From the Press

PRESS QUOTES

"On the Southern California club circuit is an unconventional and exciting band that gives club-goers a power-packed, fun evening of entertainment."
Valley Entertainer, Los Angeles

"Preston Smith not only plays everything from guitar and penny whistle to bull horn and timbales, he does it with style - one which may be a conglomeration of musicians past, but one that emerges as his own."
Pasadena Courier

"It doesn't matter what sort of music you like, if you like music, you'll like Smith."
Star News, Los Angeles

"Smith has a problem - it's that he's too good at too many things. Blues, rockabilly, Chuck Berry rock - you name it. Smith can sing and play it with as much soul, suave or boogie as anyone in town. Best of all, Smith enjoys each song as much as the audience."
BAM Magazine, San Francisco

"It's hard to miss a man with a bullhorn. But it's not just the stage gimmicks that have brought him attention. His fans are rabid about his shows."
San Luis Obispo

"A serious musician, but certified cut-up, Smith is a whirlwind of motion and cartoons/facial expressions during live performances, where he's been know to sing Muddy Waters tunes through a bullhorn, play the guitar behind his back and from atop tables where patrons sit in stunned silence."
Music Connection, Los Angeles

SINGING THE BLUES
by James Fowler, Times Staff Writer, Los Angeles Times,

Preston Smith is sometimes called a consummate blues singer. Smith does sing the blues, but he's quick to note that his music is not restricted to the 12-bar form.
"It's blues, but it's crossover, too," says Smith.
Indeed, Smith is the kind of blues man who, along with Muddy Waters, John Lee Hooker and Jimi Hendrix, lists jazz great Louis Armstrong as a major influence.
"His (Armstrong's) phrasing as a singer - he's one of the most important players of American music," Smith says. "His voice is just so smooth, but it conveys a lot of emotion as well."
Smith is the kind of blues man who will sometimes scat sing a trumpet solo during his rendition of "When You Wish Upon a Star," from Disney's "Pinocchio." And some of the songs Smith writes wouldn't be classified as blues either.
His original song "Black and White" was a hit record for country music artist Rosanne Cash. And his own recording of his song "Oh I Love You So," with its distinct calypso feel, was included on the soundtrack of the Tom Cruise film "Cocktail."
Smith's first album, "Preston Smith," was released on Curb/Capitol Records, and he is currently shopping a new CD, tentively titled "Feel," to the major labels.
He has appeared on Johnny Carson's "Tonight Show," "Star Search" and numerous other television and radio shows. And he's been on stage with artists as varied as John Mayall, the Red Hot Chili Peppers, Dwight Yoakam and Eddie Van Halen.
With a little of this and a little of that, Smith works the room with his guitar, harmonica, his sidemen - drummer Rick Shlosser and bassist Tony Ruiz - and whatever else is close by or catches his fancy.
"Man does not live by blues alone," Smith is quick to say.

SMITH IS A MUSICIAN DOWN TO HIS TONGUE
By Danny White, Santa Clarita Brewing Company Public Info Officer

