Chris Smither - Leave The Light On

Review by Sean Lynch

It's a tough business this music industry. You can be the next big thing one minute, and Peter Andre the next. It also seems to be the case that the ones with the real talent are left behind, while those with a good marketing manager seem to be whistling all the way to the band, and occasionally, onto the front cover of Who Weekly.

Chris Smither is a man whose career has spanned almost four decades, one of the few musicians who were on the scene during the blues renaissance of the mid 60's - but I would highly doubt that most people would have ever heard his name. And that's a real shame as this is one of the best country/blues albums that has leaked onto the market in a long time.

From the opening track of "Leave The Light On" you are immediately transfixed with Smither's gruff vocals, that seem to be endlessly tinted with a hint of sadness and exhaustion. It's such a rare thing for an artist, especially a fairly unknown one, to immediately make a connection with the listener. There are no video clips, there is no Newlyweds: Chris Smither & A Blonde Chick MTV series to give a personality to the music - all we are given is a voice. And it's just astounding at the reaction Smither gets almost immediately.

The title track Leave The Light On shows his ability to stretch further than simply sad country, wit an up tempo and joyful ditty - while Shillin' For The Blues goes the opposite direction with a dark take on life's struggles. It's almost as if a dark cloud ascends over the once happy country skies - it's cold and it's solemn, but it's superb - with Smither taking you along on the journey every step of the way.

When I first listened to the album, I was taken aback at how much I liked it. I wasn't sure if it was because of the re-emergence of Johnny Cash had made Country more accessible or simply because it seemed to compliment the events occurring in my life at the time. I passed it onto a few other peers of mine, and they too felt inexplicably close to the artist.

There are hints of Cash, while a contemporary audience will see dashes of Eddie Vedder, Bob Dylan (whose track Visions Of Johanna gets a brilliant reworking towards the end of the album) and Bruce Springstein. Which is oddly the main question. Does Chris Smither sound like Vedder and Springstein - or do they sound like Smither?

The album closes perfectly with a touching rendition of the traditional tune John Hardy which feels as much as a goodbye swansong than anything that could ever be put together over a montage of tears on The O.C.

It's not an album that will jump out at you at the record shops, it's one of those rare albums you'll have to chase up yourself - but it just has the ability to become so instantly familiar to you as soon as you press play - it's worth the extra effort. Don't let Smither's work fade into the darkness, make sure you experience a fine musician doing what he does best.

RATING: 4.5 out of 5