Suchergebnisse
Suchergebnisse:
Mark Brown - bass on "Never Recover". Billy Preston - organ, Wurlitzer on "Never Recover". Chris Whitley - dobro on "Faces & Names" and "Start Treating People Right". Brady Kish - double bass on "Faces & Names". Kraig Jarret Johnson - guitar on "Someday Love". Mike Napolitano - guitar on "Tea" and "Levitation".
- 42:31
- 30 July 2002
- 2001–2002
- Pop rock
31. Aug. 2018 · Fallen Angel: The Life And Death Of Chris Whitley. By Paul Rees. ( Classic Rock ) published 31 August 2018. The cult Texan singer took the blues to strange new places. But he never had a chance to conquer his demons. A snapshot of Chris Whitley performing at a poky club in downtown Manhattan.
Christopher Becker Whitley, genannt: Chris Whitley, (* 31. August 1960 in Houston, Texas, USA; † 20. November 2005 in Houston, Texas, USA) war ein US-amerikanischer Musiker und Songwriter . Inhaltsverzeichnis. 1 Leben. 2 Stil. 3 Diskografie. 3.1 Alben. 3.2 Singles. 3.3 Kompilationen. 4 Weblinks. 5 Einzelnachweise. Leben.
30. Juli 2002 · View credits, reviews, tracks and shop for the 2002 CD release of "Faces & Names" on Discogs.
- (13)
- 5
Christopher Becker Whitley (August 31, 1960 – November 20, 2005) was an American blues/rock singer-songwriter and guitarist. During his 25-year career, he released more than a dozen albums, had two songs in the top 50 of the Billboard mainstream rock charts and received two Independent Music Awards. Whitley's sound was drawn from the ...
20. Dez. 2014 · The new issue of Classic Rock includes a look back over the all-too-short life of Chris Whitley, the Texan troubadour who took the blues into dark and strange new places, influencing everyone from Joe Bonamassa to Johnny Lang along the way. Here are ten essential tracks from this most tragic of cult artists. Big Sky Country.
From Fallen Angel: The Life and Death of Chris Whitley (Paul Rees Classic Rock site): “A tape of Whitley’s songs found its way to producer Daniel Lanois, then riding a hot streak from his work on U2’s The Joshua Tree. Lanois arranged for him to go to New Orleans to record at his studio in the French Quarter with the in-house engineer, Malcolm Burn. This session produced such wide-screen ...