Once in a while, I meet stage artists who just exude music. They live, breathe and sweat music. They exist in an entirely different realm from the rest of us humble mortals, and everything they do is centered around the creation of song.
Preston Smith is such a fellow.
Upon meeting Preston, it is immediately obvious that he is a bluesman to the core. In fact, it would be impossible for him to conceal this fact. He moves with a certain fluidity which, although difficult to describe, is always associated with musicianship. His style of dress is unique, and I might add, quite snappy. Even his speech reveals his essence, possessing a melodic character that rises and falls with an odd, dynamic timbre.
Indeed, Preston is a man of melody. Talent oozes from him. Music defines who he is: it gives him life.
On stage, Preston becomes the definitive entertainer. His performances are reminiscent of sweaty nightclubs on the Louisiana Delta. His snarlin' guitar sound blends with his screamin' harmonica work to produce a raw, soulful treat for any music lover. As a vocalist, his delivery possesses a subtle growl characteristic of the great bluesmen of past decades.
In addition to his guitar, harmonica and vocal work, Preston employs a number of stage antics that render his performances very unique and ultimately entertaining. He has been known to break into a guitar solo using his tongue, and his use of a bullhorn provides a very interesting effect that you have to see to appreciate.
Backed up by bassist Tony Ruiz and drummer Rick Shlosser, Preston soars over the solid backbeat set by the tightly wound rhythm section. The trio's collective sound ranges from raunchy Texas blues to soothing soul, and even if you can keep your feet from carrying you onto the dance floor, you are guaranteed to have an absolute blast.
Hailing from Houston, Texas, Preston has been submerged in the blues scene since 1981. He has played extensively in nightclubs in New York, Nashville and the Los Angeles area. He cites as influences Muddy Waters, John Lee Hooker, Louis Armstrong, Frank Sinatra and Jimi Hendrix. (You younger folks, don't be afraid if you have never heard of some of these people. Without them, there would be no rock 'n' roll. Trust me.) His original song, "Black and White", was recorded by Rosanne Cash and went on to sell gold on the country charts.
Preston's music can be heard on the "Cocktail" soundtrack as well as numerous TV commercials, and he has appeared on The Tonight Show with Johnny Carson.

THE GOOD ONES STICK AROUND
By Bill Evans, Pasadena Weekly

Maybe it's just that I'm getting older. But I look around at my musician friends and find many have hung it up in favor of things like real jobs and stable incomes. But every once in a while someone bucks the trend and sticks it out despite the weird hours, abusive club owners and abject poverty. They are, almost without exception, the ones with real talent, passion and ability.
Preston Smith is one of those guys. I have been a fan for more than a decade, dating back to the days when the Palomino was one of the hipper clubs around. In the mid-'80s, I was there almost weekly, checking out folks like Chuck E Weiss and the GD Liars, Billy and the Beaters, Jack Mack and the Heart Attack, the Rave-Ups and Preston Smith and the Crocodiles. It was a great time.
Preston Smith, especially, stood out. A dapper dresser among a sea of torn jeans, his shows would include everything from touching ballads like "Black and White" to calypso-tinged rockers to a balls-out version of Jimi Hendrix's "Fire". He had a great band, a great voice, great songs and a wicked sense of humor. I sat down with him for an interview all those years ago and ended up with way more than I could ever use. Great stuff like his story about starting out as a drummer only to lose his first kit because he owed a friend $100 in Big Macs.
A lot can happen in ten years. And it has. Smith moved to New York for a while, where he sharpened his focus on the blues and jazz that were always the foundation of his sound. He's done shows with Jerry Lee Lewis, Red Hot Chili Peppers, k.d. lang and Gregg Allman. He did "Star Search" and the "Tonight Show." He got a song on the Cocktail soundtrack and another in the Amy Irving feature film Kleptomania. His song "Black and White" appeared on Rosanne Cash's greatest hits album and went gold as a single. He even released his own album.
Sounds great, except the album was on Curb Records (not a real record company, but an amazing simulation), which did no promotion at all. Seeing as how Curb is known as a country label, record stores put his disc in with the country stuff. So country fans got some probably unappreciated bluesy stuff and the folks who would have dug the record never heard about it.
But Preston Smith keeps on going. He does regular solo acoustic shows and his electric unit has been packing 'em in, in places like B.B. King's on City Walk (Universal City, CA), and the Baked Potato (Pasadena, CA). His show is one that is very much worth checking out. He has dropped some of the calypso flavor and these days leaves the timbales at home. In fact, he left them in New York when he returned to Southern California for "the weather and stuff."
Despite having been through the musical wringer, Smith retains his sense of humor. (As we spoke on the phone, his call waiting signal beeped. He excused himself, checked the other call and came back with a quip about "MCI calling again. Those guys are so persistent.") Good thing. In a business so twisted that a unique talent like Preston Smith can be without a recording contract despite great songs, huge talent and a mega-fun live show, you have to be able to laugh to survive. And survive he will. No doubt about it, contract or no. Preston Smith will be rocking on stage when most of his contemporaries are doing it chair-fashion. Some people are just born to play.

