Moon Pix - 1998

A good article about Moon Pix: http://stereogum.com/1332151/backtrack-cat-power-moon-pix/

Did you know that the Australian Version of Moon Pix had 3 bonus tracks? It seems that "Kingsport Town" take is from Radio Aligre session.

Nicolaoua wrote:Did you know that the Australian Version of Moon Pix had 3 bonus tracks? It seems that "Kingsport Town" take is from Radio Aligre session.

 
From Matadors website (archived news):
In the meantime, Cat Power will be touring in Australia. Mushroom will be re-releasing "Moon Pix" in anticipation of the tour with these three bonus tracks: "Kingsport Town" - Radio Aligre Sessions France 10/98; "Schizophrenia's Weighted Me Down" - from the UK CD5 of "Nude As The News"; "Sea Of Love" - from Everything Is Nice. Those of us outside the Southern Pacific archipelago will have to claw our way through the import bins.


So the extra tracks would be:
Sea Of Love (Unreleased at the time this reissue came out in Dec 1999, also included on a Matador comp.)
Schizophrenia's Weighted Me Down (Nude As The News B-Side)
Kingsport Town (From 11/30/98, Radio Aligre)

This guys observations on Moon Pix and her other albums is spot-on, IMO. 

http://www.clashmusic.com/features/foundations-maximo-park

By Paul Smith

“I got into this album at the time it came out. My local music shop in Newcastle had a postcard of the cover up, and I thought it looked pretty interesting – this interesting face on the cover, peeking out at you. I’d read some things about Cat Power, too, which made me want to listen to the record – and it surpassed any expectations that I had.

“This came at a time in my life where I’d just gone to university, and I was listening to the albums I did buy a lot more, as I didn’t have the money to buy too many. I’d listen to this record a lot, and initially I actually only had it taped off a friend of mine. It was only recently that I bought the album on vinyl, in a nice reissue. But I’d listen to the tape over and over again.

“There are all sorts of stories that go around this record – like the hauntings going on in the house she wrote it in, and then the recording of it out in Australia, which lends it a different feel to what she’d done before. The guitar playing of Mick Turner and the restless drums of Jim White stand out for me – these are key components of this record. And Chan’s playing is great, too, but that’s her thing – she has this really interesting, sprawling guitar style, and she’s one of these singers who could sing anything. Her covers records have shown how flexible she is.

“To me, this is soul music. It’s total… it’s alternative music, but with an added, despairing howl. There’s a sense of rejuvenation in a lot of her music after this record, of coming in from out of the darkness. After I got ‘Moon Pix’, I went back to her earlier records, and some of those are harder to listen to – not just because of the emotional content, but also because I don’t think she’d found her voice, until ‘Moon Pix’.

“If anyone was looking to get into Cat Power now, I’d definitely say this is the place to start. And, perhaps, to end, too – go further if you want, but I think she hit the nail on the head with this album.

“I did like ‘Sun’ (review), and when you trust an artist you rather pin your colours to their mast, so you can appreciate when they try different things. Maybe not all of that record is for you, but it has so many bright spots, so it’s worth getting into. So I liked ‘Sun’ quite a lot. A couple of its songs aren’t for me, but it’s important that someone who’s a strong, positive female artist is out there on her own, taking risks with each record.

“I liked ‘You Are Free’, too, where she was working with Eddie Vedder and Dave Grohl, but to some hardcore, like, Drag City kinda fans, I expect that was really off-putting. ‘The Greatest’ features some of her best songs – it’s great that every time she takes a little risk, and that’s really appealing to me.”

Are you sure that's an outtake ? It looks a lot like the back cover photo to me.

Ah , you are right , I wasnt looking closely enough.

Okay, this time for real. Actual outtake pictures from the Moon Pix cover. Very Cool!!



https://www.coverourtracks.com/single-post/2018/02/22/Body-in-Peril-The-Photographs-of-Roe-Ethridge

Interview with Roe Ethridge, Moon Pix cover photographer:

LKH: Let’s talk about the album cover you did for Chan Marshall. That was before you left Atlanta, right?

RE: No, that was in New York. I think it was the first year I lived in New York; I think it was the summer of ‘98. I had a roommate in a loft in Williamsburg and my roommate had, like, a breakdown and had to leave the city. And I was working on those pictures of the trees on the highway medians –

LKH: I remember that!

RE (laughs): I came back from one of those sojourns down to Atlanta – I drove down from New York to Atlanta, and photographed in between. And I remember it was August or September and it was so fucking hot – I didn’t understand why it was hotter in New York than in Georgia, you know? It was like this E-Z Bake Oven loft apartment. But my ex-roommate had left all her clothes – and she had great clothes, you know?

So, when Chan reached out – “We should take a picture, maybe we can do something for the album cover,” we had a rack of clothes to pick from. I set something up with these fake silk magnolias – I guess I’d brought them up from Atlanta -- and she picked out a jean jacket from the stuff. It was one of those things where we … like, you know, it was very…

LKH: Very what?

RE: I mean… I was freaking out! I didn’t really spend that much time with Chan in Atlanta, so it was it like, “Oh my gosh!” And I’d always had such a super crush on Chan from the Fellini’s Pizza days.

LKH: Me too. Everyone did!

RE (laughs): When I worked at Fellini’s on Ponce, I can remember going to Little Five Points and getting pizza boxes and just being like (nervous voice): “Hey, Chan!” And she’d be back there smoking cigarettes at the cash register: “What do you want?” All saucy and flirty and stuff, and it would just put you in the weirdest state. It’s like being like a teenager – I mean I guess you’re pretty much like a teenager in your twenties, but I mean being, like, a thirteen-year-old.

LKH: You never really stop being a teenager when it comes to crushes and stuff, I don’t think.

RE: I know, right? So, we caught up a little bit and then took a picture. And it was one of those magic situations where… well, I was shooting Type 64 – is that even what it’s called? I haven’t shot film a while, but it’s that black-and-white Polaroid film where you get a Polaroid positive print and a negative. I think it was the first or second one that I pulled, and I looked at it, and I was like, “Do you know what this is?” And she was like… (whispers): “Yes.”

LKH: Yes! That cover is funny because it’s such a good portrait. She looks so innocent and shy. She has a toughness about her -- like you were saying -- but something softer comes through in that picture. I really like it. You’ve worked with her since then, right?

RE: Yeah, yeah. I took her picture for a fashion magazine one time. And then I did her portrait for The New Yorker. We hadn’t been in touch in a long time. That was also, I guess, before – well, maybe Instagram existed at that time, but it was before Instagram was so… like it is now. I’m on social media now. I wasn’t then.





And also the upcropped cover photo that was posted back when the 20th anniversary concert was being promoted. 

From 10/XX/98 - Stomp And Stammer Magazine: