Wilco – A.M.
Label: |
Nonesuch – 547896-1 |
|---|---|
Series: |
Vinyl Me, Please. Record Of The Month – Vol. 32 |
Format: |
|
Country: |
US |
Released: |
|
Genre: |
Rock |
Style: |
Indie Rock |
Tracklist
| A1 | I Must Be High | 2:59 | |
| A2 | Casino Queen | 2:45 | |
| A3 | Box Full Of Letters | 3:05 | |
| A4 | Shouldn't Be Ashamed | 3:29 | |
| A5 | Pick Up The Change | 2:56 | |
| A6 | I Thought I Held You | 3:49 | |
| A7 | That's Not The Issue | 3:21 | |
| B1 | It's Just That Simple | 3:46 | |
| B2 | Should've Been In Love | 3:36 | |
| B3 | enger Side | 3:34 | |
| B4 | Dash 7 | 3:29 | |
| B5 | Blue Eyed Soul | 4:05 | |
| B6 | Too Far Apart | 3:44 |
Companies, etc.
- Record Company – Warner Music Group
- Manufactured For – Vinyl Me, Please
- Phonographic Copyright ℗ – Nonesuch Records
- Copyright © – Nonesuch Records
- Phonographic Copyright ℗ – WEA International Inc.
- Copyright © – WEA International Inc.
- Published By – Poeyfarre Songs
- Published By – Warner-Tamerlane Publishing Corp.
- Published By – Words Ampersand Music
- Recorded At – Easley Recording
- Mixed At – Battery Studios, Nashville
- Mixed At – Emerald Sound Studios
- Mixed At – Masterfonics
- Remastered At – Gateway Mastering & DVD
- Exclusive Retailer – Vinyl Me, Please
- Pressed By – Schallplattenfabrik Pallas GmbH – 18729
Credits
- Acoustic Guitar – Jeff Tweedy (tracks: A2, A4 to B5)
- Banjo – Max Johnston (tracks: A5 to A7)
- Bass – John Stirratt (tracks: A1 to A7, B2, B3, B5, B6)
- Booking [Americas/Pacific] – Frank Riley (2)
- Booking [Europe] – Paul Boswell
- Dobro – Max Johnston (tracks: A1, A3, B2, B6)
- Drums – Ken Coomer (tracks: A1 to B3, B5, B6)
- Fiddle – Max Johnston (tracks: A2, B3)
- Graphic Design – Lawrence Azerrad
- Guitar – Jeff Tweedy (tracks: A1, A3, B6)
- Legal – Josh Grier (2)
- Management – Tony Margherita
- Management [Financial] – Peter Fairley (2)
- Mandolin – Max Johnston (tracks: A4, B1, B3, B5)
- Mixed By – Richard Dodd (tracks: A1 to A7, B2, B3, B5)
- Pedal Steel Guitar – Lloyd Maines (tracks: A1, A6, B1, B4, B5)
- Photography By [Band] – Dan Corrigan*
- Photography By [Radio] – Lara Kastner
- Producer, Recorded By – Wilco
- Public Relations [Publicity] – Deb Bernardini
- Remastered By – Robert C Ludwig*
- Vocals – Max Johnston (tracks: A2)
- Written-By – John Stirratt (tracks: B1)
Notes
20th anniversary edition issued with gatefold cover; full-colour, one-sided 12"x12" art print; and 4-page, full-size, black & white lyrics/credits/photos insert.
Recorded at Easley Recording, Memphis, TN
Mixed by Richard Dodd at Masterphonics and Emerald Studios, Nashville, TN
Mixed by Brian Paulson at Battery Studios, Nashville
Radio courtesy of Robert G. Tweedy
Thanks to Tony Margherita, Bob Andrews, Bob & Jo Tweedy, Sue Miller, $ Bill and Helen Johnston, Stephanie Dominguez, Don & Sue Coomer, Ruth Nichols, Avery Stirratt, Jennifer Allen, Richard Dodd, Paul Heck at Red Hot, Doug Schoemer, Fork's Drum Closet in Nashville, Gravity Strings in St. Louis, Doug and Davis at Easley Recording, Michael Praytor, Daniel Herbst, Jenni George, Frank Riley, Josh Grier, Joe McEwen, Molly Reve-Morrison, Deb Bernardini, Bill Bentley and Peter Standish.
Very special thanks to Jay Bennett.
Nonesuch Records, a Warner Music Group company.
℗ 2009 & © 2015 Nonesuch Records for the United States and WEA International Inc. for the world outside of the United States.
Durations are not printed on the packaging.
Recorded at Easley Recording, Memphis, TN
Mixed by Richard Dodd at Masterphonics and Emerald Studios, Nashville, TN
Mixed by Brian Paulson at Battery Studios, Nashville
Radio courtesy of Robert G. Tweedy
Thanks to Tony Margherita, Bob Andrews, Bob & Jo Tweedy, Sue Miller, $ Bill and Helen Johnston, Stephanie Dominguez, Don & Sue Coomer, Ruth Nichols, Avery Stirratt, Jennifer Allen, Richard Dodd, Paul Heck at Red Hot, Doug Schoemer, Fork's Drum Closet in Nashville, Gravity Strings in St. Louis, Doug and Davis at Easley Recording, Michael Praytor, Daniel Herbst, Jenni George, Frank Riley, Josh Grier, Joe McEwen, Molly Reve-Morrison, Deb Bernardini, Bill Bentley and Peter Standish.
Very special thanks to Jay Bennett.
Nonesuch Records, a Warner Music Group company.
℗ 2009 & © 2015 Nonesuch Records for the United States and WEA International Inc. for the world outside of the United States.
Durations are not printed on the packaging.
Barcode and Other Identifiers
- Barcode: 0 75597 95201 8
- Matrix / Runout (Side A runout - etched and stamped): 1-518084-A -18729-
- Matrix / Runout (Side B runout - etched and stamped): 1-518084-B -18729-
- Rights Society: BMI
Other Versions (5 of 38)
View All| Title (Format) | Label | Cat# | Country | Year | |||
|---|---|---|---|---|---|---|---|
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Recently Edited
|
A.M. (CD, Album) | Reprise Records | 9 45857-2 | US | 1995 | ||
|
Recently Edited
|
A.M. (LP, Album, Stereo, Specialty Pressing, Red Translucent) | Reprise Records | 1-45857 | US | 1995 | ||
|
Recently Edited
|
A.M. (CD, Album) | Reprise Records | CDW 45857 | Canada | 1995 | ||
|
New Submission
|
A.M. (CD, Album, Club Edition) | Sire | 9 45857-2 | US | 1995 | ||
|
New Submission
|
A.M. (CD, Advance, Album, Promo) | Reprise Records | 2-45857-A | US | 1995 |
Recommendations
Reviews
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Wilco’s debut A.M. doesn’t have the expansive soundstage of later albums, but this pressing offers just a bit more than I was expecting. A standout example is Box Full of Letters, where the competing guitars remain distinct without getting muddled, and this is the best Dash I think I’ve heard. Some have noted sibilance on this VMP release, but I don’t hear it. Instead, what stands out is how dead quiet the pressing is—if you’re after surface noise, look elsewhere. A solid pressing, maybe not the most dynamic *Wilco* pressing but solid for this release. -
Sounds excellent. Great album and great pressing. The tangerine is translucent and rides flat.
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Lovely pressing, as it is usually the case with VMP, and great album. Lots of greats memories from the time I moved to Chicago. -
Excited to hear the new 2 LP reissue coming out in December 07. Unlike the original, the original studio tracks will be spread out among 3 sides instead of 2. I really hope this eases a lot of the sibilance i've heard on other pressings (hoping new "all analog" remastering as well). -
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sibilance throughout the record. too bad. would sound great otherwise. every VMP pressing is terrible. I'm out. -
This is the best sounding record I own. It is dead silent from start to finish. Not a single pop or click, right out of the shrink.
Release
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