TIM MOORE
''TIM MOORE''
1974
33:05
1. A Fool Like You /3:45
2. Second Avenue /3:56
3. Charmer /2:48
4. Sister Lilac /3:16
5. High Feeling /3:16
6. I Can Almost See The Light /2:57
7. Love Enough /3:04
8. Aviation Man /2:43
9. When You Close Your Eyes /3:12
10. I'll Be Your Time /3:24
All Tracks By Moore
Arin Dickens /Vocals (Background)
Lloyd Donnelly /Bass
Steve Gelfand /Bass
Nick Jameson /Drums
Howard Johnson /Guest Artist, Sax (Baritone)
Russ Kunkel /Drums
Roy Markowitz /Drums
Bill McCord /Drums
Tim Moore /Bass, Guitar, Keyboards, Vocals, Vocals (Background)
Bernard "Pretty" Purdie /Drums, Guest Artist
Andrew Robinson /Vocals (Background)
Andy Robinson /Vocals (Background)
Tom Sellers /Bass, String Arrangements
Annie Sutton /Vocals (Background)
REVIEW
by Joe Viglione
Tim Moore is a pop maestro, and the ten songs on Tim Moore, mostly copyrighted 1972 and 1973, have an exquisite understanding of pop structure and melody. The mystery here is how "Love Enough" escaped Rita Coolidge, Barry Manilow, Helen Reddy, or anyone seeking a hit during the '70s explosion of pop songs on the radio. It would have been perfect for Kenny Rogers, come to think of it. Russ Kunkel is on drums on that tune, as well as "A Fool Like You," arranger Tom Sellers providing the bass accompaniment on those two tracks. "Aviation Man" is a real departure with some Cajun blues thrown into the garage rock mix -- it is the artist stretching out and moving away from the serious pop of "Second Avenue" and "Charmer." Released on A Small Record Company, distributed by Gulf & Western's publishing division, Famous Music Company, the album was picked up by Asylum records the same year, and finally released on CD in 2002 via the people at Edsel. "When You Close Your Eyes" has that bouncy pop that Three Dog Night could've done a great job with -- this album is brimming with hooks and melodies, a smorgasbord of sound. The understated production by Nick Jameson, who also plays drums on "Aviation Man," is just perfect for the performer. "I'll Be Your Time" brings thoughts of Randy Edelman, David Pomeranz, and other '70s songwriters to mind, that stark vocal against a sparse piano/guitar/drum/bass backing which doesn't get in the way. Moore's voice really plucks at the heart strings, a naïve Dan Fogelberg who should have had multiple tunes on hit radio. Tom Sellers' string arrangements are also underplayed, which is a good thing. Sellers takes control from the very first track, "A Fool Like You," the words, vocals, and musicianship all very direct. As with the songs of Buzzy Linhart, there's an immediate charm to this material. Fans of Harriet Schock's classic debut Hollywood Town would find this collection very, very appealing; it could be the East Coast male counterpart to Hollywood Town.
BIOGRAPHY
By WIKIPEDIA
Tim Moore is an American singer and songwriter who recorded five albums for David Geffen's Asylum record label. A self-taught musician, Moore grew up in Philadelphia where he went to art school and began to play his self-penned songs at local coffee houses. His rock career began as guitarist-singer with DC & the Senators, a cover band opening Philadelphia arena rock shows. During this early period, he also played drums with blues band Woody’s Truck Stop, the first Philadelphia band to feature Todd Rundgren. Producing more and more songs during this time, he and a friend, Jeff Scott, formed The Muffins, the first group to perform and record Moore originals, many of which Scott wrote lyrics for. The Muffins had minor US success on RCA records with a Kinks influenced single, ‘Subway Traveler,’produced by Cameo-Parkway founder Bernie Lowe. The Muffins peaked in the summer of love, opening for Lou Reed and the Velvet Underground for a week at Philadelphia's Trauma psychedelic club.
