- Released: June 1, 1998
- Label: Rounder / Umgd
- 1.Blue Days, Sleepless Nights
- 2.The Refugee
- 4.Kiss Me Before I Die
- 5.Let the Bird Go Free
- 6.Bane and Balm
- 7.I'll Take Back My Heart
- 9.Angel on His Shoulder
- 11.The Blackest Crow
Personnel: Laurie Lewis (vocals, guitar, fiddle); Rob Ickes, Sally Van meter (resophonic guitar); Tony Furtado (slide guitar); Mike Marshall, Nina Gerber (guitar); Tom Rozum (mandolin, mandola, background vocals); Bradley Jaye Williams (bajo sexto, accordion); Darol Anger (violin); Todd Phillips (acoustic bass); Billy Lee Lewis (drums); Shirley Kazuyo Muramoto (koto); Kathy Kallick, Cris Williamson, Mary Gibbons (background vocals).
Recorded at Tomland, Pacheco, California. Includes liner notes by Mary Ann Taylor-Hall.
Personnel: Laurie Lewis (guitar, gut-string guitar, fiddle); Sally Van Meter (guitar, resonator guitar); Nina Gerber, Mike Marshall (guitar); Tony Furtado (slide guitar); Rob Ickes (resonator guitar); Tom Rozum (gut-string guitar, mandolin, background vocals); Cris Williamson, Kathy Kallick (gut-string guitar, background vocals); Darol Anger (violin, strings); Bradley Jaye Williams (accordion); Todd Phillips (acoustic bass); Billie Lee Lewis (drums).
Audio Mixers: Tom Size; Laurie Lewis.
Recording information: Tomland, Pacheco, CA.
Photographer: Anne Hamersky.
Unknown Contributor Roles: Cris Williamson; Kathy Kallick; Rob Ickes; Sally Van Meter.
While previous albums have explored Lewis' prodigious fiddle talents and her ability to put a new spin on bluegrass music, Seeing Things zeroes in on her glorious voice and her ability to tell a story with it. Eight of the 11 tunes come from her pen; tunes like "The Refugee," "Kiss Me Before I Die," "Angel On His Shoulder," and "Bane and Balm" all show tremendous growth as a writer, while the opening "Blues Days, Sleepless Nights" bears strong comparison to her best bluegrass work. Tom Russel's "Manzanar" (the story of a World War II Japanese POW), her duet with Cris Williamson on "Let the Bird Go Free" and the traditional "The Blackest Crow" set moods bleak, somber and ethereal. But mostly it comes down to Lewis' voice, an instrument of uncommon beauty, depth and versatility. This is one special album. ~ Cub Koda