01. - Lyrics - Fireroad (For Two)
02. - Lyrics - Soft Dangerous Shores
03. - Lyrics - As Day Is Long
04. - Lyrics - Valley of The Innocents
05. - Lyrics - City of Women
06. - Lyrics - Times Square Machine (N.Y.C. February 1991)
07. - Lyrics - Her Furious Angels
08. - Lyrics - Last Million Miles
09. - Lyrics - Medicine Wheel
10. - Lyrics - End Game Holiday
11. - Lyrics - Breath of Shadows
The Musicians and other credits:
Guitar/Vocals: Chris Whitley
All compositions by Chris Whitley
Heiko Schramm: Bass Guitars
Matthias Macht: Drums,
Percussion Malcolm Burn: Keyboards, Programming, Processing
Chris Whitley: Guitars, Vocals, Banjo
Trixie Whitley: Vocals on 9.
Dan Whitley; Electric Guitar on 1. / 2.
Aaron Comess: Drums on 8.
Produced and recorded by Malcolm Burn, Kingston NY, July 2004
/ Press Reviews /
"Deliciously balancing between suffering and ecstasy [with] otherworldy production and heavy rhythms. Sexy and well-built."
"A riot of percussive tics, synthetic textures and Eno-like ambience. 4 Stars."
"Mixing [Whitley's] Delta-infused sensibility with ambient moodscapes."
"For the past 15 years, Chris Whitley has been one of the most interesting singer/songwriters, transforming and mutating the essence of the blues into all types of genre-less tunes charged with deep emotions. Soft Dangerous Shores is by far Whitley's most adventurous album to date, full of atmospheric and ambient sounds."
"Soft Dangerous Shores is an extended mood piece, carrying the contradictory imagery of its title through 11 songs that take the homey charm of folk music and make it sound discomfortingly alien, or like the only oasis in a crumbling world."
"Visceral enough to haunt your dreams, and cerebral enough to give them meaning. A hypnotic wrestling match between juke joint blues and Kraftwerkian beats."
"Shores bristles with Zen energies that are gutsy, ghostly and darkly seductive."
An artist who debuted with a breathtaking blues soul slant on a slide guitar, and an anguished voice, Whitley has spent the intervening 15 years or so perfecting and modernising his technique. With turns through electronica, rock and stripped down blues on albums since the debut, Living With The Law, the maturity found on Soft Dangerous Shores is compelling and entrancing. Moods are set up and maintained deliciously, with a sweetly dangerous edge of menace from the Dobro guitar. The resonant metallic tone of that guitar underpins each song, but these songs are as far from traditional blues structures as it is possible to imagine. This is serious music - no humour or good times are on display, with the exception of the reggae-tinged Her Furious Angels, the worst song on the album - but it is rarely dark.