- Two MP3 Albums for £10. Buy this and one other MP3 Album from a great selection for no more than £10. Here's how (terms and conditions apply)
 |
| ||
Album Savings: £4.08 compared to buying all songs
- Original Release Date: 2 July 1991
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
Buy this MP3 album with any other MP3 album under £8 and pay no more than £10 for both (terms and conditions apply). Just look for any album with this message, put it in your basket with another eligible title and the discount will be applied at checkout. |
MP3 Songs
Previous
Play all
Next
Play all samples
MP3
Paused
Loading ...
Unavailable
Loading ...
Volume slider
Mute/Unmute
To view this content, download Flash player (version 9.0.0 or higher)
| Song Title | Time | Price | |||
|---|---|---|---|---|---|
| Play | 1. Excerpt | 0:18 | £0.89 | ||
| Play | 2. Living With The Law | 3:42 | £0.89 | ||
| Play | 3. Big Sky Country | 4:46 | £0.89 | ||
| Play | 4. Kick The Stones | 4:13 | £0.89 | ||
| Play | 5. Make The Dirt Stick | 3:32 | £0.89 | ||
| Play | 6. Poison Girl | 3:26 | £0.89 | ||
| Play | 7. Dust Radio | 5:09 | £0.89 | ||
| Play | 8. Phone Call From Leavenworth | 4:47 | £0.89 | ||
| Play | 9. I Forget You Every Day | 4:33 | £0.89 | ||
| Play | 10. Long Way Around | 4:26 | £0.89 | ||
| Play | 11. Look What Love Has Done | 3:17 | £0.89 | ||
| Play | 12. Bordertown | 4:13 | £0.89 | ||
| Play | 13. Excerpts II | 0:33 | £0.89 |
Sold by Amazon Media EU S.à r.l. By placing your order, you agree to our Terms of Use.
Special Offers and Product Promotions
Product details
|
Customer Reviews
Most Helpful Customer Reviews
12 of 12 people found the following review helpful
Format:Audio CD
This impressive album of bluesy rock was one of the best debuts of 1991. The instrumental mix of guitars, pedal steel, tambourine, keyboards, harmonica and viola lends the album a distinctively atmospheric southern sound. Whitley's voice and the quality of the songs make it unforgettable.
The title track and Big Sky Country are gripping ballads whilst the uptempo Kick The Stones is a powerful mix of rock and country, flavoured by harmonica. The beautiful guitars stand out on the slow, emotive Make The Dirt Stick, whilst Daniel Lanois contributes guitar to the soulful Poison Girl with its hypnotic melody, churning viola and flowing vocals.
The sound hardens on Dust Radio as the guitars build up to a rousing crescendo, followed by short-wave voices and what sounds like a snatch of 1930s bluegrass. The acoustic guitar really shines on the passionate and intense Phone Call From Leavenworth, whilst Whitley's voice turns smoky on the gentle I Forget You Every Day, another track where the guitars slowly build momentum towards the end.
The eerie Long Way Around has an impressive arrangement and vocal/instrumental interplay, Look What Love Has Done is a simple but engaging dialogue between Whitley's expressive voice and the guitars, and Bordertown is a brilliant piece of blues-rock. The album is wrapped in a distinctive New Orleans style, within which there is much variety. The songs are sublime, the sound is superb - Living With The Law is a lost masterpiece.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
44 reviews
18 of 18 people found the following review helpful
LIVING WITH THE LAW
27 Nov 2005
Format:Audio CD
I was shocked to see that Chris Whitley had passed away last week from a bout with lung cancer. Whitley's career had long been an interesting journey that produced a wide range of rivetting music. LIVING WITH THE LAW was the stellar start to that journey.
I remember picking this record up some fouteen years ago and being blown away. This did not sound like a debut record. Whitley's tales of trials, tribulations and blues had a more authentic ring than your usual white bluesman. I think that the key to Whitley's success was that he did not merely try to copy the blues, but use it as a springboard to investigate his own ideas. Malcom Burns's ( a Daniel Lanois protoge) production sounds more like a windswept U2 outing than a Delta Blues recording. I think that was the genius of this record. It was of th past, the present and it loked into the future.
This was a record without a weak track. Even throwaway tracks like I FORGET YOU EVERYDAY or LOOK WHAT LOVE HAS DONE resonate after just couple of listens. Several songs are nothing less than immediate classics, including the title track, BIG SKY COUNTRY, POISON GIRL and PHONECALL FROM LEAVENWORTH.
After LWTL, Whitley set out on a career that jumped from genre to genre with mixed results. From DIN OF ECSTASY's metallic grunge to DIRT FLOOR's stark acoustic blues to ROCKET HOUSE's electronic treatments, Whitley was a restless artist who folowed his own muse. To someone who wants to explore his wrk I would recommend that they start with this release, then move on to his excellent compilation LONG WAY AROUND. From there if you like what you hear al of his work is worth exploring. It's an unfortunate cliche, but although the artist will be tragically missed, we are lucky to have his work to enjoy into the future.
