| | Chris Whitley Hotel Vast Horizon CD Chris Whitley Discography of CDs
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Like Bob Dylan, Chris Whitley's music is deeply informed by the blues. But, also like Dylan, it is defined by a weird rhythmic amorphousness. What at first seems like indistinct strumming is soon brought into shape by angular melodies delivered in Whitley's unmistakable voice -- deep and seemingly sedated. Chord changes are transparent, falling in odd places and practically unrelated to his strumming. None of this is a bad thing. Whitley's music is powerfully original. On 2001's Rocket House, he employed a virtual orchestra of electronic sounds, which provided a fitting frame for his otherworldly mumble-howl. With Hotel Vast Horizon, Whitley returns to more bare settings. The music is created by Whitley (playing guitar and banjo) with bassist Heiko Schramm and drummer Matthias Macht. And though the instrumentation is traditional, he manages to retain a fundamental strangeness throughout, almost defined by the absence of further arrangement. The results are not easy listening, but they are deeply compelling. ~ Jesse Jarnow
Acoustic Album Of Orig.Music
Recorded at Helicopter Studios, Dresden, Germany in December 2002.
Personnel: Chris Whitley (vocals, guitar, banjo); Heiko Schramm (acoustic bass, electric bass).
Recording information: Dresden, Germany (12/16/2002-12/22/2002); Helicopter (12/16/2002-12/22/2002).
Photographer: Saskia Riethmüller.
Personnel: Chris Whitley (vocals, guitar, banjo); Heiko Schramm (acoustic & electric bass); Matthias Macht (drums, percussion).
Magnet (6-7/03, p.110) - "...[Reaffirms] his gifts as a stripped-down troubadour..." Chris Whitley Hotel Vast Horizon Songs | 1. | New Lost World |
| 2. | Breaking Your Fall |
| 3. | Frontier |
| 4. | Hotel Vast Horizon |
| 5. | Blues for Andre |
| 6. | Assassin Song |
| 7. | Wide Open Return |
| 8. | Silhouette |
| 9. | Insurrection at Newtown |
| 10. | Free Interval |
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Hotel Vast Horizon Review
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Purchase Hotel Vast Horizon CD To buy, Click on price to add to cart | Chris Whitley Dirt Floor CD (1998)
Hotel Vast Horizon
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This is the most consistent and accessible disc of Chris Whitley's off-and-on recording career. The album is just Whitley singing and accompanying himself on banjo, guitar and foot stomp. It has a simple and wonderfully ...
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Chris Whitley has tinkered with genres as diverse as blues-rock, Americana, hard alternative rock, and straightforward singer/songwriter. Thus, it is no surprise that Whitley's fifth full-length batch of original material demonstrates a broad musical palette touching on all of these styles. Most interesting, however, is that ROCKET HOUSE ...
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War Crime Blues is the second of two internet-and-gig-purchase-only albums by Chris Whitley on the Messenger label. The other is Weed, a collection of songs from earlier albums done acoustically, sans band. War Crime Blues is solo acoustic as well, but it makes a hell of a racket. Recorded completely live without overdubs of any kind, Whitley accompanies himself on bottleneck guitar and stomping board. There are eight new cuts here, and three covers: Lou Reed's "I Can't Stand It," the Clash's "The Call Up From Sandinista," and the jazz standard "Nature Boy." If there were any lingering doubts as to Whitley's abilities as either a brilliant and original songwriter, or as a bona fide American bluesman in the tradition handed down from ...
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After a pair of internet-only live solo acoustic releases -- the excellent Weed and War Crime Blues -- the enigmatic Chris Whitley returns to the studio with Soft Dangerous Shores. Produced by Malcolm Burn -- who also chaired Whitley's 1991 debut Living with the Law -- the set is a deeply atmospheric, intricately textured collection of skeletally arranged expressionistic tunes that have their roots in folk, jazz, rock, and mutant, witchy blues. And unlike Living with the Law, this is a more nocturnal affair and owes no allegiance to country. Accompanied by a small band, Whitley digs deep into drones, open tunings, and edgeless dissonance. ...
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One has to wonder if Reiter In is, in fact, the late Chris Whitley's last will and testament in terms of recordings. Done in the first three days of June, 2005 -- he was already ill -- this set was recorded in New York with a host of friends he called "the Bastard Club" on analogue tape. The band is large, the sound is immediate. The feel is loose, raw, dark, rocked-up, and in-your-face. Without trying to sound morbid, the feeling of death and mortality is everywhere. The word "reiter" means "horseman." There were no overdubs. The track selection bears out the mood of the players. The tape bleeds through, and studio dialogue seeps through. The tape winds to a fast stop where the cuts get made and then slip into gear again to start them. Opening with the Stooges classic "I Wanna Be Your Dog" with a distorted, plodding, raucous, so-loose-it-almost-falls-apart in the beginning as Whitley's electric guitar playing is over the damn edge. The ...
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I was born in Waverly NY. I come from a very musical filled family. My grandmother who lived to be 99 years old was a concert pianist and played the organ in her church for 60 years. She also played for 100's of weddings in her life time. When I was a young child I used to go into the Nursing Homes with her to entertain the residence. At times that is still one of my most precious places to play.Growing up I tried numerous avenues ...
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