The Princes Stable


"In Fall 1979, R. Stevie Moore squeezed into a midtown Manhattan building at 56 West 45th Street, entered a tiny 8th floor jingle studio run by Englishman Tom Clack, and proceeded to bond bigtime with ambitious engineer Jon Child (who Uncle Harry Palmer had earlier sought out to assist in assembling the original PHONOGRAPHY album) to create one of his greatest collections of music. Still awestruck by his recent move north, R. Stevie first met Jon & Tom when the studio was utilized for compiling the DELICATE TENSION LP. With a cache of great new songs & experiments, he now was set, aimed to break down all barriers and collect audio styles galore in a “professional” 8 track environment, a major jump from mere tapedeck home demos. The project extended well into the next year (decade). Those many sessions are gathered on this 60 minute masterpiece, simply titled “CLACK!” from which many of Moore’s greatest all-time hits emerged."  (Official album description via

“The ‘80s were R. Stevie Moore’s period of greatest exposure, and he started the decade off in style with an album of songs that would eventually become some of his most famous tunes. Clack! is notable also for being Moore’s very first professional studio sessions, recorded in an 8-track jingle studio (run by a gentleman named Tom Clack, hence the onomatopoeic album title) in midtown Manhattan in late 1979. The sonic difference between this album and Moore’s homemade ‘70s tapes is astonishing; the new version of “Part of the Problem,” originally recorded in 1978, is not only definitive, it’s arguably Moore’s all-time finest three and three-quarters minutes. More importantly, Clack! includes several other songs that would quickly become fan favorites, including a silly but surprisingly effective power pop rendition of the Big Bopper’s “Chantilly Lace” and the dark-edged new wave synth-pop of “Bloody Knuckles,” both of which garnered a fair amount of college radio airplay in the first half of the ‘80s. The jangly guitar rock of “Teen Routines” and “You Always Want What You Don’t Have” accurately predicts the Hoboken sound that would sweep over Moore’s adopted northern New Jersey home in the ensuing decade, and the stomping “Conflict of Interest” and the thrilling falsettos of “U.R. True” are both vintage new wave and prime R. Stevie Moore.”  - Stewart Mason, All Music Guide

“I’ve been digging into the overwhelmingly extensive catalog of the DIY iconoclast and self-proclaimed genius, R. Stevie Moore. He’s released somewhere in the range of 400 albums over the last thirty-odd years, which has to make him one of the most prolific artists of all time. Moore is clearly an influence on Ariel Pink and his followers like John Maus, Gary War, Geneva Jacuzzi... you get the idea. Clack!, from 1980, is a good demonstration of Moore’s diverse range. It jumps from a Big Bopper cover to bass-driven post-punk to straight-up country, and it’s full of weird pop gems. Highly recommended, guys.”  - Top Of The Dial music blog

“Along with Phonography, this is surely one of the best places to start at in R.S.M.’s catalog. It was the first of his albums to be recorded in a professional studio and contains many of his greatest hits including personal favorite “Part of the Problem.” Absolutely nothing can prevent some of these songs from being the wackiest, yet also the happiest and funnest you may ever hear. Anyone enjoying Ariel Pink’s music has a big reason to thank R. Stevie Moore and should look into his music very soon.” - Beyond Ultra Hits music blog

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After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.

This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).

Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.

Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.

Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).

So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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