<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>
<transcy>Brian Wilson - Brian Wilson (vinyle bleu)</transcy>

Brian Wilson - Brian Wilson (vinyle bleu)

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Vocal Arrangement, Lead Vocals, Bells, Electronics [Emulator], Glockenspiel, Organ, Wind Chimes – Brian Wilson

Accordion – Frank Morocco

Acoustic Guitar [Steel String], Banjo, Mandolin – The Baystate Bluegrass Band

Acoustic Guitar, Backing Vocals, Electric Guitar, Harmonica – Andy Paley

Baritone Saxophone – Jay Migliori

Bass – Andy Paley, Jeff Lynne, The Baystate Bluegrass Band

Bass [Six-string] – Jeff Lynne

Bells [Jingle Bells] – Andrew Dean

Cello, Drums [Emu Tympani], Guitar [Synth Guitar] – Rob Mounsey

Cymbal, Performer [Hi-hat] – Tris Imboden

Drum Programming, Shaker – Jimmy Bralower

Drums – Andy Paley, Michael Bernard, Tris Imboden

Flute – Hymen Katz, Michael Andreas

Guitar – Dean Parks, Elliot Easton, Jeff Lynne

Horns, Saxophone [Saxophone Solo] – Larry Williams

Keyboards – Andrew Dean, Andy Paley, Brian Wilson, Jeff Bova, Jeff Lynne, Michael Bernard, Philippe Saisse, Larry Williams, Robbie Condor, Steve Lindsey

Keyboards [Fairlight] – Todd Herreman

Percussion – Andrew Dean, Andy Paley, Brian Wilson, Carol Steele, Michael Bernard

Piano – Brian Wilson, Rob Mounsey

Piccolo Flute – Hymen Katz

Saw, Violin – Tony Salvage

Saxophone – Michael Andreas

Trumpet – Harry Kim, Lance Buller, Stuart Blumberg

Vibraphone [Vibes] – Andrew Dean, Brian Wilson

Written by Alexandra Morgan (A2, A6 to B1), Andy Paley (B1, B3, B4), Brian Wilson, Eugene E. Landy (A1 to A3, A7, B1)

 

1 LP, gatefold sleeve

Original analog Master tape : YES

Heavy Press : 180g

Record color : Blue

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : unspecified

Label : Friday Music

Original Label : Sire

Engineered & mixed by : Josh Abbey (pistes : A2 to B4), Mark Linett (pistes : A2 to B4)

Produced by Brian Wilson, Russ Titelman (pistes : A1, A3 to A5, A7, B1)

Remastered by Friday Music's Joe Reagoso and Ron McMaster from original Sire Records tapes

Originally released in 1988

Reissued in 2013

 

Tracks:

Side A

  1. Love and Mercy
  2. Walkin' the Line
  3. Melt Away
  4. Baby Let Your Hair Grow Long
  5. Little Children
  6. One for the Boys
  7. There's So Many

Side B

  1. Night Time
  2. Let It Shine
  3. Meet Me in My Dreams Tonight
  4. Rio Grande

 

Reviews :

"Brian Wilson's first solo album created a good share of media hoopla upon its release. This was not necessarily because of the music, but simply because his very existence -- or, at least, proof of his existence via his first fully engaged recording project in about a decade -- was greeted as a cause for celebration. Although it did not shift tons of units, it did spark a landslide of ecstatic-to-charitable reviews, largely because so many critics were eager to latch on to any evidence that Wilson's musical genius was still intact. Viewed more coldly after the hype faded, this self-titled release is an odd, flawed creation, certainly leagues above the Beach Boys' post-'70s output, yet certainly leagues below Wilson's best work with that group in the '60s. While he retained his gift for catchy melodies and dense, symphonic production, there was a forced stiffness to both the songwriting and execution. Much of the blame for the album's mixed success can be laid upon its sterile, synthesizer-laden arrangements and echoing percussion, which epitomized some of the less attractive aspects of late-'80s production. However, the songs were not among Wilson's best, either, their hooks pleasant but easily fading from memory, the lyrics full of ambiguous romantic optimism completely belied by the nervous, mannered vocals. The concluding eight-minute suite, "Rio Grande," was a self-conscious and, again, only partially successful attempt to match the grandeur of the miniature conceptual pieces Wilson was penning in the Smile era. For all that, it remains the best album of Wilson's solo career, principally because he has recorded so little material since then, and written even less." AllMusic Review by Richie Unterberger

 

Ratings :

AllMusic : 3 / 5 , Discogs : 3,94 / 5

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