Album Details
Title: Eat at Whitey's Artist: Everlast Release Date: 10/17/2000 Label: Tommy Boy Album Type(s): Explicit lyrics sticker, lyrics/libretto UPCs: 016998141120, 016998142820 Genre: Rap Styles: Alternative Rap, Rap-Rock Moods: Ambitious, Brooding, Cynical/Sarcastic, Difficult, Earthy, Energetic, Freewheeling, Indulgent, Melancholy, Organic, Plaintive, Searching, Somber, Street-Smart, Yearning, Aggressive, Bravado, Confrontational, Dramatic, Earnest, Rollicking, Swaggering, Tense/Anxious, Uncompromising Total Copies: 5 Number of Discs/SwapaCD Credits: 1 |
Track Listings
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Whitey
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Black Jesus
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I Can't Move
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Black Coffee
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Babylon Feeling
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Deadly Assassins
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Children's Story
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Love for Real
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One and the Same
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We're All Gonna Die
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Mercy on My Soul
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One, Two
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Graves to Dig
Additional Releases
| Year | Type | Label | Catalog # | | 2000 | CD | Tommy Boy | 1411 |
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Album Review
Nobody ever would have guessed that the leader of House of Pain would come back after a bout of obscurity and a serious heart attack to reinvent himself as a hip-hop troubadour, rasping out bluesy folk-rock to a steady-rolling beat. The fact that Everlast had the vision to change his tune was surprising enough, but the fact that it worked and found a wide audience was stunning. When it came time to deliver Eat at Whitey's, the follow-up to Whitey Ford Sings the Blues, in 2000, Everlast was smart enough to expand on a good thing, turning out a sequel that built on the folk-rap-rock that rejuvenated his career, while adding slight new twists. The problem is, the new twists, particularly in the guise of cameos from rockers like Carlos Santana and Warren Haynes, don't work particularly well. Also, whenever he veers toward straight rap, such as on the B-Real duet "Deadly Assassins," the music falls a little flat -- just like it did on the predecessor. Still, these not-quite successful moments don't detract from an album that delivers on the promise of Whitey Ford. Whenever Everlast lays back and spins stories and tall tales on his own, his blend of folk, rock, blues, rap, and pop culture clicks. It can be a little silly -- his rhymes are occasionally goofy, his growl a little too raspy -- but at its best, it's evocative, catchy, and ingratiating. If he can't sustain the quality of the first three songs throughout the record, at least it connects several more times, enough to make Eat at Whitey's satisfying for listeners that want a little more of "What It's Like." ~ Stephen Thomas Erlewine, All Music Guide
Credits
| Name | Credits | | Abdel Wahab | Sitar | | Andrea Liberman | Stylist | | Andy VanDette | Editing | | Ben Boccardo | Bass | | Bob Khalil | Vocals | | Brendan Lynch | Vocals, Vocals | | C-Lo | Vocals | | Carlos Santana | Guitar | | Cee-Lo | Vocals | | Chris Thomas | Bass, Vocals, Bass, Vocals | | Christian Lantry | Photography | | Dante Ross | Instrumentation, Executive Producer, Producer | | David Campbell | String Arrangements | | Dorian Holley | Vocals | | Everlast | Executive Producer, Vocals, Guitar, Programming, Guitar (Steel), Producer | | Farid Schater II | Bass | | Fredwreck Nassar | Producer | | Howie Weinberg | Mastering | | Jack Daley | Bass | | Jamey Staub | Mixing | | Jason Tuminello | Assistant Engineer | | Jay Nicholas | Assistant Engineer | | Jim Gilstrap | Vocals | | John Bigham | Band | | John Gamble | Instrumentation, Producer, Engineer | | Keith Ciancia | Band, Keyboards, Bass | | Kevin Dorsey | Vocals | | Merry Clayton | Vocals | | Miles Om Tackett | Cello | | N'Dea Davenport | Vocals | | Noah Callahan-Bever | Production Coordination | | Noah Evans | Assistant Engineer | | Phillip Ingram | Vocals | | Rahzel | Human Bassline, Human Beatbox, Effects | | Stimulated Dummies | Producer, Programming, Mixing | | The Alchemist | Producer | | Victor Rice | Bass | | Warren Haynes | Slide Guitar |
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