore, but were afraid to ask. Trente six titres hallucinants/hallucines par ce vieux collegien, ne a Nashville d'un pere, Bob Moore, qui ne ut rien d'autre que le bassiste de Presley et Jerry Lee Lewis. C'est dans le New Jersey que le fils, sur un deux pistes, passe l'essentiel de son temps, solitaire, a enregistrer ses ses delires sonores. Depuis 1971, pas moins de 97 cassettes d'une heure, plus un mini album Phonography et deux singles Delicat Tension et Goodbye Piano. Il a meme cree son cassette fan club, ce qui tendrait a prouver que Stevie n'a peur de rien et semble certain que ses messages seront recus a travers le Monde. En France, c'est fait, avec cette curiositie qui ravira les passionnes d'insolite, de bizarreries. Et qui rassurera aussi: dans ces temps devideo clip triomphant, de disques sur produits, il y a, plus que jamais, place pour les excentriques.
R.B.

[English translation]:
R. STEVIE MOORE: This guy belongs to the crazed genius organization of dabblers without complexes, of the LP illuminates who still roam free, and New Rose regularly discovers some of these phenomenons in America's four corners. After Armand Schaubroeck, The Count, here is Stevie Moore. A double album entitled "All you always wanted to know about Stevie Moore, but were afraid to ask". The album contains thirty-six hallucinated and hallucinating songs by this old college boy, born in Nashville. His father, Bob Moore, was none other than Presley and Jerry Lee Lewis's bass player. It is in New Jersey that his son spends most of his solitary time recording his sonic madness on a two-track tape recorder. Since 1971, no less than 97 one hour cassettes plus a mini album "Phonography" and two singles, "Delicate Tension" and "Goodbye Piano." He even created his own cassette fan club, which would tend to prove that Stevie isn't afraid of anything, and it seems certain that his messages will be received throughout the world. This was already done in France, with this curiosity which will ravish the amateurs of the bizarre and of the unusual. And which will reassure as well: in these days of triumphing video clips, of over-produced record albums, there is more than ever room for eccentrics.

TELERAMA (28 Mars 1984)

"EVERYTHING YOU ALWAYS WANTED TO KNOW..." (French coming)

[English translation]:
"Everything you always wanted to know about R. Stevie Moore, but were afraid to ask..." The problem is that one would have hardly known what to ask, in light of the total anonymity of the person in question. Until this album. This album only represents a small portion of the songs of the said Mr. Moore. Since 1968, this honorable citizen of Nashville has had a hobby, a passion: to make and record music at his house. On total, he has accumulated a sum of 70 K-7s an hour apiece, or more than two thousands bits o' songs which he regularly sends to the Post Office to those who want them. He has fans, this R. Stevie Moore, of about two hundred members throughout the world who collect his music.
Fans and references. Our crazy artist has followed very closely the history of rock and is inspired and mixes all styles and every tendency. The latter is a mind-boggling mixture of sounds a la Zappa, the borborygmes symphonic for synthesizers, funk and punk, choruses and guitars, instrumentals and soft whispers, loud noises and collages of music. This is all served with style and much humor. This sampler album is dedicated to Abel Gance and Tex Avery. Bedroom rock of glorious gags. Self-made music – "the solution to the crisis?"
Philippe Bardot

LIBERATION (17 Avr. 1984)

Selection Disques
ROCK
Bayon

ROBERT STEVIE MOORE
"Everything..." New Rose (French coming)

[English translation]:
Take that as you wish, but here's a phrase which makes you think. Like the news of the week. No. Art without experimentatum - without this elementary process of esthetic hygiene, nothing is possible. It's the problem of the perfectionist, eventually, to uncover the ticks (always interesting) of the work, not that of the creator. In this sense, Robert Stevie Moore of Tennessee isn't a creator. Like a living capharnaum, like you or like me. He has an attic of notes, letters, tapes, memories, of which the world could care less. It's a "prealable," a poor amalgam of sense. He makes it an accomplishment. He has published it all (97 LPs in 10 years!...). An accomplishment to find them all. Guitars, piano choruses revisited, Syd Barrett + Elvis Presley + Robert Wyatt + Townshend a la mode The Count (a good friend of the Robert in question) or Frank Zappa, sparks of genius, Beatles, Durutti Column, PIL, all the movements mixed together, psychedelic + pop + rockabilly + freak + head music - all in cycles. He is a singer, composer, archaeologist, conservationist, visionary, encyclopedist, poet, generalist of curiosity for some people (collectors! collectors!). Nothing more moving for us. Damiel and Pecuchet's syndrome. Binary vision.