After the Muffins disbanded, Frank Zappa heard Moore's songs, which he found harmonically advanced for the period, and brought him to New York with the intention of signing him to Bizarre Records. Moore declined the signing when tour scheduling kept Zappa from producing the album himself. Moore returned to Philadelphia and worked as a staff writer and session guitarist on sessions with Thom Bell, Gamble and Huff and other Philly Soul producers. During this time, Moore lived next door to Daryl Hall in downtown Philadelphia where they both pulled salaries as staff writers. Hall and Moore co-wrote material for a band they founded, Gulliver, which released one album on the Elektra Records label.
After the breakup of Gulliver, Moore moved to Woodstock, New York, then the hometown of Bob Dylan, The Band, and Van Morrison, seeking a more personal approach to his music. He struck a deal with ABC-Dunhill records that produced the first Moore single, "A Fool Like You" on which Donald Fagen sang backup. (Moore also sang backup on the first Steely Dan single, "Dallas.") Moore teamed with producer Nick Jameson to record his first solo album, Tim Moore which was released on Gulf + Western's Famous Music subsidiary label A Small Record Company. Jameson provided him the Beatles-like studio freedom he had long sought. For the first time, Moore assembled his own tracks as a multi-instrumentalist, layering guitar, keyboard and bass parts over drum tracks by Bernard Purdie and Russ Kunkel. Three singles, "A Fool Like You", "Second Avenue" and "When You Close Your Eyes", received much airplay in the US and UK. But as "Second Avenue" was headed up the US charts, the album's distributor (Paramount) abruptly ceased record operations. Because his single was already climbing the charts, the sudden release from contract spurred a Tim Moore bidding war between Clive Davis and David Geffen. By the time the deal went to Geffen, Art Garfunkel had released a competing version of "Second Avenue" which peaked at #34 on the Billboard Hot 100. This 'cover battle' effectively defeated both records' chances for a hit. Moore's version of "Second Avenue" made #58 on the Billboard charts.
The following year he released "Behind The Eyes", featuring what remains his best-known song in the U.S., "Rock’n’Roll Love Letter", a hit for the Bay City Rollers a year later. Moore's guitar work on "Rock'n'Roll Love Letter" drew the attention of Rolling Stones guitarist Keith Richards. The two became friends and Moore spent two weeks guesting on guitar with the Stones and Peter Tosh during their rehearsals at Bearsville Studios.
Although Moore was signed to Los Angeles based Asylum Records, he didn't record in L.A. until his third album White Shadows. This more highly polished collection teamed Moore with Michael McDonald, David Foster, the Eagles Timothy B. Schmit, drummer Jeff Porcaro, Little Feat's Bill Payne, and other L.A. based talent. The band he assembled for the American tour in support of "White Shadows" featured Brian Wilson's bassist, Bob Lizik, Philadelphia drummer Steve Shive, David Livingston on guitar and a Bob Lizik compadre from Chicago, John Melnick on keyboards. Lizik and drummer Steve Shive were featured players on his next album, High Contrast on Asylum Records, produced by legendary producer/engineer, Ken Scott who previously had produced albums by David Bowie, Supertramp, Dixie Dregs, Stanley Clarke and was the second engineer to Geoff Emerick on the Beatles White Album.
Moore's albums were highly praised by critics. Other acts continued to mine his new releases for songs, but neither of these achievements brought Moore wider public attention in his homeland. Instead, he found success outside the US while promoting his fifth album, Flash Forward, produced by Blondie engineer, Rob Freeman. In 1986 Moore spent 75 days touring Brazil after his romantic beat-ballad "Yes" from Flash Forward went to number one and held that position for 10 weeks. "Yes" enjoyed a similar run of success in Portugal in 1988.
Performers who have recorded Moore's songs include Art Garfunkel ("Second Avenue"), Cher ("Love Enough"], Bay City Rollers ("Rock’n’Roll Love Letter"), Etta James ("Charmer"), The Records (another version of "Rock’n’Roll Love Letter"), Maxine Nightingale ("I Think I Want to Possess You"), Ian Matthews ("A Fool Like You"), Colin Blunstone ("I Can Almost See The Light", "When You Close Your Eyes", "Second Avenue"), Eric Anderson ("A Fool Like You"), Cliff Richard ("Love Enough"), Clifford T. Ward ("I Got Lost Tonight"), Jimmy Witherspoon ("Aviation Man") and others.
