‘Chris Adams is the ULTIMATE greatest guitarist of all time : in his songs, like Bohoo or Out of the Silence, he blends powerful emotions through the sound of the guitar : emptiness, loneliness, pain, joy, peace, power. The electric really haunts on some tracks. This is SO powerful.’ -- Martin Pleau, 17.06.2002

'There can be no denying that Chris Adams is a phenomenal guitarist. His breathtaking fret board acrobatics have led many to compare him to the legendary Phil Keaggy. So, what of Chris's latest offerering? Adams guides us through ten tracks, venturing across a broad spectrum of soundscapes. From the funky opener " The Battle is in the Mind" and the cool jazz of "The Call" to the solid rock guitar of "Ascending", Chris upholds his reputation as an instrumental virtuoso. Make sure you check out the inspired "Etude2 On a Theme of Paganini" with its latin-tinged beat, not to be confused with Franz Liszt's composition of a similar name. My personal favorite is the altogether more chilled "Angels" with its serene synths and Chris's epic guitar solo. Once again, Chris has delivered a fine instrumental album. But there will always be those who prefer the more conventional " Praise Him on the Noseflute" or something....' -- Aleem Hossain, Review from CrossRhythms (Issue 74)

‘With the obvious influence of some of my guitar heros ... Joe Satriani, Steve Vai, Van Halen (just a touch) Chris puts them all in a kettle and boils them 'til they scream for more of what Chris can offer. Keep playin' for Christ, man ... and let us know when you'll be coming through the U.S. so we can drive hundreds of miles to catch a show if we have to!!’ -- Eric

‘Phil Keaggy is an amazing guitarist. After three decades in harness, he still retains the ability to play incredible music in almost every conceivable style, from classical to heavy metal. Until now, I have never come across anyone capable of emulating the maestro. But, having heard this album, I am prepared to stick my neck out and suggest that Chris Adams could well be the man to take on the mantle. Back To Jerusalem is full of awesome solos of the weightier variety. These alone would guarantee him session work for life. But Adams is equally brilliant on the Spanish guitar and he produces some moments of pure bliss. I am certain that we have not heard the last from Chris Adams.’ -- Chris Tozer, review from Cross Rythms (Issue 56)

Anyone expecting a piece of delicate acoustic artistry after espying the front sleeve will soon be arrested by the torrent of full throttle electric that burst fourth on the opening title track. Like Chris's previous efforts, this is a one-man band effort and pretty impressive it is too with only the keys appearing a little heavy handed. But on guitar Chris is a virtuoso and whether you go for the lilting classical guitar stylings of " Sounds of Bells" or the head to the sky "Mr Guitar Man" ( a tribute to Jimi Hendrix), you'll hear a master musician overcoming a tiny budget to make excellent instrumental music.’ -- Tony Cummings, Review from Cross Rhythms (Issue 62)

‘UK guitarist Chris Adams shows his considerable fretboard chops right off the bat on "The Fine Line," the opening track of his latest project, Night at the Oasis. The first thing you'll notice after the piano-laced introduction to the slow tempo-ed instrumental is the striking similarity to the tone and technique of Kansas' Kerry Livgren - and folks, that's not a bad thing! In fact, it's the tasty and emotional guitar work that takes center stage throughout most of the album, and rightfully so. Whether he's playing classical nylon string acoustic ("At the Fire") or whipping up some rockin' funk ("Love is the Answer"), Adams wields a mighty solid axe.

Stylistically straddling prog, jazz, funk, classical and classic rock, Adams gives us everything from Stryper-like guitar harmony licks on "City of Gold" to the familiar Mountain "Mississippi Queen" riff in the Hendrix cover, "Fire." Meanwhile, on the other end of the spectrum we hear a hint of "Blackbird" in the acoustic intro to the album's title track before the song opens up into a heavy electric blues mode. Binding the styles together is the distinctive tone and alternately subtle and fiery technique of Adams' guitar.

Influenced by classic rock bands like Kansas and Pink Floyd but also with a distinct leaning toward blues and prog, Adams' songs sometimes sound familiar in format ( "Still Got the Blues" made me think of Dusty Springfield's "You Don't Have to Say You Love Me" as well as a couple of other tunes) but it's a familiarity that works in the context of an album that's really more about performance than composition. This is not at all to imply that the album is imitative or unoriginal. Songwriting here is second to Adams' stunning and captivating guitar work, and it makes perfect sense.

Tone and technique are the stars of this impressive show. A well-balanced collection of instrumental and vocal tracks, it's the playing that wins the day. Obviously, Adams is a guitarist worth watching, and could just be a hook and vocal or two away from delivering the album that will get him the attention he deserves.’
-- ‘Chris Adams - Night at the Oasis’ by Bert Saraco, published August 8, 2011

‘Chris is in spanish classical guitar mode, a genre of which I am particularly fond. There is a nod to one of the great composers of music for the spanish guitar in “ Study on Albeniz” , something called “Fomfoseltiageegee”, which requires a translation please chris, if you’d be so kind ( the piece is very lyrical and superbly played, despite its incomprehensible and unpronounceable title), and seven other tracks that display much virtuosity and plenty of listenability. So let’s forget odious comparisons, and appreciate chris for being himself.’ -- Trevor Kirk, Review from Cross Rhythms (Issue 71)

‘I have listened to a large part of Chris's work and find his abilities can only be described as phenomenal. Spanish Classical through to nerve-wrenching Rock. He makes the strings of his guitar speak, weep, laugh and howl with such manufactured intensity that you can almost imagine his guitar is willing to die for him in finding that last chord. In truth I am not so qualified as to be able to go any further, I am mearly ...overcome by his music.’ -- Christ World Radio