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Brian Wilson [Expanded Edition]
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Product Details

Tracks

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

8. Night Time

9. Let It Shine

10. Meet Me In My Dreams Tonight

11. Rio Grande

12. Brian On "Love And Mercy"

13. He Couldn't Get His Poor Old Body To Move

14. Being With The One You Love

15. Let's Go To Heaven In My Car

16. Too Much Sugar

17. There's So Many (Demo)

18. Walkin' The Line (Demo)

19. Melt Away (Early Version - Alernate Vocal)

20. Night Time (Instrumental Track)

21. Little Children (Demo)

22. Night Bloomin' Jasmine (Demo)

23. Rio Grande (Early Version - Complied Rough Mixes)

24. Brian On "Rio Grande"

25. Brian On "The Source"

Performer Notes
  • Personnel: Brian Wilson (vocals, piano, organ, keyboards, Emulator, vibraphone, glockenspiel, percussion, bells, chimes, sound effects); Andy Paley (acoustic & electric guitars, harmonica, keyboards, bass, drums, percussion); Michael Bernard (keyboards, synthesizer, drums, percussion, programming); Russ Titelman, Terence Trent D'arby, Christopher Cross (background vocals).
  • Reissue producers: Mark Linett, David Leaf, Gary Stewart.
  • Includes liner notes by David Leaf.
  • Digitally remastered by Joe Gastwirt (Oceanview Digital).
  • Personnel: Brian Wilson (vocals, piano, organ, keyboards, vibraphone, glockenspiel, percussion, bells, chimes, sound effects, background vocals); Rob Mounsey (guitar, piano, guitar synthesizer); Jeff Lynne (guitar, keyboards, 6-string bass); Dean Parks, Elliot Easton (guitar); Andy Paley (acoustic guitar, electric guitar, harmonica, keyboards, bass guitar, drums, percussion, background vocals); Baystate Bluegrass Band (acoustic guitar, banjo, mandolin); Tony Salvage (violin, musical saw); Hyman Katz (flute, piccolo); Michael Andreas (flute, saxophone); Frank Morrocco (accordion); Larry Williams (saxophone, horns, keyboards, programming); Jay Migliori (baritone saxophone); Harry Kim, Lance Buller, Stewart Blumberg (trumpet); Andy Dean (keyboards, vibraphone, percussion, bells, programming); Michael Bernard (keyboards, drums, percussion, programming, sound effects); Robbie Condor, Jeff Bova, Philippe Saisse, Steve Lindsey (keyboards, programming); Todd Herreman (synthesizer); Tris Imboden (drums, cymbals, hi-hat); Bob Riley (drum machine); Jimmy Bralower (shaker, programming, drum programming); Carol Steele (percussion); Robbie Kilgore (programming, keyboard programming); Christopher Cross, Eugene E. Landy, Russ Titelman, Terence Trent D'Arby (background vocals).
  • Audio Mixers: Hugh Padgham; Mark Linett; Toby Wright; Bill Bottrell; Brad Gilderman.
  • Audio Remixers: Wayne Erwin; Mark Linett; Brad Gilderman.
  • Liner Note Author: David Leaf.
  • Recording information: Dolphin, Sound, Honolulu, HI (08/22/1979-01/??/1988); Ground Control Studios, Santa Monica, CA (08/22/1979-01/??/1988); Hit Factory Studios, New York, NY (08/22/1979-01/??/1988); Larabee (08/22/1979-01/??/1988); Larrabee Sound Studios (08/22/1979-01/??/1988); Smoketree Ranch (08/22/1979-01/??/1988); Sound castle Studios (08/22/1979-01/??/1988); SoundCastle (08/22/1979-01/??/1988); Twilight Sound, Boston, MA (08/22/1979-01/??/1988); Village Recorders, Los Angeles, CA (08/22/1979-01/??/1988).
  • Photographers: Kam Hinatsu; David Skernick.
  • Unknown Contributor Role: Kevin S. Leslie.
  • Arranger: Brian Wilson .
  • 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. ~ Richie Unterberger
Professional Reviews
Entertainment Weekly (9/8/00, p.89) - "...The best Beach Boys album since the '60s..." - Rating: A

Q (2/96, p.113) - 4 Stars - Excellent - "...Brian Wilson is eminently buyable..."

Alternative Press (12/00, p.106) - "...A great album..."
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