David M’ore

David M’ore

“This recording offers the listeners an eye into the musical influences that have shaped M’ore and his music, which in turn has produced a recording filled with, you got it: passion, soul, & fire. It pays homage to those great guitarists of the past, while at the same time retaining an identity that is entirely David M’ore. This is one of the more intriguing recordings I have reviewed in a long time and I must confess it’s become a favorite around here.” Bluesrockers

The title of his third album, “Passion, Soul & Fire,” from San Francisco guitarist David M’ore describes the man and his music perfectly. 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. “The aggressive sound of the guitar drove me emotionally insane,” M’ore says. “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. First using his mother’s tape recorder and a classical guitar, M’ore practiced an average of 10 hours a day. “I started to play records from other bands like Deep Purple,” he says. “And a lot of blues like Muddy Waters’ rock and blues. My goal was to mix these two styles and still make both sound like me.”

David M’ore performs on a custom-made Stratocaster carefully modified to his specifications, demonstrating his acclaimed six-string technique on eleven new original tracks and one inspired cover of Deep Purple classic “Mistreated” that was recorded spontaneously live in the studio in one take. The album opens with straight-ahead Texas blues, ‘The Devil’s Land,’ featuring his gritty, gruff vocals that sound like they should come from an old bluesman from the deep south. The instrumental tribute to the power of electric guitar ‘Johan Sebastian Blues’ is a shred fest treat, and the extended 10-minute slow blues ‘You Said You Loved Me’ is reminiscent of Gary Moore in both its sheer power and intensity. M’ore blends acoustic and atomic on the voodoo groove ‘Sweet Little Baby’ and the slinky shuffle, ‘The 12 Song,’ is playfully injected with classic guitar riffs.  “I love to pay tribute to those who influenced me, but at the same time, I like to be true to who I am,” says M’ore, whose influences include Richie Blackmore, Joe Satriani, Johnny Winter, Gary Moore, & Albert King to name just a few.

Fans of big guitar playing, who enjoy hard rock that strays towards the blues rather than heavy metal, will dig deep into this album and immediately share the “Passion, Soul & Fire” of the explosive guitar attack of David M’ore, a man and his muse.

Rick J Bowen


“The immediate thing that hits you about David M’ore is the voice; husky, graveled tones which really should be coming from a Deep-South grizzled old bluesman. The overall feel of Passion, Soul & Fire is similar to those 1970s and 1980s guitar greats, like Johnny Winter, Peter Frampton, Jimi Hendrix, and Stevie Ray Vaughan.” National Rock Review

“The latest album from blues rocker David M’ore is called Passion, Soul, & Fire and you can clearly hear these elements in killer album cuts like the southern rock of “Cold Blooded” where M’ore takes his time and enjoys every second of his passion, laying down a two-minute intro before beginning his vocals. The album title certainly doesn’t need any more words, but if one more were to be added it would be “integrity.”” AXS.COM


Let’s discuss your new album, Passion, Soul & Fire. How long did it take for you to write the songs and record the music?


Passion, Soul & Fire is definitely a different album. It contains a lot of dancing Blues material, but at the same time it has the kind of songs that you can sit on your couch and enjoy listening to the arrangements and the musicianship. One thing that you can be sure of: nothing was taken for granted. This album is really the kind of music I like to play.

Each song is different. Some songs are the result of playing a riff several times and then the riff develops into a song. Then I play different versions in front of a crowd. That is how I can tell what people’s reactions are going to be. Other songs are just the product of an instant and spontaneous moment of inspiration. Sometimes I am driving my car and the song comes to me. It can start with a simple melody, or in some cases, I can even see in my mind the neck of the guitar and my hands playing the parts. I can also see and hear all the instruments and how I would like them.

I am very detail-oriented when I work in the studio. First, I record all the songs to a drum beat using a mini-digital studio that has the capability to convert the file to mp3. After that I write the parts on a computer file. Then I hand a folder to each member of the rhythm session. By then they have the mp3 and the written parts. So, there’s no excuses or doubts of what I want on each part.

Then we rehearse for three days. I must admit that in the studio I push the musicians to the limit. Studio time is valuable in all ways and it is not easy to match the schedule of the studio time and musician’s time, so when we finally get everyone’s schedule on the same page, it is important not time to waste with errors. Recording sessions should not be a rehearsal.  Once we got into the studio we recorded thirteen basic tracks in two days, with only one error. That is the foundation. I then sent the rhythm session home and I start working in the studio alone.

I don’t like to have anyone there when I work. I have a crew that helps me to move the gear around the way I want it. I can take up to a year to complete the final product. I try to be as honest as I can, especially with the tone of my amps. I can work on that for hours before I even start recording. Recording is totally different than playing live. You can always rewind a part of the song and hear a mistake. Once you print it is forever. That doesn’t happen when I play live.



NOVEMBER 17, 2015
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