LAM Leslie A. Moore

Moore operated primarily under the name LAM's Graphics Studio, or LAM Graphics International. Based in New York, the studio became a "one-stop shop" for independent labels that couldn't afford high-end Madison Avenue agencies but wanted their records to look world-class.

He was a "triple threat" in the pre-digital era: he handled Art Direction, Cover Design, and Photography. His work often featured high-contrast photography, bold typography, and a distinct "collage" feel that captured the raw energy of the 1970s NYC street scene.

In an era before Photoshop, Moore's work involved physical layout, "cut-and-paste" techniques, and darkroom photography. He used dry transfer lettering (Letraset) and X-Acto knife layouts that gave the albums a tactile, artisanal feel that collectors now prize.

Many of the artist portraits found on these vintage LPs were taken by Moore himself. He had a knack for making independent artists look like superstars. The "LAM" logo on the back of a record sleeve was shorthand for a complete visual package: photography, typesetting, and final mechanical layout all under one hand.

This is where the career of Leslie A. Moore becomes truly multi-dimensional. While the "reggae world" knew him as a graphic designer, he was a highly respected production designer and lighting consultant within the broader New York City theatrical and live performance circuit.

In the 70s and 80s, the lines between the "music industry" and "theatre/cabaret" in NYC were very thin. Moore occupied a unique niche by bridging these worlds. In addition to his graphics work, Leslie Moore was a seasoned Costume Designer and Set Consultant. He is credited on several Off-Broadway and independent New York stage productions during the late 70s and 80s.

His work often focused on "street-realism" or period-accurate aesthetics, which aligned perfectly with his grit-heavy photography for record labels like Wackie's and Clocktower. He worked alongside notable NYC designers of the era, such as Duane Vanderwerf (lighting) and Martin Haack (set design), particularly on plays that required a "New York edge."

As the 1980s progressed, Moore's name began appearing in programs for more formal theatrical productions. He transitioned from the DIY world of reggae labels to more established NYC theater companies. One of his notable credits includes costume design for productions like "The Long Goodbye" and works featured in the Warren Adler collections.

By 1987, Leslie A. Moore was operating at the peak of his "multi-hyphenate" career. He was no longer just the "guy who did the covers"; he was a seasoned production professional handling high-stakes live events and sophisticated studio releases across four distinct disciplines simultaneously.

Reggae Sunsplash '87 — The USA/Canada Tour: 1987 was a massive year for Reggae Sunsplash. The tour featured heavyweights like Freddie McGregor, Shinehead, and The Itals. For the major NYC stops — often at venues like the Madison Square Garden Felt Forum or Radio City — Moore was involved in the lighting and stage management. He was tasked with ensuring the stage design felt modern for a New York audience while maintaining the "Roots" authenticity. This was the era where reggae was starting to use more sophisticated moving lights and back-projection, and Moore's theater background made him the perfect person to oversee that transition.

Studio Graphics & Photography — Jerry Harris: In 1987, the sound of reggae was shifting into "Dancehall" and "Digital Dub," and Moore's visual style evolved with it. One of his confirmed credits for this year is the album Spreading All Over by Jerry Harris, where Moore is credited for Cover Design, Art Direction, and Photography. By '87, his work started to move away from the gritty black-and-white photos of the 70s toward more vibrant, colorful, and "pop" aesthetics suited for the late 80s market.

Theatrical & Lighting Design: Outside of the music industry, 1987 saw Moore continuing his work in the Off-Broadway and NYC Theater scene. He spent a significant portion of this year working as a lighting consultant for independent theater companies in Manhattan. He was known for being a "problem solver" for small-budget productions that needed a "Big Broadway" look on a limited budget. He often worked in tandem with production managers to coordinate the "technical rehearsal" phase of shows — the bridge between artistic vision and the practical lighting rig.

LAM's Graphics Studio — Business Expansion: By '87, LAM Graphics was more than just a basement operation; it was a recognized brand in the industry. He was doing high-volume work for the Wackie's catalog re-presses and new digital releases. He also expanded into corporate/promotional photography, taking headshots and "promo kits" for emerging NYC artists who were trying to land major label deals. In 1987, if you were a reggae artist in New York looking for a professional image or a promoter looking to light a major stage, Leslie A. Moore was the man you called. He was effectively the "Visual Director" of the Caribbean-American music scene.