Get Thee Behind Me...


Get Thee Behind Me

by Joel Moore & The Golden Rulers

Joel woke up from a long and dreamless sleep one day and decided to unlock the chestnut & maple box on the shelf in the closet down the half-lit hallway of the one-room farmhouse at the end of the dusty red gravel road inside his brain grapes to at long last let his little imaginary digital band come out to play once more again.

Late 2013 through 2015 has been productive.


Post-War Afterparty

by Joel Moore

Born of yet another failed attempt at musical collaboration with a dangerously sized ego in the form of a Pro-Union liberal pinko marxist wanna-be Springstein, Post-War Afterparty sought to cleanse Joel's mind of the detour that was to be his last reason to go outside for a long, long time.

Agoring himself away in a luxury-priced tenement in Queens he put down the mic for the better part of 2010 and 2011 in exchange for focus on the pen and his long neglected need to assemble his poetry into book form. He wrote infrequently though when it came it was dense and immense. Joel refers to the period directly after this collection of songs as the "resignation year(s)".

Several very shitty things happened in a row sending Joel into a period of despair. He proudly declares now that "if I must suffer at least it's not the cheap self-inflicted by choice in boredom kind that's so commonly en vogue with most misguided musician types. At least what came upon me, I didn't do it to myself like some teenage asshole attention-addict."

We're just very glad you're back. 


Hard Feelings

by Joel Moore & The Golden Rulers

A first time and of course, toungue-in-cheek credit to Joel's imaginary band, "The Goldarn Railerz", Hard Feelings came together shortly after Joel's return to NYC in 2008. The language in songs like Bailout Blues and Going Down on History were reminiscent of the ealrier protest tunes from 2004-ish. Just similar was the flurry in which they came into being. In a matter of a week Joel had written Bailout Blues, And One For All, You and I alone, Hard Feelings, Going Down on History and re-wrote the musical arrangement to Talkin' America Tis Of Thee Blues which makes a second appearance as an outtake of the new arrangement. 


Pour La Femme

by Joel Moore

The album that Joel dubbed, "the hell that is, other people..." Pour La Femme was years in the making and sadly still never made it to press. Several versions of this album were assembled and disassembled and squished into EP's and demo's for labels but alas nothing could put Humpty Dumpty together in the end.

We hesitate even now to try to list tracks here that may or may not have made the final cut on this ill-fated LP. Joel's persistent challenge was keeping a band together and he had hope the move to Nashville in 06 was to be the change that was needed to pull it off. But where NYC was too ambitious to connect to anyone for any length of time Nashville was too lazy to get any serious work done. In some of the old production notes we found that because "Pros & Cons" never saw a proper release Joel once considered releasing it and "Pour La Femme" as a double album. 


Nashvolt Tanasi (Outtakes)

by Joel Moore

Here is a collection of some weird shit from Nashville that never saw the light of day.



by Joel Moore

Between 2003 and 2006 Joel wrote an extraordinary amount of material that could be classified as "protest" music. Though he may protest that classification [pun intended] as he states, "if you consider describing the enthusiastic betrayal of high ideals protest then sure, call it protest, but I prefer you think of them [these songs] as the love songs of an unrequited idealist". This material is wordy, referential yet undated and biblically dense in symbology metaphor and poetics while perfectly set in the simple Southern vernacular of a farmhand describing chores.

Joel was quoted in interview once as having said, "If there is a period of my work that the egg-heads will find commercially advantageous, this[American 03-06] is it. There's enough meat in the lyrics of this period to spawn a whole encyclopedia's worth of meta-careers. But no, it's unlikely I'll ever write in this manner again as I've traded in my fascination of mid-60's Dylan-esque vitriol for something more resigned.... [Interviewer asks: Why is that?] I suppose...the acceptance of one's insignificance as they age, that sort of thing..."


Southern Gospel

by Joel Moore

Throughout his journey Joel has continued to reference his Christian roots and though he never released any of the more religious tinged songs on any of his "official albums" he has steadily recorded songs that could themselves be compiled into an album. We've put them together in this collection for posterity.


Pros & Cons

by Joel Moore

Collection of songs from 2003-2006. Widely considered to be Joel's most prolific period as well as his most accessible material, this collection of songs is from what he calls, "the 8th St. years". Obvious comparisons to Dylan, Young and Fleetwood Mac could be made but Joel being a devilish and stubborn sort wont stand for "such accusation"... He also warns, "This ain't your mother's easy listening..."



by Joel Moore

Switching off the moniker, "Mr. Moor and onto "Visitor" after making a concerted effort to take more time composing and arranging songs, Joel declared, "I'm going to start writing "hits" now, Kim..." The name Visitor came from a temporary ID sticker made at the HBO headquarters in NYC when he was sent their on a job to deliver some production materials. To enter the building he had to have his picture taken and printed onto a temporary sticker with his face next to the word "Visitor". He liked how it looked and fresh to NYC it adequately described how he felt at the time, so it stuck. At least for a while. 



by Joel Moore

On his way out of the Formative Years and into Listen Joel began to focus more on lyrics and composition. Though still just giving it the ol' "hit record & go method" he had employed mostly up until now, his technique was improving and his style was ever-changing to fit his present state of mind. Mostly autobiogrpahical in nature his lyrics were still somewhat cryptic and mysterious, yet poetic and personal.


Churn Of The Century

by Joel Moore

In March of 2000 Joel visited New York City for a weekend. Less than one month later he had sold off most of his possessions, quit school and flew back into LaGuardia with two guitars, a 35mm camera and a suitcase(The Vault) of 4-track cassette tapes he had amassed since beginning his recording/writing adventures around 1996. Literally with the clothes on his back and a few hundred dollars he wound up at the Jane St. Hotel, then a hostel, then a couch, then a hammock in a courtyard, then a mattress in a closet at the top of some stairs and after eventually regaining his footing he begin a period of creativity that would become known as the "New York" years.

"Churn of the Century" or as Joel calls it, "the double-album that never was" is a collection of mostly improvised instrumental recordings he was recording during that period in quick takes between looking for a place to live and a a place to work and food to eat. Take them as you will as they were never meant to be anything more than his need to process the chaos of the time and for posterity to lay to tape the sounds in his head.


The Formative Years

by Joel Moore

The first fully compiled collection of songs from Joel came in the form of a self-made cassette tape under the moniker, "Mr. Moor". It was called, The Formative Years. Intended for release in 1999 the first physical copy didn't surface until mid-2000 after several revisions to the artwork. 

Musically the album was made up mostly of 1-take recordings of Joel improvising instrumentals or guitar songs w/ improvised lyrics or found sound pieces with hidden messages. He later defined his production style as the "hit record and go" method. For the most part these songs were recorded with a single track recorder of some kind, either a conference room dictaphone type or a Radio Shack type shoebox machine. A couple tracks recorded at Rosebank where he first encountered a Tascam 4-track owned by one of his roomates were added in the final stages of compilation.

The songs in this collection are of a young kid seemingly searching for his voice and perspective in a sometimes painfully unadulterated manner. This purity of intent creates a raw and naively unpretentious almost isolated and uninfluenced atmosphere; a kind of mood or sense of place that would later become a kind of signature found in nearly everything Joel would go on to produce.