DoWnLoAd
''TIM MOORE''
1974
33:05
1. A Fool Like You /3:45
2. Second Avenue /3:56
3. Charmer /2:48
4. Sister Lilac /3:16
5. High Feeling /3:16
6. I Can Almost See The Light /2:57
7. Love Enough /3:04
8. Aviation Man /2:43
9. When You Close Your Eyes /3:12
10. I'll Be Your Time /3:24
All Tracks By Moore
Arin Dickens /Vocals (Background)
Lloyd Donnelly /Bass
Steve Gelfand /Bass
Nick Jameson /Drums
Howard Johnson /Guest Artist, Sax (Baritone)
Russ Kunkel /Drums
Roy Markowitz /Drums
Bill McCord /Drums
Tim Moore /Bass, Guitar, Keyboards, Vocals, Vocals (Background)
Bernard "Pretty" Purdie /Drums, Guest Artist
Andrew Robinson /Vocals (Background)
Andy Robinson /Vocals (Background)
Tom Sellers /Bass, String Arrangements
Annie Sutton /Vocals (Background)
REVIEW
by Joe Viglione
Tim Moore is a pop maestro, and the ten songs on Tim Moore, mostly copyrighted 1972 and 1973, have an exquisite understanding of pop structure and melody. The mystery here is how "Love Enough" escaped Rita Coolidge, Barry Manilow, Helen Reddy, or anyone seeking a hit during the '70s explosion of pop songs on the radio. It would have been perfect for Kenny Rogers, come to think of it. Russ Kunkel is on drums on that tune, as well as "A Fool Like You," arranger Tom Sellers providing the bass accompaniment on those two tracks. "Aviation Man" is a real departure with some Cajun blues thrown into the garage rock mix -- it is the artist stretching out and moving away from the serious pop of "Second Avenue" and "Charmer." Released on A Small Record Company, distributed by Gulf & Western's publishing division, Famous Music Company, the album was picked up by Asylum records the same year, and finally released on CD in 2002 via the people at Edsel. "When You Close Your Eyes" has that bouncy pop that Three Dog Night could've done a great job with -- this album is brimming with hooks and melodies, a smorgasbord of sound. The understated production by Nick Jameson, who also plays drums on "Aviation Man," is just perfect for the performer. "I'll Be Your Time" brings thoughts of Randy Edelman, David Pomeranz, and other '70s songwriters to mind, that stark vocal against a sparse piano/guitar/drum/bass backing which doesn't get in the way. Moore's voice really plucks at the heart strings, a naïve Dan Fogelberg who should have had multiple tunes on hit radio. Tom Sellers' string arrangements are also underplayed, which is a good thing. Sellers takes control from the very first track, "A Fool Like You," the words, vocals, and musicianship all very direct. As with the songs of Buzzy Linhart, there's an immediate charm to this material. Fans of Harriet Schock's classic debut Hollywood Town would find this collection very, very appealing; it could be the East Coast male counterpart to Hollywood Town.
BIOGRAPHY
By WIKIPEDIA
Tim Moore is an American singer and songwriter who recorded five albums for David Geffen's Asylum record label. A self-taught musician, Moore grew up in Philadelphia where he went to art school and began to play his self-penned songs at local coffee houses. His rock career began as guitarist-singer with DC & the Senators, a cover band opening Philadelphia arena rock shows. During this early period, he also played drums with blues band Woody’s Truck Stop, the first Philadelphia band to feature Todd Rundgren. Producing more and more songs during this time, he and a friend, Jeff Scott, formed The Muffins, the first group to perform and record Moore originals, many of which Scott wrote lyrics for. The Muffins had minor US success on RCA records with a Kinks influenced single, ‘Subway Traveler,’produced by Cameo-Parkway founder Bernie Lowe. The Muffins peaked in the summer of love, opening for Lou Reed and the Velvet Underground for a week at Philadelphia's Trauma psychedelic club.