PRESTON SMITH and the CROCODILES
By Lena, Whole Life Times

I saw this band after Teresa Tudury. Just when I thought the night of music couldn't get any better! These guys were a tight band, with Preston Smith on guitar, harmonica, vocals and loudspeaker megaphone. Drums are Rick Shlosser and bass player is Tony Ruiz. Not only was the music good, including some great originals, but Preston Smith knows how to "make show." He is a great guitarist and fun to watch. I was never quite sure what he was going to do next.
I got a chance to read some of the press releases for this talented guy. It reads like a "who's who" of music -- past and present. Not only does his set list have the range of Sinatra to Hendrix, he has worked with a lot of great musicians along the way. An incredible band, no cover charge and a dance floor. Who could ask for anything more? A friend of mine who was with me summed it all up pretty well -- "The guy is a human libarary for jazz. He approaches each song with the style, grace and reverence intended from John Lennon to Fats Waller." I wish I had said that. (From a review of a show at Jax - Glendale, CA)

PRESTON SMITH and the CROCODILES
B.B. King's - Universal Citywalk
By Bernard Baur, Music Connection

The Players: Preston Smith, vocals, guitar, harmonica, bullhorn; Tony Ruiz, bass; Rick Shlosser, drums; Steve McCreg, keyboards.
Material: Preston Smith's material knows no bounderies. Although it's blues-based, it's in no way restricted in form or style, covering everything from a little bit of rock, swing and pop to Smith's take on the blues. It so diverse that you could probably find his picture in the dictionary under the word "eclectic." He covered standards as old as "Jeepers Creepers (Where'd You Get Those Peepers)" to more modern standards that included a Jimi Hendrix medley. He did Louis Armstrong to perfection, playing Armstrong's horn riffs with his mouth. That's right, just his mouth - no horn. And, of course, he played his own tunes, including "Angel Baby," one of the saddest songs I've ever heard; "You Gotta Crack That Whip," a humorous take on relationships, and "Laughin' In The Sunshine," an acoustic number that started off velvety-smooth, then turned into a hard-core, totally original approach to song structure and style. There is no way that anyone could possibly pigeon-hole Preston Smith. He has something for everyone.
Musicianship: Smith has been called the consummate bluesman, but he's so much more than that. His vocals are punctuated by yelps and howls that kick the music into another realm. And, for a so-called bluesman, he rocks, and rocks hard. He can sing the blues with intense credibility, and then turn around and rock your world with something out of the Hendrix catalog. He sings and plays harp and guitar, at the same time, so well that I was looking for a tape machine that just had to be backing him up. But it wasn't some technical trick. Instead, he's backed by the rhythm section of Shlosser and Ruiz, forming a simple trio that creates one of the biggest blues sounds this side of the Mississippi. Dynamic, strong and emotionally expressive, they seem to play with a structured abandon, where anything goes, but it all fits. Ruiz had a solo that was as exquisite as it was outstanding, while Shlosser somehow kept it all grounded with his solid backbeat. Late in the set, they were joined by keyboardist McCreg for a couple of songs, and he and Smith dueled keys and strings in a battle of riffs that was spellbinding. The only disappointment was that Smith only used his bullhorn twice, but made up for it by playing some awesome guitar solos with his teeth.
Performance: Smith relates to the audience as if he personally knows each one of them. He talks to them, tells short stories, and even leaves the stage to play for individual people. Rather than simply being the consummate bluesman, Smith is actually the consummate entertainer. And although he easily could, Smith does not absorb all of the light onstage. He lets each of his bandmates shine as much as he does, at one time or another, and he shares the joy of each song with not only the other musicians, but the audience as well.
Summary: You've probably already heard Preston Smith's music, and didn't know it, since he's been all over TV commercials and programs, but until you see him live, you'll never know what he can really do. Smith is a force unto himself.

