5 comments about Another Way to Find You.

1. I became a Smither fan after hearing him play live, which is where he really shines, and have since made a point of catching his performances all over the U.S. I have all his CDs and this one is my perennial favorite. It's hard to articulate exactly why, since Chris is so uniformly masterful with his guitar technique and his famously smooth/gravelly voice. I guess it's largely the song choices, which are a teriffic blend of traditional blues covers and his own soulful compositions. Also the live format infuses the entire CD with an energy and consistency missing from many studio productions. This is a singular virtuoso performance; being in that audience must have been a sublime experience!



2. Chris Smither turns in a brilliant live performance here that mixes folk and blues standards with his own less classifiable originals, which seem more informed by tradition, rather than defined by it.

   His acoustic guitar playing is technically impressive, and this is the first thing that some young, guitar-playing friends of mine seized upon, when I lent them the CD. He can burn with up-tempo picking.

   Yet, it is the reflective ballads that command my attention and affection the most. Smither's baritone communicates a dignified sense of melancholy that hints at genuine spiritual depth. These ballads are sequenced against upbeat versions of tunes that range from his own "Love You Like A Man" to a Chuck Berry cover.

   In the end, this is a vital and nuanced performance that is more rewarding for me than his studio recordings with a full band. Highly recommended.




3. "Another Way to Find You" was listed by Kenneth Bays of BLUES REVUE magazine as a favorite album. Since I liked or loved *every* other album Bays listed but had never heard Chris Smither, you bet I sent for this quick-like-a-bunny.

   Oh my wow. Read the other reviews here, they are absolutely right about his guitarwork. He writes an excellent song, walking back and forth between what those who want to classify would call blues and folk. Interesting individual voice that goes well with his lyrics and phrasing-- his voice, playing and writing are extremely well integrated.

   If you like this kind of music (and I approached it from a blues background) you will find tremendous subtle variety among the cuts; if you're not used to it, this is a CD WORTH listening to til you do find them. His "Love You Like A Man" is hilariously joyful guy-stuff and beats Bonnie Raitt's all hollow (!). "Shake Sugaree" is a wonderful choice to cover. It figures if he writes songs as he does that he'd find this and deftly bring out EVERYthing the song has in it. I can only agree with what has been said about other cuts.

   One of those rare CDs with such high consistent quality and depth throughout, where the concept aids and abets what is great about the artist... it's just something to put on again and again to hear as a whole.




4. "Another Way To Find You" features master blues guitarist Chris Smither. That's all - just Chris and his guitar. No backup group singing harmony, no other musicians "filling" for Chris and no multi-track recording manipulation. Chris is well qualified to stand alone. He is a wizard on the acoustic guitar - his technique is so elaborate that you'd swear you were listening to the work of two or three players.

   Traditional songs (such as "Statesboro Blues") are rendered with dignity and respect. Chris is equally comfortable with folk ("Down In The Flood") and rockabilly ("Tulane").

   I'm certain that the relationship between Chris and the small audience present during the recording session was intimate; however, much of that intimacy is lost when the listener is not a member of the live audience. Eighteen cuts of "Chris Unplugged" is a bit lengthy for my tastes. Despite this minor complaint, "Another Way To Find You" shows an exemplary talent in fine form.




5. I was recently introduced to Chris Smithers through a local radio program ("out of the blue radio review" by Page Wilson, on WCVE in Richmond). Mr. simithers' ability is aparent on every Trak.I have been absolutely enthalled by his mastery of the guitar. The music presented on this CD is as rich and complex as it is hard to categorize. Anyone looking for an example of acoustic folk/blues/rock with a hint of the mississippi delta, you need look no further.

1 comments about Real Life (Live).

1. This is without a doubt one of the best live blues recordings! It is so "Beautifull" that it makes tears well up in my eyes. Definitely a BUY!

5 comments about Live from Manny's Car Wash.

