Rsm
I can't seem to shake the thought that RSM is a privileged way of getting at it all, i.e., (to use Badiouian terms) he is the subject of Rock N' Roll
par excellence. He is for Rock what the cantor from Leipzig was for the Baroque. Proof positive since about 1964.
Unfortunately, (though part and parcel with this position), he has been painfully overlooked ... And like so many other great 'subjects' of music his fidelity has been at the cost of nearly every comfort one can imagine.
Thankfully for us, as part of this fidelity, RSM has laboriously constructed
http://www.rsteviemoore.com/.
In terms of Ariel Pink / RSM, the relationship is a very fascinating one. My contention is that we wouldn't have the Ariel Pink we know and love today without RSM. Case in point, Ariel's first two records (and everything before, e.g., Gorilla, The Appleasians, etc.) Underground and The Doldrums (also, Vital Pink, which really should have included Spiers In The Snow, The Bottom, and all the other magnificent songs he recorded between Underground and The Doldrums) are really Pre-RSM, whereas after THE MEETING (precisely, their collaboration: Stevie/Pink ((a wonderful song)); but then Scared Famous, FF>>, culminating in Worn Copy) the influence is unavoidable and incalculable, i.e., RSM is quite frankly Ariel Pink's biggest influence. Moreover, Ariel is probably the most acquainted person with RSM's prolific catalog aside from RSM himself and maybe his lovely wife, Kris.
As Henry S. points out, this influence-ing has paid off for both influence-er and influence-ee, as Ariel has never ceased using those less-interesting and unimportant aspects of record production and release (i.e., the interviews) to tout his patron Saint. But enough! Many great MP3's and records await you at
RSM's website. (Including Hobbie's Galore, which Ariel has somewhere covered).