PRESTON SMITH Bops to Crocodile Rock
By Joe Mock, Santa Barbara News & Review

"There's more places to play if you can keep the people dancing." That's Preston Smith talking, and the "born in Houston, raised in Arizona, moved to California" singer knows his subject well. An average month can yield nearly 20 performances for Preston Smith and the Crocodiles, and don't ever expect to catch this guy at home on a Friday night.
"Now it's getting to the point where most of the record companies have at least heard of me," said Smith. "By that very token of them hearing about me so much, they'll assume this or that. Most of the original bands who get signed in this town can only play 45 minutes to an hour. Then they have to repeat songs. We're kind of a band for all purposes. An all-purpose band. In a way we're the Cadillac of bar bands, so to me that means like an upwardly mobile unit. The next step is records."
Well, he didn't come out West five years ago to wash cars. Preston brought a batch of catchy calypso/reggae/rockabilly songs and his talents on harmonica, piccolo, percussion and lead guitar. These assets, plus a voice that mixes innocense with too many nights of breathing someone else's smoke, have made Smith a headliner throughout California, but you can tell he wants more action. After all, as Willie Nelson put it: "The nightlife ain't no good life / But it's my life."
"The feeling is what I'm going after," Smith continued. "Like when I'm packing away the equipment and I can hear people walking away humming my song."
Preston has his band: bassist Ricky Cortes, drummer Keith Miles, guitarist Randall Crissman and new member Rick Solem on keyboards. Together they rock for up to three hours a night, effortlessly mixing originals with surprising versions of older tunes, ranging from the Stones to Hendrix to Nat King Cole. It's hard to sit still when the Crocodiles rock.
"It seems like a recurring theme or something among music writers, 'do you get tired of it?'" Smith said. "It's strange, but why would you get tired of something you worked your whole life for? It's like getting tired of yourself. The trick is taking songs from the Thirties on up, songs that no one has heard, and making them sound like a modern song. I was brought up listening to Harry Belafonte, and by tracing the blues back from Jimi Hendrix."
Smith's a tough act to label. How does he account for the different styles that make up his sound?
"My grandmother is Mexican," he said. "That doesn't have a thing to do with it, probably. I've been listening to calypso since I was a kid. Maybe it comes from Ricky Ricardo on TV. I don't know, it's an interesting rhythm and danceable, less confining than rock. I've got a lot of records. It's like I have a big blues appetite and I'm always combing the used record bins. I like the culture -- real corny pop music that people that people don't like. I like funny stuff as well as good stuff."
Preston and band recently played a four night stand up north, visiting Sacramento, Santa Cruz, Mill Valley and San Francisco. This Wednesday they'll be stopping in Santa Barbara for another one nighter at Oscar's. It's not easy to hit the road without a record while playing originals, but Preston writes memorable songs: the Russian/polka chant "Ways of Sin," the chest-thumping "Laura-Lie," the upbeat party tune "You Gotta Go Back" and the tear-jerker "Black and White" are all tunes that you hum in the shower for weeks after seeing the band. No gimmicks either except maybe Preston's most famous prop: using a megaphone to sing and play harmonica though, allowing the agile Smith to glide thorugh the dance floor, mixing it up.
"The new crowds are a challenge. They don't have expectations. But the familiar faces around L.A. are great too. That's why we can pack places. When I play solo, I usually don't take breaks. I just go from song to song and play all night. Actually, I'm an undisciplined person, that's probably why I got into music. I played drums when I was a kid in a band, and then I got into the guitar about 12 years ago. And writing songs too. I kind of see a movie in my head when I write a song. It's nice that video is coming along. I mean, I act out my songs every night. You have to. The sound systems in these clubs are so bad sometimes you have to use every tool you have to help people understand the song. Carrying on as they say."