LIBERATION (Vendredi 18 Mai 1984)

Moore, fils de Scotty

Chasseur de papillons sonores, archiviste du bruit au quotidien, mi-génial, mi-tocard, mi-placard, il jouera ce soir aux 120 Nuits.

R Stevie Moore relève d'une imagerie classique et pathologique: celle due savant fou. Ses expériences de maniaque lunaire a lui portent sur le son. Le son rock, précisément. Dans son laboratoire-fourbi de Nashville, ce sorcier de l'inutile pointilliste, lunette au nez, bandes autour du cou, noyé dans un capharnaüm de rayonnages surcharges de maquettes, de baffles, de micro, de partitions égarées (ou retrouvées), de fils, de cassettes, de disques et de lettres de commande, anime un étrange théâtre de la folie bricolo.
   Il s'enregistre a perte de vue. Il se monte le bourrichon tout seul, se fait les quatre Beatles pour rien, un philharmonique en solo, les Studios Plant a la maison, concocte des cassettes a destination ses trucs, planifie , etc. Tout y passe: des pires couacs aux traits de génie (par hasard), des trouvailles aux radotages bétfiants d'hurluberlu surréaliste commun --genre Zappa, The Count, Holger Czukay, etc: gags sonores, grosses voix, couinements, pastiches et mélanges...
   Quel con! N'importe quel technicien, avec un peu de fantaisie, quatre Revox, et trente micros, peut en faire autant, disent le cyniques. _ Trop de bruit, trop de matière, pas assez de retenue, ajoutant les esthètes. Incroyable, concluent les amateurs, indulgents, de singularité a bon compte. Et une fois tout cela pose, le journaliste demande: Mais qu'est-ce que ce type-la présente de vraiment "singulier"? Réponse: Il est fils de Scotty (Moore), guitariste Sun légendaire d'Elvis le grand. Ca c'est unique et imprévu.