After the Muffins disbanded, Frank Zappa heard Moore's songs, which he found harmonically advanced for the period, and brought him to New York with the intention of signing him to Bizarre Records. Moore declined the signing when tour scheduling kept Zappa from producing the album himself. Moore returned to Philadelphia and worked as a staff writer and session guitarist on sessions with Thom Bell, Gamble and Huff and other Philly Soul producers. During this time, Moore lived next door to Daryl Hall in downtown Philadelphia where they both pulled salaries as staff writers. Hall and Moore co-wrote material for a band they founded, Gulliver, which released one album on the Elektra Records label.
After the breakup of Gulliver, Moore moved to Woodstock, New York, then the hometown of Bob Dylan, The Band, and Van Morrison, seeking a more personal approach to his music. He struck a deal with ABC-Dunhill records that produced the first Moore single, "A Fool Like You" on which Donald Fagen sang backup. (Moore also sang backup on the first Steely Dan single, "Dallas.") Moore teamed with producer Nick Jameson to record his first solo album, Tim Moore which was released on Gulf + Western's Famous Music subsidiary label A Small Record Company. Jameson provided him the Beatles-like studio freedom he had long sought. For the first time, Moore assembled his own tracks as a multi-instrumentalist, layering guitar, keyboard and bass parts over drum tracks by Bernard Purdie and Russ Kunkel. Three singles, "A Fool Like You", "Second Avenue" and "When You Close Your Eyes", received much airplay in the US and UK. But as "Second Avenue" was headed up the US charts, the album's distributor (Paramount) abruptly ceased record operations. Because his single was already climbing the charts, the sudden release from contract spurred a Tim Moore bidding war between Clive Davis and David Geffen. By the time the deal went to Geffen, Art Garfunkel had released a competing version of "Second Avenue" which peaked at #34 on the Billboard Hot 100. This 'cover battle' effectively defeated both records' chances for a hit. Moore's version of "Second Avenue" made #58 on the Billboard charts.
The following year he released "Behind The Eyes", featuring what remains his best-known song in the U.S., "Rock’n’Roll Love Letter", a hit for the Bay City Rollers a year later. Moore's guitar work on "Rock'n'Roll Love Letter" drew the attention of Rolling Stones guitarist Keith Richards. The two became friends and Moore spent two weeks guesting on guitar with the Stones and Peter Tosh during their rehearsals at Bearsville Studios.
Although Moore was signed to Los Angeles based Asylum Records, he didn't record in L.A. until his third album White Shadows. This more highly polished collection teamed Moore with Michael McDonald, David Foster, the Eagles Timothy B. Schmit, drummer Jeff Porcaro, Little Feat's Bill Payne, and other L.A. based talent. The band he assembled for the American tour in support of "White Shadows" featured Brian Wilson's bassist, Bob Lizik, Philadelphia drummer Steve Shive, David Livingston on guitar and a Bob Lizik compadre from Chicago, John Melnick on keyboards. Lizik and drummer Steve Shive were featured players on his next album, High Contrast on Asylum Records, produced by legendary producer/engineer, Ken Scott who previously had produced albums by David Bowie, Supertramp, Dixie Dregs, Stanley Clarke and was the second engineer to Geoff Emerick on the Beatles White Album.
Moore's albums were highly praised by critics. Other acts continued to mine his new releases for songs, but neither of these achievements brought Moore wider public attention in his homeland. Instead, he found success outside the US while promoting his fifth album, Flash Forward, produced by Blondie engineer, Rob Freeman. In 1986 Moore spent 75 days touring Brazil after his romantic beat-ballad "Yes" from Flash Forward went to number one and held that position for 10 weeks. "Yes" enjoyed a similar run of success in Portugal in 1988.
Performers who have recorded Moore's songs include Art Garfunkel ("Second Avenue"), Cher ("Love Enough"], Bay City Rollers ("Rock’n’Roll Love Letter"), Etta James ("Charmer"), The Records (another version of "Rock’n’Roll Love Letter"), Maxine Nightingale ("I Think I Want to Possess You"), Ian Matthews ("A Fool Like You"), Colin Blunstone ("I Can Almost See The Light", "When You Close Your Eyes", "Second Avenue"), Eric Anderson ("A Fool Like You"), Cliff Richard ("Love Enough"), Clifford T. Ward ("I Got Lost Tonight"), Jimmy Witherspoon ("Aviation Man") and others.
DoWnLoAd