1. Todd Wolfe does everything very right on this disc.
   The playing is emotional, hard, hot and the band interplay is top notch.
   Obviously Todd is student and long time journey man in blues and he knows what works and has the recipe down cold. The reason it does not get 5 stars is there is a vocal effect used in a couple of songs that I could do without, but it's just my preference.
   Bottom line is have you heard this type of music before?, If your a blues and rock fan, you sure have. But it's played special.



2. These are terrific songs, played with passion and finesse. Some of the songs will be familiar, but not the interpretations
   Play it loud!



3. To disparage this performance because it is predominantly covers is to disparage any great performer for doing covers. Simply, extraordinary musicianship is not necessarily the same as songwriting. This is an extraordinary CD by an extraordinary musician -- you will not be disappointed. I've played this CD on my radio show many times, and never fail to get calls, either compliments or requests for more info. Fortunately, Mr. Wolfe plays locally. Mr. Wolfe's follow up CD, simply titled "Wolfe", is mostly originals, and will delight the most critical of listeners



4. To disparage this performance because it is predominantly covers is to disparage any great performer for doing covers. Simply, extraordinary musicianship is not necessarily the same as songwriting. This is an extraordinary CD by an extraordinary musician -- you will not be disappointed. I've played this CD on my radio show many times, and never fail to get calls, either compliments or requests for more info. Fortunately, Mr. Wolfe plays locally. Mr. Wolfe's follow up CD, simply titled "Wolfe", is mostly originals, and will delight the most critical of listeners



5. Wolfe opens the CD with a nice interpretation of Willie Dixon's (incorrectly credited to Willie Nixon) "I Can't Quit You Baby". He uses the slow paced rhythym of the song as a back drop against which to show case his scorchin' solos and some tasty licks.

   Wolfe follows this with another classic Dixon tune (again erroneously credited to Nixon), "Evil". For some unknown reason, Wolfe, whose vocals are not that bad, sings the song through a voice box. The result is less than impressive.

   The rest of the CD is pretty much the same, 7 covers and 2 mediocre originals, used mostly to showcase Wolfe's guitar abilities. Personally, I am not impressed by a musician that puts out a CD comprised of 80% cover material. While one or two covers are generally used as filler on a CD, Musicians that rely solely or mainly on covers demonstarte a lack of originality. Covers have their place as occassional filler and in tribute CD's, but not as the predominate material in a debut CD. Downgraded for lack of originality!

No comments about Live Top.

2 comments about Live at Gaslight Cafe, 1965.

1. Eddie James "Son" House was born in 1902 and was one of the earliest blues musicians in the 1920's playing with Charlie Patton and even serving as an early mentor to Robert Johnson until Johnson left town and "sold his soul to the devil" for his amazing skills.
   
   It is amazing that with such a paucity of recordings, this Baptist bluesman's status could forever be forged in the annals of American music as legendary. Son House recorded a mere 7 Paramount sides in 1930, some field recordings by Alan Lomax in 1941 & 1942, and some sessions in 1965 after his "rediscovery." He put the guitar down around 1942 because, as he stated in an interview in the 1960's, all of his friends were dying, from Charlie Patton to Robert Johnson......he simply thought he would be next if he kept on playing. And so he put his guitar down for 20 plus years.
   
   Outside of the three times he officially recorded in the field or in studio sessions, there is not a lot of material for the avid fan of Son House. Luckily for us, we have recordings such as "Live at the Gaslight in 1965." He may not have the white-hot intensity of the 1930 Paramount sessions, but the intensity is there nonetheless. And we are witness to a soft spoken Son House as he talks very softly between songs.......for me, this is what I enjoy the most even though the music is fantastic. He doesn't say much, but his soft spoken words contrast starkly with his singing and presence. Listening to this album is like finding a treasure, a treasure to be savored and enjoyed partly because it is a testament to one of the all time great names in the genre of the blues. And partly because sadly, there is simply a dearth of recordings by Son House. When the audience applauds in gentle claps, you get the distinct impression that they do not know how great the figure in front of them will ultimately prove to be.
   