LIBERATION: Tu ne penses pas, sincèrement, que ton double album, c'est du n'importe quoi?
   R.STEVIE MOORE: Si. Mais tu sais pourquoi? Parce que les gens ne sont pas habitués à écoute de tout...Ils veulent ou de la pop ou du rock ou du jazz ou du funk ou du punk, etc. Ils n'ont pas d'oreille, c'est pour cela que cet album semble too much. Mais moi, je peux te faire n'importe quoi, de Dépêche Mode aux Beatles. Mes influences pourraient être résumées ainsi: Beatles, Public Image, Joy Division, Zappa, le blues et les Beach Boys. D'ailleurs, cela ne suffit pas.
LIBERATION: Tu ne te perds pas dans tous ces ingrédients sonores?
   RSM: Pas du tout. J'ai toujours fait comme ça. En ce moment, je me sens obligé d'écouter des vieux trucs parce que la production actuelle est nulle. Tout le monde veut faire de la Dance music, avec beat disco. Quand j'ai acheté les premiers Joy Division, je n'écoutais que ça. Je n'avais plus envie d'écouter de vieux trucs. Pareil pour les premiers Cure, PiL...J'avance avec mon temps. Le premier Beatles, le premier Hendrix, etc. Main maintenant, c'est devenu trop "product". Comme les lessives ou les boîtes de conserve.
LIBERATION: On t'a très souvent pris pour un fou, halluciné, défoncé et très égocentrique.
   RSM: Je sais, mais c'est faux. Je ne fais pas de la musique sous LSD et mon ego équivaut à celui de n'importe qui. Je fais strictement ce qui me plaît. J'ai le feeling pour ça. Je peux faire du Sinatra comme un morceau industriel digne de Throbbing Gristle. J'écoute tout et je m'intéresse à tout. Mon matériel est minimal et si j'ai sorti un double LP, c'est parce qu'on me l'a proposé; c'est simple!
LIBERATION: Tes textes son une sorte de journal?
   RSM: Ni plus, ni moins. Cela parle de cigarettes, de café, d'amour: bref, de la vie.
LIBERATION: Être né à Nashville (Tennessee) c'est un handicap ou un don du Seigneur?
   RSM: Je ne sais pas si c'est un don du ciel, mais disons que tu es bercé très vite par le rock et par le country. Mon père s'appelait...Scotty Moore.
LIBERATION: Avoir un papa qui passe dix ans avec Elvis Presley en studio, cela aide ou pas?
   RSM: Elvis Presley n'est pas une influence majeure pour moi. En ce qui concerne mon père nous ne somme pas en...très bonnes relations. De toute façon, mon père a toujours cherché à me dissuader de faire ma route dans la musique. C'est pour cela que je suis devenu rebelle. Plus on t'interdit quelque chose plus tu persistes. Mais mon père est OK, maintenant il joue sur scène (de le contrebasse) avec Jerry Lee Lewis.
LIBERATION: Tu joues tout seul sur scène, pour le moment. A ton avis, qu'est-ce qui est susceptible d'attirer le public à toi?
   RSM: Le public est curieux. Or, je représente une melting pot impressionnant. Peut-être qu'il va découvrir "autre chose". Ma prochaine tournée ici se fera en groupe, mais vendredi je joue presque seul, puisque je ne suis accompagné que de bandes magnétiques. C'est une prise de contact, disons. Je suis quelqu'un qui "synthétise" la musique J'aime ça.

Propos recueillis par
J.M. CANOVAS


En concert, ce soir, aux 120 Nuits.
Disque New Rose.



scottyelvis.jpg
Scotty Moore (guitare) et Bill Black (basse) autour d'Elvis (King).
[English translation]:
Moore, son of Scotty

Hunter of sound butterflies, archivist of the noise to the daily newspaper, semi-brilliant, semi-dead loss, semi-wall cupboard, it will play this evening at the 120 Nights.

R Stevie Moore raises d'une traditional and pathological imagery: that due insane scientist. Its experiments of lunar maniac has relate to him to the sound. Its rock'n'roll, precisely. In its laboratory-furbished of Nashville, this wizard of l'inutile pointillist, glasses with the nose, bands around the neck, drowned in a capharnaüm of shelves overloads of models, baffles, of microphone, partitions stray (or found), wire, cassettes, discs and letters of order, animates a strange theatre of the madness bricolo.
   It s'enregistre has loss of sight. It assembles the bourrichon all alone, is made the four Beatles for nothing, philharmonic in solo, the Studios Seedling has the house, concocte cassettes has destination its tricks, plans, etc All passes there: worse false notes with the lucky find, flashes of genius (by chance) to the drivels bétfiants d'hurluberlu surrealist commun run -- kind Zappa, The Count, Holger Czukay, etc: gags sound, large voices, squealings, pastiches and mixtures...
   What a idiot! N'importe which technician, with a little imagination, four Revox, and thirty microphones, can do as much of it, say cynical the _ Trop noise, too much matter, not enough of reserve, adding the esthètes. Incredible, the amateurs, lenient conclude, of singularity has good account. And once all that poses, the journalist requires: But qu'est this that that type presents really "singulier"? Answer: It is wire of Scotty (Moore), legendary Sun guitarist of Elvis the large one. Ca c'est single and unforeseen.

