Chris Compton is a songwriter because there are more people drinking at cafés and bars than there are those reading books of poetry in the library. He tried to be a poet when he was younger: private tutoring with college grad students and visits with James Dickey to his house and classroom- and Chris was only thirteen at the time. But after many years of verses and only a few publications and a scholarship to show for it all, he picked up the guitar his father taught him on and began giving a voice to those images he laid on paper. By the time he was in college he had developed a hunger for collecting uncommon forms of music: scratched records of field recordings from the damp library basement, avante guarde horn players he discovered only through books and the occasional clerk behind the counter at the music store, Indonesian folk, schoolgirl hand-clapping songs. Metal pipe, garden hoses, baby toys and other found objects became instruments to color the bass, drum and guitar music he was writing at the time.
Playing all instruments himself (including flute, saxophone, banjo, mandolin, keyboard and drum programming) he recorded at home and released albums in 2009 (Field Tech) and 2010 (Perfect World) while singing in a couple of musicals and performing at festivals across the state of South Carolina.
There are some voices that are so distinct you could pick them out of a chorus of singers and Chris has one of those voices. The delivery suggests something a bit like the crooner from the 40’s but still belies his undeniable blues influences rooted in the likes of Son House and Howlin’ Wolf. The Deep South, with its few bastions of undeveloped land, its abandoned towns and buildings and black magic stirring just under the surface. This is where he was born and lives and as much as he longs to escape from it all, it is the driving force in the stories he sings.