IAN MOORE
And All The Colors… (KOCH Records)
Reviewed by David J. Klug

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I'd heard lots about Ian Moore-for starters, touted as the heir apparent to Stevie Ray Vaughn- but never heard his music before I saw him perform at NXNW last year. He kicked my ass that night. I saw him at SXSW this past March but was less impressed, even though that show rocked harder than before. Nevertheless, my anticipation for this, his fourth release, was greedy. It's payday, because And All The Colors…delivers the motherload.

A friendly record only when it has to be, And All The Colors…is otherwise tough as nails; a little pop and a lot of atmospheric rock. And nothing resembling the blues. While immediately engaging, this is an album that rewards with exploration. (It's even more rewarding when listened to with headphones). The opener, "Float Away," gives hope for the rock guitar assault that reaches fruition on "Leary's Gale" and "Closer." The pace of "Johnny Cash And The Electric Bible" and the machine gun drumming at its peak are positively invigorating. The desperation of "Retablo" and the sonic build within "Angelyne" provide more stunning moments. Yet it's the ballads that make the record shine: "Magdelina" (the record's best track), "Oceansize," and the finale "Fickle."

Comparisons to Hendrix and Pearl Jam aside, this record presents some of the best use of aural montage I've heard since Elvis Costello's Imperial Bedroom (1982). And as much as Moore's guitar playing graces this record, it's his phenomenal vocals that drive it. Simply put, he sings his soul out. And All The Colors…is a masterwork. If Moore plays his cards right he should be on his way for more than fifteen. Recorded mostly at the Hit Shack in Austin, Texas by executive producer Jim Cardillo and producers Moore, Joe Chiccarelli, and Mark Addison.

© 2000 - David J. Klug