Release: You do not think, sincerely, only your double album, c'est of the n'importe what?
   RSM: If. But you know why? Because people are not accustomed to listening of all... They want or pop or the rock'n'roll or the jazz or the funk or the punk one, etc. They n'ont not d'oreille, c'est for that that this album seems too much. But me, I can make you n'importe what, of Dispatch Mode in Beatles. My influences could be summarized as follows: Beatles, Public Image, Joy Division, Zappa, blues and Beach Servant boys. D'ailleurs, that is not enough.
Release: You do not lose yourself in all these sound ingredients?
   RSM: At all. J'ai always made like that. In this moment, I feel obliged d'écouter of the old tricks because the current production is null. Everyone wants to make of Dance music, with beat disco music. When j'ai bought first Joy Division, I n'écoutais that that. I n'avais more desire d'écouter of old tricks. Similar for the first Cleans, PiL... J'avance with my time. First Beatles, first Hendrix, etc. Hand now, c'est become too "product". As detergents or cans.
Release: One t'a very often taken for insane, hallucinated, smashed and very egocentric person.
   RSM: I know, but false c'est. I do not make music under LSD and my ego is equivalent to that of n'importe which. I make strictly what I like. J'ai the feeling for that. I can make of Sinatra like an industrial piece worthy of Throbbing Gristle. J'écoute all and I m interess with all. My material is minimal and if j'ai left a double LP, c'est parce qu'on l'a proposed to me; it's that simple!
Release: Your texts are a kind of newspaper?
   RSM: No more, no less. That speaks about cigarettes, of coffee, d'amour: in short, of the life.
Release: To have been born in Nashville (Tennessee) c'est a handicap or a gift from the Lord?
   RSM: I do not know if c'est a gift of the sky, but say that you are rocked very quickly by the rock'n'roll and the country. My Father s'appelait... Scotty Moore. (SIC)
Release: To have a dad who spends ten years with Elvis Presley in studio, that helps or not?
   RSM: Elvis Presley n'est not a major influence for me. With regard to my father does not summon us in... very good relations. In any event, my father always sought to dissuade to me to travel my in the music. C'est for that which I became rebellious. More one t'interdit something more you persist. But my father is OK, now it plays on scene (of the double bass) with Jerry Lee Lewis.
Release: You cheeks all alone on scene, for the moment. With your opinion, qu'est this which is likely d'attirer the public with you?
   RSM: The public is curious. However, I represent a melting impressive pot. Perhaps qu'il will discover "autre chose". My next round here will be done in group, but Friday I almost only play, since I am accompanied only by magnetic tapes. C'est a making of contact, let us say. I am quelqu'un which "synthétise" the J'aime music that.

Remarks collected by J Mr. Canovas.


ROCK-FOLK (Mai 1984)

chantilly200.jpg R. STEVIE MOORE "Chantilly Lace" (New Rose)

Ce personnage est un autodidacte du Tennessee qui, depuis son adolescence la plus reculee, joue, fabrique et enregistre sans voir personne dans un studio qu'il a equipe tout seul. Sa version de "Chantilly Lace" est litterale et sans grande originalite, a la Ramones, mais elle est bourree d'effets speciaux amusants dont on comprend que les radios raffolent.

[English translation]:
This recording artist is a self-made man of Tennessee who, since his wild adolescence, plays, makes, and records without any help in a studio which he has equipped himself. His version of "Chantilly Lace" is literal and without much originality, like the Ramones; but, it is loaded with amusing special effects which one will understand when the radio plays (and thus explains) it.


ROCK-FOLK (Juil 1984)

"EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT R. STEVIE MOORE BUT WERE AFRAID TO ASK"
New Rose R 31

(French coming)

