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Track Listings
| 1. Made From Dirt |
| 2. Her Furious Angels |
| 3. Ghost Dance |
| 4. War Crime Blues |
| 5. Invisible Day |
| 6. I Can't Stand It |
| 7. White Rider |
| 8. Dead Cowboy Song |
| 9. The Call Up |
| 10. God Left Town |
| 11. Nature Boy |
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Customer Reviews
Most Helpful Customer Reviews
9 of 9 people found the following review helpful
Format:Audio CD
It is a rare thing to hear raw authentic blues these days - and we're talking Robert Johnson style recordings - a guitar, vocal and maybe something simple beating the basic rhythm. This is a long way from the studio polished efforts from the current blues statesmen (i.e. Eric Clapton et al). But here we have it - minimal mic'ing, all nuances of guitar strings buzzing and vibrating all on the recording. To top this off Chris also plays using a Pedal Steel Guitar - on its own a rare thing, but combined with the rawness of the delivery - something special to hear which isn't muddied by the fact it has had to be mastered from knackered out vinyl or worn out master tapes. For most this isn't a recording that will invoke simple pleasure and emotional response. This is something that should be atleast listened to once for an appreciation of authenticity. Chris' voice is far from the smoothest, but then Chris' isn't in the easy listening sector, but his voice is extremely expressive easily changing in strength of delivery and intonation to support the lyrics. But this album is for Chris Whitley fans, and those that love the raw blues or which to have a lesson what what it should sound like.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
9 reviews
14 of 14 people found the following review helpful
Chris at his best
17 April 2005
Format:Audio CD
Chris Whitley's War Crime Blues shows the talented songwriter in his best setting, his voice and his acoustic guitar. The songs here don't show Whitley reenacting the blues but rather reinventing them. The opening "Made From Dirt" is both furious and haunting as Whitley's voice wails over the chaotic setting comprised solely by his guitar. Other songs such as "God Left Town" and "Dead Cowboy Song" continue in this vein where the fury just takes the listener in and doesn't let go. "Ghost Dance" finds Whitley sounding like our generation's John Lee Hooker, just riding one chord and letting the emotion carry the song. The quieter but just as passionate tracks "Her Furious Angels", "Invisible Day", and "White Rider", which shows Whitley's voice sounding like an old 78 record, are also great tracks. There are also 3 cover songs here, all done completely different. The version of "I Can't Stand It" is more fiery than Lou Reed's version while Chris' version of The Clash's "The Call Up" is more laid back, emphasizing the importance of the lyrics. Finally, the a capella read on the jazz classic "Nature Boy" is a great albeit unusual way to end the album. Like many of his last few albums, it's quite short at 33 minutes long, but like those releases it's designed to be listened to one sitting, in essence letting the songs take you to another place. Quite simply, this is Chris is at his best. Better than Din of Ecstasy or Living With the Law? Yes.
13 of 14 people found the following review helpful
War Crime Blues
6 Jan 2005
Format:Audio CD
Chris Whitley follows up last years low-key, but solid HOTEL VAST HORIZON, with what may be his best release since his staggering debut over twelve years ago.
Whitley has covered alot of ground sucessfully over the years, but I feel that his strongest work is when mines solo acoustic blues. Rather than using the blues as an excercise in nostolgia, he uses it as a springboard for explorig his personal demons in a modern context. He also manages to put his personal stamp on every composition including covers, such as the Velvet Underground's I CAN'T STAND IT and the Clash's THE CALL UP, which are included here.
WAR CRIME BLUES is an excellent album showcasing Whitley's talents as a guitarist, vocalist, composer and interpreter. There is not a weak track included. Those new to his work may be better advised to try his debut, LIVING WITH THE LAW or his excellent compilation LONG WAY AROUND first. Those that like what they hear there, or are already familiar with his work are then well advised to invest in this album.
Whitley has covered alot of ground sucessfully over the years, but I feel that his strongest work is when mines solo acoustic blues. Rather than using the blues as an excercise in nostolgia, he uses it as a springboard for explorig his personal demons in a modern context. He also manages to put his personal stamp on every composition including covers, such as the Velvet Underground's I CAN'T STAND IT and the Clash's THE CALL UP, which are included here.
