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Used: Very Good | Details
Condition: Used: Very Good
Comment: This item is very good condition.We are going to ship from Japan, the delivery time is about 14-21days.
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Aerial Boundaries (Jpn) Original recording remastered, Import

14 customer reviews

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Product details

  • Audio CD (22 Oct. 2008)
  • Number of Discs: 1
  • Format: Original recording remastered, Import
  • Label: Bmg Japan
  • ASIN: B001EVNVZA
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (14 customer reviews)

1. Aerial Boundaries [*]
2. Bensusan [*]
3. Rickover's Dream [*]
4. Ragamuffin [*]
5. After the Gold Rush [*]
6. Hot Type [*]
7. Spare Change
8. Ménage a Trois
9. Magic Farmer [*]

Product Description

CD ALBUM

Customer Reviews

4.8 out of 5 stars
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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Timothius on 14 Jan. 2007
Format: Audio CD
I first got this album in 1985 and it blew me away then. Imagine if the only acoustic guitar music you had heard was tuneful, rythmical, skillful strumming using an impressive variety of chords and you thought it was great (and why not !), then someone plays you a great finger picking guitarist like Bert Jansch or Davy Graham - you would be amazed, it would be like a revelation onto a higher plain. Now imagine you are used to listening to great finger picking guitarists and someone plays you 'Aerial Boundaries' or 'Rickover's Dream' or 'Ragamuffin' it would cause a similar level of amazement but more so and a revelation onto an even higher plain. That's the Hedges effect ! I still listen this album now and it's brilliance has not faded, nor will it ever fade. A timeless, unique and ground breaking masterpiece by a genius !
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4 of 4 people found the following review helpful By Jeremy Walton TOP 1000 REVIEWERVINE VOICE on 18 Nov. 2008
Format: Audio CD Verified Purchase
I first heard music from this record on the radio in 1984 while we were living in the US. I got the tape that Christmas, and played it constantly, amazed at the quality of the melody, arrangement and sound that it contained. My delight and astonishment was only enhanced when we saw Hedges in concert in London four or five years later. Right up until the point where he started playing it in front of us, I'd thought that there were two or three guitarists playing on the title track. The use of techniques like slap harmonics, tapping (with both hands) and percussive slapping on the guitar body is fairly widespread now, but they were almost unknown before Hedges started using them so assuredly.

But this record is more than a mere showcase for exotic techniques. Listen to the beautiful melody of Menage A Trois, the imaginative sound collage of Spare Change and that astonishing title track, and you should be able to see why I think this is some of the finest guitar music ever recorded. That his life was to be cut cruelly short by a car accident just thirteen years after the release of this record only enhances its value, I feel.
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3 of 3 people found the following review helpful By Barry Unlikely on 25 Oct. 2010
Format: Audio CD
Windham Hill Records did not have much of a reputation beyond pithy new-age schlock before founder William Ackerman had his head "....torn off..." watching "...the guitar being re-invented..." by a young man at a gig in Palo Alto sometime in the very early 1980's. Having the good sense to sign him, Hedges' first release, BREAKFAST IN THE FIELD, caught a good many people's attention and was an immediate best seller. But his second, AERIAL BOUNDARIES, was, and remains, a landmark. 26 years on and the opening title track still makes your hair stand on end. Never in contemporary history had an acoustic guitar sounded so huge and multi-faceted, never had a player seemed so intrinsically bound to his instrument, to the extent, as Bonnie Rhiatt later commented, that it was "...re-born..." in his hands.

But his was no triumph of style-over-substance. Hedges always regarded himself as a composer first, and a performer second, and orchestrations of his music in any genre would stand the test of time. Soul and heart were central to Hedges' vision of being able to "...dream out loud..." through music.

I had the very good fortune to see him live as support act to Suzanne Vega in the UK, I think in 1985. I had jabberred like a lunatic to anyone in the bar before the show that they should put down their drinks and see this man play. 3 songs in and the bar was deserted. 2000 people watched and listened in total astonishment, and gave him three standing ovations. I shall never forget that as long as I live.

Steve Vai said it best: "Michael was unique. I don't like using that word because it's so abused, but it stands true in this case. The first time I heard him play, I was stunned into silence. [...] There is no-one on God's beautiful blue earth who can play the guitar like Michael Hedges."
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Format: Audio CD Verified Purchase
Having only recently discovered and been blown away by Hedges, this album was my first acquisition, shortly followed by his debut, Breakfast In The Field, which is very similar and equally enjoyable (I reckon Taproot will be next). I agree with most of the other views already expressed here, but would just like to add a couple of observations.

First of all it's clear Hedges has influenced legions of modern guitarists, particularly in utilising more of the ordinary guitars potentiality, even if some have gone further or do it slightly differently (e.g. playing the guitar laid horizontally across the lap). But the thing that struck me most, after the sheer pleasure of beautiful music, was the very clear Joni Mitchell influence. There's an excellent YouTube video of Hedges covering Mitchell's wonderful if somewhat less well known (compared with Big Yellow Taxi, for example) Edith & The Kingpin. He does it on piano, and sings it too. And he does it wonderfully, singing and playing with a great depth of soulful expressiveness. Taking on Joni is no mean feat in itself. Acquitting yourself as well as he does is even more remarkable.

Apparently in his early days he played a lot of Mitchell and Neil Young Covers (and he maintains that tradition here, by including an instrumental version of Young's After The Gold Rush). 'Paying his dues' and honing his art, no doubt. It's seems quite clear, to me at least, that he absorbed those lessons so well they became part of the fabric of his style.
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