[English translation]:
Don't be afraid of words. In its grouping of Dorspirations, this thing is an authentic monument. That should suffice to substitute it for any other form of praise. But here he is, R. Stevie Moore is obviously another one of these handsome unknowns.
R. Stevie Moore is certainly crazy. That is if one defines crazy as an individual who has, since his childhood, locked himself in his attic in order to tape miles of cassettes filled with unique songs and electric acoustic noises. One would be deceived by his unusual English accent, but this guy was born in Tennessee. Yes! His ears are filled with 60s pop, one can dream of worse. Since the dawn of the 70s style, he has emerged with an indescribable solitary fever which he confides within his recordings, those exuberant and multiple creations. Some people make images of cathedrals with matches, while others hunt, trout fishing, some others prefer sex. R. Stevie Moore consigns himself within his demanding world until his music is created. According to the comments of the very serious American critic R. Christgau, there are three mythical albums on the tiny HP label. I remember a bizarre instrumental piece called "Goodbye Piano" on Flamingo. In other words, the New Rose man was already on the move. Now, six years later, it's striking. Four sides of twenty-five minutes for a digest which presents to the hungry public one of the most improbable geniuses of our time. In fact, it's like a 10-year compilation of the innumerable cassettes of RSM. (In 1981, the R. Stevie Moore Cassette Club was established.) The titles "Swing And A Miss," "Games and Groceries," "Next," "Moore Often," "Cognoscenti," "Themes," "Basic," "The North," "Pow Wow," "Delicate Tension," "Dumb Philosophy," "Aviation," "Sheetrock," "Moore or Less," "Pop Pain," "Quits," "Clack." If you are sick after digesting them all in a single sitting, you should know that RSM has in reserve the equivalent of 80 more.
Good, and now the meaning. From rock'n'roll he is influenced by "Chantilly Lace," "His Latest Flame," yes! in his song, "Save Me The Titles." A commercial for Heinz Pasketti. For the rest, nothing more and nothing less than Syd Barrett returning from exile. Ballads which one would swear were recorded in a cavern or a citerne. A skeletal solitary rock sound without being anything less than a celebration. Moments of cacaphony, notions of rock before The Creation. Guitars which send a healthy rain through your head. A voice like Zappa - a conglomeration, an ideal challenger for all the planets' eccentrics. Don't be afraid of words. – FRANCOIS GORIN


ROCK-FOLK
RSM Article (French coming)

[English translation]:
If you want my advice, this man is crazy. One wouldn't say that too often if you saw him in a bar, with his professor image a bit bizarre. Poised, intelligent, educated, friendly. The same thing at 120 Nights (must one say more horrible things about this club?) when he's immersed in his guitar, fiddling with his tapes, immersed in the wildness of his garage art. Among the 20 or so people who came expressly to see him, hardly one quarter were members of the R. Stevie Moore Cassette Club, which was created in 1981 and which promotes his cassettes in a manner bordering hysteria: the most simple works of RSM, the most subtle noise of the master. RSM is an egomaniac who tapes everything going through his head. The double album recently published by New Rose is a selective compilation, a sampling of the works. To think that he moved into a cave since he was 16, in 1968, disheartened by the Nashvillian ambiance, his father (a country musician who accompanied Presley). The only one of his species in the world, he has not once ceased to translate his thoughts into tapes. What's curious is that he has absorbed it all from the Beatles to Zappa, from Wagner to Sinatra. Today, his remixed version of Chantilly Lace is on the radio transformed transformed by a variety of special effects to the delight of the Deejays. (RSM is himself an announcer of a show on the FM radio of a New York campus.)
Apart from that, his repertoire is hardly limited by technical limitations. Ironic pop songs, saturated by the sounds of the guitar, old recycled commercials, solitary complaints. A kaleidoscope of "I Hate People," "Why Can't I Write A Hit," "Show Biz Is Dead"... curiously, his influences are fortuitous. His sources are everything from country, punk, classical, disco, avant-garde, folk; he tastes simultaneously Hank Williams and Throbbing Gristle, Beach Boys and Captain Beefheart, all filtered by his "cervelle passoire". His principal is "It's a song, I write it, I play it, and I forget it." This unique concert is for everyone who he has influenced.


STARFIX (Mai 1984)

R. STEWIE MOORE (SIC) "Everything" 2lp (New Rose)

Un dingue ne a Nashville qui concocte depuis annees des centaines de cassettes d'une diversite aberrante et taree. C'est effectivement tout et n'importe quoi. Parfois genial et parfoit chiant, mais jubilatoire. En gros.

[English translation]:
A crazy man born in Nashville who has concocted hundreds of cassettes over the years which are noted for their diversity. It really is everything and nothing in particular. Sometimes gentle and sometimes harsh, but in sum it is jubilatory. It is heavy.

