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Gettin' in Over My Head AUS-Import

3.9 out of 5 stars 69 customer reviews

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Product Details

  • Audio CD (June 22 2004)
  • Number of Discs: 1
  • Format: AUS-Import
  • Label: Rhino-Atlantic
  • ASIN: B00028HBMA
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 3.9 out of 5 stars 69 customer reviews
  • Amazon Bestsellers Rank: #39,358 in Music (See Top 100 in Music)
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1. How Could We Still Be Dancin' - with Elton John
2. Soul Searchin' - with Carl Wilson
3. You've Touched me
4. Gettin' In Over My Head
5. City Blues - with Eric Clapton
6. Desert Drive
7. A Friend Like You - Paul McCartney
8. Make A Wish
9. Rainbow Eyes
10. Saturday Morning In The City
11. Fairy Tale
12. Don't Let Her Know She's An Angel
13. The Waltz

Product Description

Japanese pressing of The Beach Boys singer/songwriter's third solo studio album features exclusive limited edition 'box' packaging. Rhino. 2004.

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Customer Reviews

Top Customer Reviews

By A Customer on June 27 2004
Format: Audio CD
Any Beach Boys fan would want to rate this CD five stars as a vote of confidence for Brian, but listen to it and ask yourself, how could it, taken as a whole, possibly compare to even the most mediocre Beach Boys' CD? Let alone Brian's "Imagination" six years ago?
The songs simply are not that good ("Soul Searchin'" and "Desert Drive" the notable exceptions) and the laborious, grinding production emphasizes the lack of musicality. This is a strange tribute album -- one without a minor key (the sense of elegiac, almost hymnal, melancholy from which Wilson crafted classic albums in the late '60s) or even old-fashioned energy. I listened to "Sweet Insanity," an earlier bootleg CD, rejected in the 1990s by his record company, and "Insanity," despite many rough edges, easily surpasses this formulaic work. Three songs covered from that bootleg seem drab in comparison here, run through the most middle-of-the-road, conventional mix. In all, the harmonies are uninspired, and sometimes in what I suppose is a "wall of sound" intention, become almost bombastic, with overdubbed vocals of the same note. (Once a singer with a voice so plaintive it could bring tears from stone, his voice now sounds like sandpaper on cement.) The duets with Elton and McCartney, probably a good idea written on a cocktail napkin, only underscore the banality of the music.
Honor Brian for his genius. As for me, I find the CD lacking of his rare artistic gift. Only by repeated listenings does a glimmer shine through. But it's a lot of work to get there.
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Format: Audio CD
With "Gettin' In Over My Head," Brian Wilson finally handles his own production in the studio for the first time since 1977's vastly underrated "The Beach Boys Love You," and the results are magical. The production work of this album is simply stellar, filled with those little "Brian moments" that make his productions so special.
Brian's vocals on the album are excellent as well, with natural-sounding double-tracked vocals throughout. His range is better than it's been in years (listen to him nail the falsetto at the end of "Don't Let Her Know She's An Angel"), and he sounds confident and involved.
The songs range from sweet ballads to a few really up-tempo rockers, and all are at the very least pretty good, if not excellent. Highlights for me include the title track, which sounds like a wonderful mix of Pet Sounds and Friends (the Beach Boys' underrated 1968 masterpiece); "You've Touched Me," the awesome rocker "Desert Drive," the sweet "Rainbow Eyes" and "Fairy Tale," the charmingly joyous and weird "Saturday Morning In The City," Brian and Van Dyke Parks' funny little collaboration "The Waltz," and the incredibly gorgeous "Don't Let Her Know She's An Angel."
I also quite enjoyed the collaborations. Carl Wilson's voice adds a beautiful touch to "Soul Searchin'," and the Elton & McCartney collaborations are both quite good. Eric Clapton's scorching guitar on "City Blues" seems initially out of place but grows on you, as you listen to it winding its way in and out of Brian's vocals.
The only song I'm not so hot on is "Make A Wish," which is a good song but just seems out of place. The chorus is a knockout, though.
Brian Wilson has reached back into his bag of production tricks for the first time in decades and rewards us with an album that truly shines.
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Format: Audio CD
It's the summer of 1965 and I'm crusin' Blue Hills Avenue with my big brother, in his 1964 Pontiac GTO, 4 speed, tri-power, and 4:11 gears. He takes off from the stoplight and nails it, tires go up in smoke. We're young, we're free, and we have not a care in the world. He shifts into second and cranks up the radio.
" When I Grow Up to Be a Man " blares from the factory AM radio with the small speaker built into the dash. My brother Ted, complete with slicked back black hair and a lucky strike dangling from his lips, turns to me and says, " Isn't it great,
crusin in a fast car and listenin to a great song? " I nod my approval and glance out the side window. We're cool, we're hip, and life doesn't get any better.
And so it goes for several more summers, grabbin' the radio knob and crankin up " Help Me Rhonda " " California Girls " " Sloop John B " " Wouldn't it Be Nice? " and
" Good Vibrations. "
Oh, if only we could re-live those years! And therein, my friends,lies the rub. WE CAN'T RELIVE THEM! But oh, how we long & yearn for, hope for, a brief glimpse of our youthful past. We sometimes DO get a glimpse, be it by an aroma, or a deja-vu experience, or by- yes, by music.
And so it was with great excitement and anticipation that I loaded the new Brian Wilson album into the CD player. My overall impression was one that was filled with mixed emotions. I felt GLAD that Brian had given us new music. I felt HAPPY when I listened to " Saturday Morning in the City " and almost felt a glimpse of the past with " Desert Drive. "
But overall I felt extreme sadness.
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