WAR CRIME BLUES is an excellent album showcasing Whitley's talents as a guitarist, vocalist, composer and interpreter. There is not a weak track included. Those new to his work may be better advised to try his debut, LIVING WITH THE LAW or his excellent compilation LONG WAY AROUND first. Those that like what they hear there, or are already familiar with his work are then well advised to invest in this album.
7 of 7 people found the following review helpful
Where do we go from here....
3 Feb 2006
Format:Audio CD
This is an emotionally raw album of beautiful songs recorded in a makeshift/casual environment. As can be expected from Chris Whitley, the songs do not suffer for a lack of production. In fact, the organic style of the recording brings the audience closer to him, the gravity of the songs permeating deeper than if they had been studio-produced. The unique beauty of his music reamins subtle here, but somehow more intimate and direct.
The energetic highlights of the album draw from the artist's keen aptitude in musicianship, unfolding here more agressively than usual. Chris has somehow captured a vital creative essence in many of these uptempo songs. "Made From Dirt," "Dead Cowboy Song," and "God Left Town" are all excellent songs. All three are clearly a release, or rather, a forfeiture of his emotional outrages. So many artists resort to hitting their instruments more loudly or being too lyrically blunt. Other artists might be too subtle, nebulous or cryptic. Chris carefully lands on the rare poetic island somewhere between the two. "I Can't Stand It" is perhaps the most outright of the loud songs, though he did not write it, but he sure does reinvision it. It fits the album perfectly.
Quiter songs such as "Her Furious Angels," "War Crime Blues," "Invisible Day," "White Rider," and "The Call Up" shape the album into a dance between a despairing catharsis and hope with a sense of future wonderment. The wonderful song "Her Furious Angels" appears on a proceeding album in studio-produced form, however this original appearance is the stronger of the two. One of the album's most touching songs, "Invisible Day" was recorded live in a park. You can faintly hear birds in the background. That particular setting somehow makes the song utterly magical.
The album ends calmly with an a-capella version of "Nature Boy," which I feel is sung more for the meaning in the lyrics than for any sonic enjoyment. Chris' light, slippery voice merely embraces them, but does not exaggerate. It is all very fitting.
It is important to keep in mind that this album goes hand-in-hand with it's companion CD "Weed." Together, these two albums constitute a landmark in Chris Whitley's stripped-down catalog which began with the 1998's "Dirt Floor." We are wittnessing in these 2004 releases a profound ability to practically become one with the listener. It really seems otherworldly at times how far this music can sink in. This is one irreplacable artist who will be profoundly missed.
Key Songs: "Invisible Day," "Made From Dirt," "Her Furious Angels", "I Can't Stand It"
The energetic highlights of the album draw from the artist's keen aptitude in musicianship, unfolding here more agressively than usual. Chris has somehow captured a vital creative essence in many of these uptempo songs. "Made From Dirt," "Dead Cowboy Song," and "God Left Town" are all excellent songs. All three are clearly a release, or rather, a forfeiture of his emotional outrages. So many artists resort to hitting their instruments more loudly or being too lyrically blunt. Other artists might be too subtle, nebulous or cryptic. Chris carefully lands on the rare poetic island somewhere between the two. "I Can't Stand It" is perhaps the most outright of the loud songs, though he did not write it, but he sure does reinvision it. It fits the album perfectly.
Quiter songs such as "Her Furious Angels," "War Crime Blues," "Invisible Day," "White Rider," and "The Call Up" shape the album into a dance between a despairing catharsis and hope with a sense of future wonderment. The wonderful song "Her Furious Angels" appears on a proceeding album in studio-produced form, however this original appearance is the stronger of the two. One of the album's most touching songs, "Invisible Day" was recorded live in a park. You can faintly hear birds in the background. That particular setting somehow makes the song utterly magical.
The album ends calmly with an a-capella version of "Nature Boy," which I feel is sung more for the meaning in the lyrics than for any sonic enjoyment. Chris' light, slippery voice merely embraces them, but does not exaggerate. It is all very fitting.
It is important to keep in mind that this album goes hand-in-hand with it's companion CD "Weed." Together, these two albums constitute a landmark in Chris Whitley's stripped-down catalog which began with the 1998's "Dirt Floor." We are wittnessing in these 2004 releases a profound ability to practically become one with the listener. It really seems otherworldly at times how far this music can sink in. This is one irreplacable artist who will be profoundly missed.
Key Songs: "Invisible Day," "Made From Dirt," "Her Furious Angels", "I Can't Stand It"
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