BEST (Juil 1984)

Hello babes, welcome to the R Stevie Moore radio special show! Si cet exemplaire de Best possedait deus HP et un ampli, de droies de sonorites vous strieraient les oreilles. Stevie, comme ses confreres egonautes Wonder, Rundgren, Vangelis ou notre compatriote Rikyel, se joue seul d'une batterie de machines pour creer un son totalement ORIGINAL en utilisant une technique tres simple de re-recording Deux magnetos style Revox et le touche RSM suffisent en sautant d'une piste a l'autre, a creer l'effet choc.
dans son room studio, Stevie a cree le RSM cassette club, une chaine internationale et postale pour distribuer ses oeurves dupliquees en temps reel. En queiques annees, avec sa guitare electrique et ses synthes cheap, il a enregistre 116 cassettes representant plus de 116 heures de musicque originale. Ainsi, l'album de R. Stevie Moore "Everything...", distribue par New Rose, n'est qu'uine compilation un "Best Of..." des meilleures plages du RSM cassette club: c'est tout simplement vertigineux. Stevie ne se contente pas d'etre un creatif de pointe, il est aussi une anthologie vivante du rock and roll des Beatles a Zappa en passant par toutes les lettres de l'alphabet. RSM anime d'ailieurs toutes les semaines une emission sur une FM de Fac dans le NJ.
Stevie n'avait jamais quitte l'Amerique; l'experience New Rose lui ouvre une foule d'horizons: le voici qui debarque pour la premiere fois de sa vie sur notre vieux continent. Sur la scene des 120 Nuits. Stevie est aussi seui que dans sa chambre. Avec ses guitares, une chambre d'echo et queiques bandes magnetiques. Il cree son ego-performance et c'est assez siderant.
Je n'avais jamais tente l'experience de "auto-interview" aussi ai je donc laisse Stevie en compagnie de mon walkman enregistreur. Voici tres exactment ce qui'ils se sont reconte.
R. Stevie Moore: Ici RSM face un walkman Best et tu me mets dans l'embarras car je ne sais trop ou commencer: dois-je simplement m'amuser ou divulguer de precieuses informations? Paris, c'est un peu comme un reve une reception sans reserve de mon excentricite. A mon retour aux States, mon comportement musical se trouvera totalement influence par ce trip. Tous ces gens que j'ai pu rencontrer a Paris ont accuelli car j'ai passe tant d'annees a douter sur moi, ma vie, ma musique.
Saurais-je un jour deciencher un hit au pays de la musique populaire sans jamais me trahir, c'est la question qui me tourne dans le citron. Alors, c'est une promesse solenneile que je fais la: des mon retour dans le New Jersey, je creeral un show spectaculaire de musique assour-dissante bourree d'un concept 100% pop et melodique que j'offriral au gay Paris.

La machine continue a tourner tandis que RSM evoque son entrance a Nashville et son papa Bob Moore qui fut pendant dix ans passiste d'Elvis.
R.S.M.: De temps en temps, il rapportait des bandes a la maison et nous ecoutions son travail en studio avec Elvis. Ces racines country sont en moi, mais elles s'opposent parfois a deux niveaux car d'une certaine maniere ie les rejette. Les Beatles, les Stones et les groupes des 60's, ont fait de moi un rebelle. Mon pere etait desespere. Il a tout tente pour m'ecarter de la musique car il me revait dentiste ou avocat.
Mais mon desir musical n'en etait que plus active. J'ai eu une drole d'adolescence assez depressive. Si f'ai commence a jouer seul, c'est un peu pour m'auto-psychanalyser. Je n'etais meme pas un "garage band" mais un "bedroom band" avec mon Revox pose sur la table de chevet. J'ai passe des annees a experimenter cette technique en bossant a mitemps chez les disquaires. Puis j'ai retrouve un des mes oncies. Harry Palmer qui bosse chez Polygram sur la core Est. Il a ere sidere par mes bandes, au point qu il s'est propse pour devenir mon manager. Mais pas question de sortir ma musique sur une multinationale, mon rock est bien trop avant-gardiste.
Harry a insiste pour que je quitte le Tennessee, il n'avait pas tort, mais ca m'avait toujours semble impossible. Pourtant j'avais toujours rejete le core country-facho et redneck de Nashville. Alors je me suis decide, j'ai bourre ma petite voiture de magnetos, bandes et autres matos et nous avons traverse le pays. Depuis deux ans, je suis installe a Montclair, face a Manhattan et j'ai lance le RSM cassette club qui occupe tout mon temps.

