Singer, Musician & Entertainer

“Devil’s Game” brings to mind the genre bending slide guitar of the late great Lowell George and 1970’s Little Feat while other tunes like “Woman in Love” summon the acoustic guitar stylings of Physical Graffiti era Jimmy Page and the kind of soulful vocal that makes Eric Clapton more than just a guitar player. There’s even hints of the FM friendly blues of Robert Cray on “She’s Trouble” and classic southern California country rock on “She Don’t Think I Notice”.

There’s an obvious lifetime of experience behind every tune and a few tracks like “Gettin’ Old” (“Everything aches/everything’s blurry…) and the title track “Alibis and Little White Lies” (“I’m out on the road, wasting my life…) reflect how long that life has been.

The song choices and flow from track to track make “White Lies and Alibis” more of a complete work than just a collection of twelve songs. It’s the type of record that gets played from start to finish and has the feel of an old familiar sweater on a late autumn Florida night – now that it’s on, there’s just no need to take it off.

The overall production is slick without being sterile and every song is completely radio ready. All the instruments are all given room to breathe and all each component works together for the sake of the song as opposed to showy musicianship or, as is often the downside of blues style music, solos for solos sake. Moores himself must have used his entire extensive guitar collection (pictured on the cover) on this album. There’s twelve string acoustic guitars, resonator guitars, mandolins and big, bad, roadhouse rockin’ distorted electric guitars. The attention to detail shows.

The next time you need a soundtrack for a few afternoon cocktails by the river just grab “White Lies And Alibis” and press play.