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JAD FAIR AND R. STEVIE MOORE


16 JULY 2002

OLD GOLD RECORDS




21 beautiful songs for you to love and
cherish. This is a work of pure genius.
Old Gold Records is proud to release
what we feel is the finest album of this
(or any other) year. At long last. The
legendary FairMoore sessions.




01 Stationary (2:11) MP3
02 That That Is This (2:00)
03 Cotton Candy (2:57)
04 Evil Eyes (2:24)
05 Good Sign (1:59)
06 Protected (2:34)
07 Caramel Kisses (1:00)
08 Cinnamon Roll (1:26)
09 Leaders of Yes (3:29)
10 Opposite of None (:57)
11 Supreme Beings (1:16)
12 The Most (2:46)
13 Two of Us (2:21)
14 Yeah, You Betcha (3:43)
15 Your Theory (1:35)
16 Lemon and Lime (3:11)
17 Pow Pow (1:28)
18 Beep The Horn Of Plenty (1:46)
19 Red and Yellow Soda Cans (3:50)
20 The Absence Of Trouble (2:24)
21 We Are the Enhancers (2:43)


48 Minutes and 9 Seconds Long




RSM - guitars, bass, keybards, tapes, turntable, drums on 14, 15, 16, 21, percussives, backing vocals, lead vocal on 11
Jad Fair - vocals, percussion looping
Virgil & Tigre, Richard & Victor - voices on 5
Victor Lovera - percussion, Mark Clifton - guitar on 9
Chris Butler - guitars on 15
front cover by RSM, all other illustrations by Jad Fair
mixed by R. Stevie Moore, mastered by Karl Gentner
lyrics to Supreme Beings by RSM, all other lyrics by Jad Fair
Thanks - Benb, Chris Bolger, Krys O., Patty Fair, Vanilla Bean RIP







Jadwin Fair: Austin TX

R. Stevie Moore: Bloomfield NJ

early first composite 21 Nov 2000 by RSM

composed and produced
by chad and steremy
front portraiture by R. Stevie
(tinting & annotation by Jad)


OLD GOLD PRESS RELEASE

a swinging explosion of unruly madness was dropped shattering into our ears this last fall, and after months of tweakling and preparation h we are astonished and amazed to share it with your much-deserving curiosities...

FAIRMOORE
by
JAD FAIR
and
R. STEVIE MOORE

this lusty, swarthy multipart epic battlepoem clashed across hemispheres for centuries before setting into the history books of our label. it was destined to be. we don't know how they met or what they're doing here. but it sounds perfectly amazing in that obsessive vein of unlimited home recording time. maybe they just came upon one another the same way jad fair has come upon as diverse a cast of characters as yo la tengo, the pastels and teenage fanclub. it's an ongoing joy when these people come upon one another, because one way or another some new sound is discovered by denizens of the other's camp, and the possibilities can only multiply and metriculate from there. thus has been the case with this collaboration of collaborators, the multiplicity of these far reaching influences bouncing off the walls like a rubber missle, like old friends reuniting in the desert or waving nonchalantly to one another in a bar. r.stevie's worked with members of xtc, his father was one of the greatest session players of all time and he continues that high level of creative performance here by giving up the session's sessions, peppered liberally with his unique and soulful utterances.

jad's lyrics fall gently into this bed of crustaceous entities like a whale onto the bottom of the ocean. evocations of jad's acoustic work, glorious and rare (remember "hillbillies"?), can be found on warm country patches like "leaders of yes" while r. stevie's instrumental prowess accomplishes perfectly timed hip-hop drumbeats, wild, crisp guitar arpeggioes (is that brown sound?) and wonderfully old-school synthesizer arrangements to create a psychedelic walk through the family of his life.

both artists have been making albums since the seventies. dozens and dozens, all over the place, recognized in volumes of critical literature. r.stevie has been featured in the new york times, rolling stone said he was "a national treasure unrecognized in his homeland." jad fair is an internationally renown visual, musical and lyrical artist, engaged in an ongoing majestic series of collaborations in addition to his band half japanese, which was featured in a movie and adored by kurt cobain.

old gold is pleased to continue in its devotion to criminally ignored DIY treasures, following home recorded releases by fellow travelers eugene chadbourne, eric gaffney, two dollar guitar, royal art lodge, 2geniuses, yximalloo, and the late howard finster.

*****




"Knocked; you weren't in."    
        ---Opportunity    







Jad Fair spent the first years of the new millennium, over a quarter-century into his career, working with a variety of younger musicians in a sort of mentor role. Unfortunately, albums with Yo La Tengo and Teenage Fanclub sounded like nothing more than Yo La Tengo and Teenage Fanclub albums with Jad Fair's loopy vocals stuck willy-nilly on top, a combination that didn't work as well as one might expect. 2002's FairMoore, which partners the Maryland native with Nashville-born, New Jersey-based DIY expert R. Stevie Moore, is a far more productive and worthwhile album. Moore has been creating his own idiosyncratic brand of home-brewed pop for even longer than Fair has (the earliest CD in his enormous catalogue was recorded in 1968 by a 16-year-old Moore and his high school buddies!) and has an even more dedicated cult following; perhaps Moore wasn't scared of Fair's cult hero stature, but more likely, the two oddballs simply recognized each other's strengths and played to them. The result is the best album Fair has been involved with since the heyday of Half Japanese, and one of Moore's most enjoyable efforts in years. Although Moore takes only one lead vocal (on the trippy spoken word offering "Supreme Beings," which mixes one of his typically surreal flights of fancy with organ loops straight out of a Hammer horror feature), his inimitable musical style, which manages to sound utterly poppy and slightly twisted at the same time, is all over this album. (Moore plays almost all of the instruments, barring a couple of guitar and percussion parts, and Fair does nearly all the singing.) The combination of Moore's accessible but odd melodies and arrangements with Fair's stream-of-consciousness lyrics and one-of-a-kind vocals is surprisingly satisfying. The songs are more "normal" than the deliberate primitivism of Half Japanese's albums, yet (unlike the Yo La Tengo and Teenage Fanclub albums) Moore's instinctive grasp of Fair's unique aesthetic gives the album a pleasing unity. Songs like the analogue synthesizer throb of "Yeah, You Betcha" and the Bo Diddley-beat opener "Stationary" are downright catchy, something that's almost never been true of Jad Fair's previous albums. Much more interesting than any of Fair's other collaborations, FairMoore is an essential release for fans of either of the participants.

–Stewart Mason, All Music Guide





AVAILABLE ON CD $12






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