STUDIO ETHOS
01. Home Of The Nashville Bats (VL-RSM) 3:45
02. Show Business (VL) 5:10
03. Wash Your Face Clean Your Hands Write Your Name (VL) 2:19
04. Swing In Me (VL-RSM) 3:20
05. Love Graph (RSM-VL) 2:49
Summer 1973 Audio Media Recorders
prod. Terry Burnside, eng. Paul Whitehead
Victor Lovera-vcls, ac gtr/R. Stevie Moore-all elec gtrs,
dms (1,3,5), organ (1), piano (2), 12 str ac gtr (4),
ld vcl (5), bkg vcls, perc/Billy Anderson-bs, perc/Larry
Smith-dms (2,4)/Ellis Schwede-violins (2)/Jim Berkley-pno
(3,4), mini-moog (3)/Roger Ferguson (bkg vcls (3)/Dennis
Burnside-pno (5).
ETHOS OF AMERICA
06. No Not Very Much (VL) 2:33
07. Since We Know (VL-RSM) 3:14
Summer 1974 Castle Studio, eng. Randy Benjamin
VL-vcl, gtr/BA-dms, pno (6)/Joe Haywood-bs/
Roger Ferguson-bkg vcl (6)/Stan Lassiter-ac ld gtr (6)/
Mike Hopper-flutes (6)/RSM-elec gtrs (7)
(click to enter, see & hear)
ROGER FERGUSON AND ETHOS
08. Radios (RSM) 2:29
09. What A Waste Of Time (VL) 2:10
10. I've Been Here Before (VL) 6:44
Jan-Feb 1973 Shelby Singleton Studios, prod. Chuck Sagle
eng. Leroy Duncan, remis at Starday
RF-ld & bkg vcls/RSM-elec gtrs, dms, bs, pno (10),
bkg vcls/VL-ac gtrs, bkg vcls/BA-keys, bkg vcls
ETHOS OF AMERICA (the Band)
11. WKDF-FM 103 Radio Ad 1:00
12. Home Rehearsal Excerpts 13:00
Tough Ruff, Galaxy Cream, Radios, Nashville Bats,
Got A Good Job, Because We're The Dig.
Sept 1974 Billy's on Miami; VL/RSM/RF-vcl, sax/JH/BA-dms
Brad Jackson-eng.
13. Revealing Conflict (June 1972) 3:10
with Bob Woods, 1506 17th Ave So.
But you know that life has meaning!
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AMG REVIEW: Studio Ethos is an after-the-fact compilation of the various studio demos that Victor Lovera and R. Stevie Moore recorded in Nashville in 1973 and 1974 with various lineups of their short-lived band Ethos. Ethos had enough obvious talent to attract a fair amount of attention around Nashville (it must be said that Moore's family name [his father Bob Moore was pretty much the king of Nashville session musicians in the '60s] probably helped open a few doors as well) but listening to these demos, it's kind of obvious why Music City's movers and shakers ultimately passed. As obviously talented as these young lads are, imagine being the average Nashville music exec in the early to mid-'70s and being presented with songs that range from the glorious Brian Wilson-goes-British Invasion homage "No, Not Very Much" to the mildly crazed baseball parable "Home of the Nashville Bats" to Moore's early classic "Radios" (from an experimental session that demoted Lovera temporarily to backing vocals, putting guitarist Roger Ferguson in the frontman role), a new wave song only four or five years too early. The songs are great, but they had no place in Nashville at the time. No wonder Moore got discouraged enough with his hometown to move to New Jersey only a few years later.