I remember picking this record up some fouteen years ago and being blown away. This did not sound like a debut record. Whitley's tales of trials, tribulations and blues had a more authentic ring than your usual white bluesman. I think that the key to Whitley's success was that he did not merely try to copy the blues, but use it as a springboard to investigate his own ideas. Malcom Burns's ( a Daniel Lanois protoge) production sounds more like a windswept U2 outing than a Delta Blues recording. I think that was the genius of this record. It was of th past, the present and it loked into the future.
This was a record without a weak track. Even throwaway tracks like I FORGET YOU EVERYDAY or LOOK WHAT LOVE HAS DONE resonate after just couple of listens. Several songs are nothing less than immediate classics, including the title track, BIG SKY COUNTRY, POISON GIRL and PHONECALL FROM LEAVENWORTH.
After LWTL, Whitley set out on a career that jumped from genre to genre with mixed results. From DIN OF ECSTASY's metallic grunge to DIRT FLOOR's stark acoustic blues to ROCKET HOUSE's electronic treatments, Whitley was a restless artist who folowed his own muse. To someone who wants to explore his wrk I would recommend that they start with this release, then move on to his excellent compilation LONG WAY AROUND. From there if you like what you hear al of his work is worth exploring. It's an unfortunate cliche, but although the artist will be tragically missed, we are lucky to have his work to enjoy into the future.
16 of 16 people found the following review helpful
New Orleans Masterpiece
2 Nov 2004
Format:Audio CD
This impressive album of bluesy rock was one of the best debuts of 1991. The instrumental mix of guitars, pedal steel, tambourine, keyboards, harmonica and viola lends the album a distinctively atmospheric southern sound. Whitley's voice and the quality of the songs make it unforgettable.
The title track and Big Sky Country are gripping ballads whilst the uptempo Kick The Stones is a powerful mix of rock and country, flavoured by harmonica. The beautiful guitars stand out on the slow, emotive Make The Dirt Stick, whilst Daniel Lanois contributes guitar to the soulful Poison Girl with its hypnotic melody, churning viola and flowing vocals.
The sound hardens on Dust Radio as the guitars build up to a rousing crescendo, followed by short-wave voices and what sounds like a snatch of 1930s bluegrass. The acoustic guitar really shines on the passionate and intense Phone Call From Leavenworth, whilst Whitley's voice turns smoky on the gentle I Forget You Every Day, another track where the guitars slowly build momentum towards the end.
The eerie Long Way Around has an impressive arrangement and vocal/instrumental interplay, Look What Love Has Done is a simple but engaging dialogue between Whitley's expressive voice and the guitars, and Bordertown is a brilliant piece of blues-rock. The album is wrapped in a distinctive New Orleans style, within which there is much variety. The songs are sublime, the sound is superb - Living With The Law is a lost masterpiece.
The title track and Big Sky Country are gripping ballads whilst the uptempo Kick The Stones is a powerful mix of rock and country, flavoured by harmonica. The beautiful guitars stand out on the slow, emotive Make The Dirt Stick, whilst Daniel Lanois contributes guitar to the soulful Poison Girl with its hypnotic melody, churning viola and flowing vocals.
The sound hardens on Dust Radio as the guitars build up to a rousing crescendo, followed by short-wave voices and what sounds like a snatch of 1930s bluegrass. The acoustic guitar really shines on the passionate and intense Phone Call From Leavenworth, whilst Whitley's voice turns smoky on the gentle I Forget You Every Day, another track where the guitars slowly build momentum towards the end.
The eerie Long Way Around has an impressive arrangement and vocal/instrumental interplay, Look What Love Has Done is a simple but engaging dialogue between Whitley's expressive voice and the guitars, and Bordertown is a brilliant piece of blues-rock. The album is wrapped in a distinctive New Orleans style, within which there is much variety. The songs are sublime, the sound is superb - Living With The Law is a lost masterpiece.
12 of 12 people found the following review helpful
Stunning Debut
19 April 2000
Format:Audio CD
Chris Whitley's LIVING WITH THE LAW is a throwback to old-style Texas blues, heavy with finger-picked slide guitar on a National steel acoustic. Producer Malcolm Burn, a long time associate of musician/producer Daniel Lanois (the album was recorded at Lanois's New Orleans mansion), brings to the album a Lanois-style sound, with a rich, ambient sound backing Whitley's desperate-sounding vocals and multi-layered guitars. Whitley's first album was also his best effort to date as a songwriter, delivering a set of songs that while mostly dark and creepy, shimmer with emotion and crackle with energy and sincerity. This is an album that sounds very fresh and modern. Yet at the same time, it's not hard to imagine Whitley travelling back in time and recording this album in the same studio the Robert Johnson recorded in, without the songs losing anything at all in the process.
Were these reviews helpful?
Let us know
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
What Other Items Do Customers Buy After Viewing This Item?
Look for similar items by category