RSM est un fou, un frappe un poete, un punky de la tete, un sale reveur idealiste et c'est justement ce qui fait son charme. Si comme moi vous avez deja assimile son double LP New Rose, il ne vous reste plus qu'a adherer au RSM cassette club/429 Valley Road/Upper Montclair NJ/07043 USA and you'll get so much more Moore... (GBD)

[English translation]:
If this Best radio show possessed two HPs and an amplifier, interesting/amusing sounds would assault your ears. Stevie, like his recording peers, Wonder, Rundgren and Vangelis, and our own countryman Ricyet, he lets the drums play by themselves in order to create a totally original sound, while using a very simple method of re-recording. Two revox microphones and the added touch of RSM are sufficient for jumping from one track to another to create a shock effect. In his studio room, Stevie created the RSM Cassette Club, an international channel and an address to distribute his music. In a few short years with his electric guitar and cheap synthesizer, Stevie has put out 116 cassettes, representing over 116 hours of original music. Thus, Stevie's LP, Everything You Always Wanted To Know About R. Stevie Moore, But Were Afraid To Ask, is nothing but a compilation, the best songs of the RSM Cassette Club. It is nothing but a classic. He isn't content being creative in just one area; he is also a living anthology of Rock'n'Roll, from the Beatles to Zappa, going through all the letters of the alphabet. RSM also enlivens the week via an FM college station in New Jersey.
Stevie has never left America; the New Rose experience has opened many new horizons for him. He is now coming to our Old Continent for the first time, on the scene at 120 Nights. Stevie is also appearning alone on stage. With his guitars, and echo background, and some magnetic tapes, he creates an ego performance and it is VERY captivating. I have never attempted to interview him, therefore I have left RSM in the company of my walkman. Here is what he said:
"Here I am alone with a Best walkman, and you are embarrassing me because I don't know where to begin. Should I simply amuse myself or divulge important information? Paris is a little like a dream. They've accepted my eccentricity with little reserve. When I return to the States, my musical behaviour will be totally influenced by this trip. All these people who I've met in Paris have welcomed my music with open arms. And I passed many years doubting myself, my life, my music. Would I know how to release a hit in a country of popular music without betraying myself? That's the question that gave me stomach knots. Alas, that's the solemn promise I made there: when I return to New Jersey, I will create a spectacular music show, totally pop and melodic which I will offer to Gay Paris."
The cassette continues to roll while RSM talks about his childhood in Nashville and his father, Bob Moore, who was Elvis Presley's bassist for ten years.
Every now and then, he'd bring tapes home, and we'd listen to his studio work with Elvis Presley. My Dad's country roots are within me, but they are opposed at times on two levels. The Beatles, The Stones, and the groups of the 60s have made me a rebel. My father was disheartened. He attempted to break me away from music because he wanted me to be a dentist or a lawyer. Yet, my musical desire only increased. I had a bizarre and depressive adolescence. If I began to play alone, it was to psycho-analyze myself. I wasn't a garage band, but rather a bedroom band, with my Revox on the night table. I spent many years experimenting with this technique. Then I found my Uncle Harry Palmer, who works at Polygram on the East Coast. He was impressed by my tapes and offered to be my manager. But there was the question of giving my music to a major label. My rock is much too avant-garde. He insisted I should leave Tennessee and he certainly wasn't wrong. But, it always seemed impossible to me, and yet I always rejected the whole country and redneck scene of Nashville. Thus, I decided to load my small car with my tapes and other material and cross the country. For two years I've lived in Montclair, across from Manhattan and launched the RSM Cassette Club which occupies all my time."
RSM is a poet, a punk, a "dirty" idealistic dreamer, and that's exactly the charm. If you - like me - have already fallen for the New Rose double album, it remains only for you to be a member of the RSMCC. (429VR, UMNJUSA) and you'll get so much more Moore...



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