Customer Reviews

Perfect Day (Sl)

5 star:		(12)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(2)

 

 

Three things stick about about Chris Whitley's latest superb effort. First, in case you haven't looked at the song titles (I didn't bother before buying it), he didn't write a single song on the album (in fact, any self-respecting music fan already owns the originals). If you are anything like me, an entire album of covers should be an enormous neon warning sign reading "STAY AWAY: DEVOID OF CREATIVITY." Let me assure you that this is not the case. We are talking about Chris Whitley here, and he knows full well that the only appropriate way to do a cover of another artist's song is to transform it into something completely different; to make it your own. Chris does just that. The songs may not be his, but the sound most definitely is, and his elegant voice and subtle but brilliant guitar work come across as beautifully as ever. In fact, the sound is so different from the originals that someone who had never heard the originals would think they sounded like vintage Chris Whitley. Next, for the first time since Terra Incognita, he has recorded with a rhythm section of more than his foot and a stomp box. Again, though, never fear. The backing band are none other than Billy Martin and Chris Wood of Medeski, Martin and Wood, who have proven that they are, in fact, capable of playing something that isn't just a Meters imitation. Their percussion and bass are, in fact, as important to the sound on this album as Whitley's guitar, and manage to support Chris Whitley without detracting from the wonderful, stripped-down atmosphere in which he sounds best. Finally, there is an aesthetic change here from much of Whitley's recent work. I have always considered his greatest strength to be his ability to play music that is gut-wrenching, intense and visceral. On Perfect Day, he shows that he can evoke peacefulness and serenity equally well. Dirt Floor is one of my all-time favorite albums, but it is intense enough that I rarely listen to it. This album has much more of a calming effect on me. It is yet another testament to Chris Whitley's brilliance that he can pull off both so well.

This is a quietly mesmerizing record. If you are looking for rowdy and loud, this isn't for you. Except for two tracks - Hendrix's "Drifting", where I miss Jimi's presence, and the title track, which needs stronger lyrics and melody - this is a beautiful, deeply emotional set of cover songs. Whitley's voice runs from soulful falsetto to smokey and deep, at times a gorgeous gentleness too. In several of the old blues tunes, he creates a powerfully spooky atmosphere, like an old bluesman come back to life. Highlights are the two Dylan tracks, China Gate, Wild Ox Moan, and he recreates Crystal Ship in his own vision, very different from The Doors. Accompanying bass, drums, and assorted alluring sounds are quiet but strong. The songs come and go beautifully, complete, with even the silence inbetween feeling rich. Highly recommended if you love old blues, Whitley's voice and solo guitar, and like an intimate recording to pull in close to you.

Even if you never listen to any of the other tracks, you should buy this album just to hear Chris' utterly brilliant rendition of Dylan's 'Spanish Harlem Incident.' Overall, I think the album is perhaps a little too muted for my taste and one of the best thing about Whitley is his inventive way with lyrics, which is lacking here on an album of covers. That said, 'SHI' is so tender and personal that it is easily worth the price of the whole disc. As is so often the case with astute Dylan covers, Whitley shades the song with new layers of urgency and plangency. Truly moving.

Outstanding!!! Chris is an amazing artist. He expects so much from himself and gives so much of himself - you feel it when he sings. This is a cd of other artists songs, but Chris makes it his own in a way many musicians rarley achieve even with their own lyrics.

Amidst a saturated culture, where image and production preys on the consumer minded masses, it is difficult to even hear yourself, much less someone else. We question every descision made, every response given, and have turned cynical in our seemingly impossible quest for truth. "What's the point ?" is an overpronounced question these days and defeatest in origin. But then we turn on "Perfect Day", and are reminded of what it is to be alive on this earth, on this beautiful imperfect earth, and we are reminded of the spaces between where we used to plant our hands to feel the sky move, and we remember what it means to say VERACIOUSLY "I am alive!!!" Chris Whitley is no stranger to being on the outside, in fact he seems to have taken up residence there...yet somehow, being on the fringes doesn't stop him from reaching underneath and pulling out our souls...

The first time I listened to "Perfect Day," I was struck by the ambient-like noise used as percussion and rhythm section. His slide guitar is way down in the mix and his voice is the focus. This is one groundbreaking session. What's he going to do for an encore?

Chris Whitley's album, Perfect Day, was released in 2000. For this project, he enlisted drummer Billy Martin and bassist Chris Wood to accompany him on this set of cover songs, which consisted of poetic rock songs and blues tunes, some of which are very obscure. Martin and Wood's use of space, along with Chris' distinctive voice and guitar work, results in an album that sounds quite different from most releases that consist of cover songs. The versions of Bob Dylan's "Spanish Harlem Incident" and "4th Time Around" are outstanding as Chris' falsetto sounds beautiful in these settings. These tracks, along with their take on Hendrix's "Drifting", are the only tracks that sound remotely close to the originals. A previous reviewer commented how loose this album was and that is clearly evident in their readings of the blues classics "She's Alright", "Smokestack Lightning", and "Stones in My Passway." "China Gate", which was previously recorded by Nat King Cole of all people, is outstanding as Chris sings it in a very low register while the band provides a sparse backdrop. Chris also does an awesome job on the title track. Originally written by Lou Reed and performed with an orchestra on his Transformer album (thanks for the correction, Thomas), the band's understated performance shows the song's inner beauty for the first time. The version of the obscure "Wild Ox Moan" is very good while their take on the Doors' "Crystal Ship" is quite haunting. The oft-covered "Spoonful" is pretty sloppy but at least they don't play it straight. All told, while this isn't on par with his best work, it is still a very good album that shows the strengths of all the talents involved.

This is Whiley's cover album; Ho, Hum, you might say. There's nothing ordinary about this collection, however, For one thing, each song is hand picked with such precision that they might have been written for him. Not one song even vaguely resembles the original in its interpretation, as Whitley makes each selection entirely his own. This is an admirable feat for an album that covers such diverse artists as Hendrix, Dylan, and the Doors. And he does it in the minimalist style that I think best shocases his unique talent.
A dreamy, introspective album of toned down vocals and delicious chops, "Perfect Day" is essential for anyone who loves Whitley for his acoustic blues.

Here is the real thing - maybe you wont hear it at the supermarket on a Saturday morning - but once you've heard it you will continue to hear it deep down inside. Chris Whitley is truly an outstanding performer, more, more!

Chris made those songs his. His covers make the original artist's versions pale in comparision. This is an amazing cd. Worth the price for the cover of "Perfect Day" alone. True Chris Whitley fans will NOT be disappointed. I question the musical aptitude of anyone who pans this album.