In June 2024, David Moore was introduced to readers of the site, who is an artist from Knox City whose life has never taken the normal course. Although a soccer injury had shut one door, music had opened another—one that brought about songwriting, recording, friendships, and a body of work based on feeling, not on fashion. He has now released an album which is not simply a set of songs but a musical conversation with a deceased friend.
“A Wink Is As Good As A Nod To A Blind Mule,” which came out on August 24, is Moore’s heartfelt tribute to James Masters Patterson (1956–2013), the musician, co-writer, source of inspiration, and brother figure whose creative spirit is present throughout the album. The strangely unusual album title is entirely in keeping with Patterson’s sense of humour and shows at once that this is a tribute given with love while still retaining the personality of the man being remembered.
The instrumental opening, “Chasing The Mothership”, begins the album without words and has an exploratory, cinematic quality, as though it were the start of a journey into memory; Moore allows the instruments to create the emotional atmosphere before his voice makes an appearance.
The song “Miss-A-Lady” introduces a human voice to that setting. It gives the impression of a longing mixed with emotional distance, and Moore expresses it with control instead of forcing the emotion upon listeners. The way he sings is straightforward, warm, and believable, which is a key feature of the entire album.
“Mysteries Of Life” is probably the most emotional part of the album. Since the subject matter is suited to reflection, questioning, memories, and the various things we can never fully understand, Jay Michael Smith’s guitar merits particular attention. The way he plays gives such a remarkable portrayal of Patterson’s character that the guitar appears as if it is bringing Jim back into the room. It is one of those rare instances in which technical ability vanishes, and emotion takes control.
The song “The Wizard” features imagination and has a good character about it; the title implies a sense of mystery, power, and possibly an enormous personality, and the structure provides the song with space to unfold. Moore still manages to combine rock energy with a songwriter’s ability to tell a story.
“Love Is Blind” deals with one of music’s oldest themes but in a personal way. It is especially effective because Moore does not overemphasise the emotion; instead, he lets the melody and the guitar take on some of the emotional burden, which gives the song an honest and authentic feel.
Then there is the wonderfully mysterious “Y-Grene Fosecruos Atanos,” a title which seems as if it might be a private joke, a code, or an invention of Patterson’s, and maybe that is precisely the intention. It gives the album an odd characteristic and serves to remind us that to remember someone also means remembering their sense of humour and their individuality.
“Bryn Mawr” has a more solid and thoughtful atmosphere, together with a strong sense of place and personal history; the guitar work once again acts as an important narrator, while Moore’s voice ensures that the performance remains intimate rather than theatrical.
“Eternal Deceiver” takes on more serious and darker ground. The title points to betrayal, illusion, and the harm resulting from misplaced trust. Moore deals with the subject in a serious manner, which is appropriate for the song without making the performance seem forced.
“Love Is The Victory” shifts the emotional tone. Following a period of deception and doubt, love turns out to be something lasting and, in the end, more powerful. Moore shows great quiet confidence in this passage, and the musicians provide sufficient support so that the message sounds genuine rather than sentimental.
“Land Of Sunshine” injects a sense of light into the album; the title implies hope, warmth, escape, and maybe a place where difficult memories can be held more gently. Once more, the guitar stands out, not just providing accompaniment but acting as one of the record’s main voices.
“That Little Funky Tune” shows off the character of the project. It has a playful and rhythmic quality and is deliberately loose in places. Now this is a significant point since Patterson’s contribution to the album is not just limited to expressing his grief; his sense of humour and musicality are also given the opportunity to have some fun.
“When Lightning Strikes” has a sense of urgency and fizz. The title suggests sudden change, revelation, danger, and those instances which alter everything in a moment. The music provides the song with its spark, whereas Moore’s voice ensures that the song stays part of the album’s broader emotional narrative.
“Time” as the closing instrumental is a suitable way to end the album. Having heard all that has been said and played, there is now no need for words. Time has always been the album’s underlying theme, covering the time that Moore spent with Patterson, the years that have passed since his death, and the time taken to bring these recordings back to life.
What makes the album so touching is the effort that went into it. Moore took almost two years to reconstruct the drum sections one measure at a time from earlier recordings by using MIDI, making a point of carrying out this work without the help of any AI. Performances were then contributed by people from Texas, Pittsburgh, Albuquerque, the United Kingdom, and other places. The final product doesn’t sound as if it’s just a technical exercise; it has the feel of being handcrafted.
Each musician has room in which to perform, and the instrumentation possesses a warm and organic quality. Most notably, the guitar work throughout the album is beautifully executed. The guitars never appear to have been added merely for decorative effect; instead, they speak, respond, recall, and at times seem to reflect the personality of Patterson himself. The performances by Jay Michael Smith, Brian Patterson, Hollan Holmes, Stuart Epps, and the other people who took part in the recording achieve a highly unified sound even though they are located a great distance apart.
Moore’s performance is just as significant. With his vocals, he doesn’t aim at displaying vocal technique; rather, he shows sincerity. He sings in a way that indicates he realises these songs are part of a genuine history. The way he delivers them is natural, a bit weathered and emotionally straightforward, giving the songs room to breathe rather than turning them into monuments. That is indeed the most remarkable achievement of “A Wink Is As Good As A Nod To A Blind Mule.” It recalls James Masters Patterson without merely keeping him as a memory. His sense of humour is preserved in the title, his songwriting in the songs, and his playing in the musicians who understood him. Most importantly, however, his friendship endures because David Moore decides to complete what time had not been able to.
It is a pleasure to be introducing David Moore once again after having first met him here in June 2024—not merely as an artist coming back with a new album, but as a songwriter who has turned friendship, loss, loyalty and music into something lasting. What a lovely welcome back to you, David, and what a record you’ve returned with!
Listen to the “A Wink Is As Good As A Nod To A Blind Mule” album on Spotify
You can follow David Moore here for more information.
