David M’ore

Holy Sinners & Sinful Saints

David M’ore was born in Argentina. He picked up an old guitar that his godfather bought him for his eighth birthday and immediately began to explore vintage records. M’ore states “The aggressive sound of the guitar drove me emotionally insane, I still listen to those old records from Johnny Winter. His family wanted him to play classical and flamenco music but M’ore loved the music of Jimi Hendrix and Deep Purple. He attended a conservatory of music where he would sneak behind the piano and play ACDC. Using his mother’s tape recorder and a classical guitar, M’ore practiced an  average of ten hours a day. He started to play a lot of rock and Muddy Water’s blues and decided to mix the two styles. M’ore arrived in Los Angeles in the early 1990’s, and people began to talk about the new kid with the aggressive guitar style, raspy vocals, and Blues-Rock tunes. M’ore could often be seen performing in the San Fran Bay Area. In 2009 M’ore released “From The Other Side of The River”, and followed up six years later with 2015’s “Passion, Soul & Fire”. “Holy Sinners & Sinful Saints” is  his third studio album. All guitars, bass and drums were recorded at either Prairie Sun Studios in Cotati, CA; or at Audio Voyage Studios in Livermore, CA. M’ore uses a 1968 Fender Super Reverb Amplifier, a 1993 Fender Vintage Vibro King amplifier, a 50 watt Marshal, and a 1 of 50 Doug Sewell era PRS Hand Wired amplifier. The band is  rounded out by bassist Marshall St. Clair, and drummer Wade Olsen. All guitar and  vocals are performed by M’ore.

“Holy Saints & Sinful Sinners” opens with “Me And My Baby” and the lyric “me and my  baby, never get the blues, me and my woman ain’t got none to loose…me and my baby never get untied, me and my woman…”. “Rock Me” is based on B.B. King’s “Rock Me  Baby” first recorded in 1964, it is a re-arranged version of the classic as M’ore belts “rock me baby, rock me child, as my body got to know”. On the title track “Holy Sinners  & Sinful Saints” M’ore plays a resonator guitar as he sings “I’m breaking down now holy Jesus”, as he utilizes his wah-wah pedal.

“Let Me Take You Home”, “well, let me take you home…if I love evolution, let me take  you home” with some ferocius drumming from Olson. “Bleeding Heart” utilizes some  reverb on this eight minute instrumental. On “It’s Alright”, “you say you love me, what am I to do…woke up this morning” M’ore plays his screamin’ signature guitar, as we hear his raspy vocal. “Love Is” follows.

“Let’s Get Together” is another raspy vocal, “lets get to know each other, let’s get together”. “Hoochie Man” was originally written and performed by Muddy Waters in 1954, this  re-arrangement is not meant to be a cover but meant as a tribute “a gypsy woman… everybody knows I do…when you see me comin…everbody knows I do”. “Armenia” opens  with a sort of eerie eastern sound “you are more than just a babe…if you don’t never get a child, there is no time for love, if you don’t have much”, the raspiness at times negates any  sort of clarity.

“Still In Love With You”, is a slow blues “you know it’s true I’m still in love with you…you  know you broke my heart, I was so in love with you, in my heart I know it’s true, I’m still in love with you”. “Insanity”, is about the feeling that he got when he first learned to play guitar, as he still gets that feeling. On the closer “Money And Trouble”, a walkin’ blues, M’ore croons “I don’t want money, I just wanna be your man, I got a home…I gotta worry, I got to worry all my life…you say you love me baby…it’s alright”.

In the beginning, traditional Blues and British Neoclassical Hard Rock played a very  important role in the evolution of David M’ore and his style. Fans of big guitar playing, who enjoy rock that strays towards the blues rather than heavy metal, will dig deep into this album to experience the explosive David M’ore, a man and his muse

Richard Ludmerer

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