   Enjoy the songs on this album.....they were made by a master who to this very day is the epitome of delta blues.
   
   4 1/2 stars.



2. Even if he hadn't influenced anyone, even if historically he was a 19 year old kid from Shirley, Long Island, even if this recording at just been waxed last night, this is good, essential blues listening, you won't want to stop listening, you wont stop seeing the scenes of the blues that the songs make, you won't stop swaying at the power and swing of his guitar playing and singing. On here, my song is Preachin the Blues. I know you will have yours.

   Son House taught Robert Johnson the slide blues. Son House taught Muddy Waters. When Son House started performing at Blues festivals again in the mid 1960s, some of Muddy's younger band members would start to go off for a smoke or whatever when the old man came on stage. Muddy wouldn't let them. Muddy Waters would tell all his band members to be quiet and pay attention when the man played because even compared with Muddy, this was the real deal.

   Rediscovered in Rochester, New York, relearning to play the guitar, (how this country abuses the masters that come from its people, particularly its Black people), put back on the stage by the folk revival's blues section, House made recordings that reproduced his old masterpies, with a wrier sense of meaning than before.

   People outside of the blues life focus on the guitar playing or the rhythm of the singing, but where the power comes from is the feeling and the words that are put together, the life and the meaning of the blues. Son House in his youth and his old age, on this and his other sides, always gave it.

   So Like Muddy Waters, I would like you to know that
   Son House is the real deal.
   Listen and learn

2 comments about Have Mercy-Live!.

1. This is as good as a live cd gets. You can feel the excitement in the crowd, the band is tight, Lloyd's voice and guitar are right on the mark with soul, funk and blues. I play him a lot on my Blues Power Show at 1490 KOTY, The Yakima Nation Reservation station. The attitude and funk of the song "Everything I do gonna be funky" is so infectious, that I am considering making it the Show's official song!



2. This CD was recorded live at the Sierra Nevada Brewery in Chico, party capital of the universe. Lloyd Jones wrote "Can't Get You Off Of My Mind", and though other people have covered it, I like his original version best. This is a cheer-yourself-up-and-get-moving CD. I've seen this hard-working band several times in Portland and Seattle-don't miss 'em!

No comments about Live in Montreux.

1 comments about Rum & Coke.

1. Man, this guy is good!

   As soon as I heard this album, I found myself wondering why I never heard of him before. A find!

No comments about Swingin' from the fabulous Satellite.

3 comments about Live...As It Should Be.

1. One star too many. I cannot believe that anyone with even moderate hearing would give this more than 1 star. KELLY's vocals are nothing short of unlistenable. Her lyrics are on par with her vocals and her guitar playing ( totaly mindless and unrelated notes ) is not even that good. If this was played by a 12 year old with 6 month tuition, one might suspect that there is some talent lurking somewhere. From a seasoned player this is unforgivable. Amongst the many many notes, there is not one interesting one. How anyone can mangle HEY JOE and CROSSROADS into the horrid tunes they become in KELLY's hands is beyond me. Not one redeeming feature. There are 1000's of better ( can't think of a lesser one as a matter of fact ) players out there. Even the fact that she is one of only a handfull of female players can't save this dreadfull effort.



2. The first guy to post here messed up and did not see the rating thing and give this a 1 star and then went on to talk about how great this album is. I would give it a 6 out of 5 if that was possiable, if you like the blues and have a thing for true guitar masters, then you will want to own this



3. Saw this disc in a review in Vintage Guitar Magazine Review, and these guys are top notch in reviewing musicians, so I said, it is a purchase!
   
   Let me say this, she is by far the most unsung guitarist in the blues/rock genre. The flow of notes, and sheer bombastic volume of this disc will make the hair on your neck stand up, and say " This is a chick, playing this". No disrespect to the women of blues/rock, but HOLY COW.
   
   I am getting the remainder of her catalog today.
   
   Kelly my dear, you go girl!
   
   Cowboy Craig of the Coastal Bend!