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Cover Version

3.8 étoiles sur 5 4 commentaires client

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Page Artiste Steven Wilson


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Détails sur le produit

  • CD (30 juin 2014)
  • Nombre de disques: 1
  • Label: Snapper Music
  • ASIN : B00K1QC2WM
  • Autres éditions : Album vinyle
  • Moyenne des commentaires client : 3.8 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 20.301 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. A1-thankyou
  2. C7-moment I lost
  3. A2-the day before you came
  4. C8-please come home
  5. A3-a forest
  6. C9-four trees down
  7. B4-the guitar lesson
  8. D10-the unquiet grave
  9. B5-sign o the times
  10. D11-well you're wrong
  11. B6-reedy river
  12. D12-an end to end

Descriptions du produit

Les très recherchées premières pièces en solo du leader de Porcupine Tree
Compilés pour la première fois en CD, cette collection de 12 titres comprend 6 titres originaux de Steven Wilson et 6 reprises de morceaux de Alanis Morissette, Abba, The Cure, Momus, Prince and Donovan édités à l'origine pour la série très rare Cover Version singles entre 2003 et 2010. En mars 2003 Steven Wilson sortait un CD single 2 titres à tirage très confidentiel, ce qui fût la première sortie sous son nom propre. Le single comprenait une reprise et un morceau original de l'artiste. Au cours des années 5 sorties similaires virent le jour. Le choix des reprises illustre les différents genres qui ont influencé Steven Wilson, une ouverture fascinante dans ses goûts personnels et dans le développement de cet artiste en solo. Une série de 45T avait également été éditée à 500 copies, maintenant tous totalement introuvables !


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3.8 étoiles sur 5
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Par Jean Bal TOP 50 COMMENTATEURS le 23 décembre 2014
Format: CD
Je possède quelques uns des CD deux titres qui ont été compilés ici, achetés à l'époque en écrivant directement à leur créateur. Et je crois qu'il est utile de rappeler exactement le contexte de ces enregistrements.
Entre 2003 et 2010, Wilson n'était pas toujours débordé de travail, alors - de temps en temps - il prenait sa guitare pour enregistrer une "reprise mystère" (Abba, Alanis Morissette, Cure, Prince, Donovan, etc.) qu'il gravait en nombre limité, accompagnée d'une chanson acoustique personnelle.
Aux fans, ensuite, de dire s'ils reconnaissaient le titre principal.
Il n'y avait ni volonté de réaliser un album sur le long terme, ni même une idée directrice très claire.
Le père Steven avait du temps libre, alors il s'occupait et il sortit ainsi ses premiers disques sous son seul nom.
Quand la célébrité lui est tombée dessus, il a dû ensuite tout laisser tomber pour passer à des projets plus ambitieux.
C'est pourquoi je nuancerai considérablement les propos d'un autre commentateur qui trouve cet album "trop mou" (?).
Il s'agit, en fait, des enregistrements le plus intimes et personnels proposés à ce jour par Steven Wilson.
On l'imagine aisément seul avec son magnéto, dans sa chambre, en train d'enregistrer très tranquillement ces morceaux délicats et minimalistes dont la séduction se révèle au fil des écoutes.
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1 commentaire 8 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Par jmcpub le 9 octobre 2015
Format: CD
A la première écoute, j'ai été séduit... les suivantes ne changèrent rien.

Excellente qualité de la bande sonore... on en redemande.

Merci Monsieur... continuez votre projet.
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Format: CD Achat vérifié
Tout sur 1 cd donc rien de plus à dire.
Juste à écouter dans le calme en 4 mots +1
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Format: CD Achat vérifié
Un peu trop monocorde à mon goût et pourtant j'adore SW!

Il se rattrapera à coup sûr lors de son prochain album solo
2 commentaires Une personne a trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0x93a7f8f4) étoiles sur 5 31 commentaires
24 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x939ace28) étoiles sur 5 Brilliance Stripped Down 1 juillet 2014
Par Randy - Publié sur Amazon.com
Format: Album vinyle Achat vérifié
The six covers and six originals on this double LP vinyl edition are brilliant. Steven Wilson handles Alanis Morissette's 'Thank You' with aplomb and truly makes it his own. The sonics are wide open, uncompressed, and pleasing to the ear. It's nice to hear a stripped down, acoustic approach throughout as he tackles songs from Abba, The Cure, and Prince. Assembled from his solo singles 2003-2010, and sequenced with the covers on disc one and the originals on disc two. Detailed and very personal liner notes from Wilson. A master of prog rock, and one of the finest producers working in the industry today. Hard to say whether I enjoyed the covers or the originals more. Stellar performance and genius level music throughout. The vinyl on my set was dead quiet with music coming out of a black background and throwing a wide, deep soundstage on a VPI Scout with Dynavector 17d3 cartridge. Highly recommended for fans of analog and melodic progressive rock.
17 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x939b0018) étoiles sur 5 Excellent covers, amazing 'new' songs 8 juillet 2014
Par Murat Batmaz - Publié sur Amazon.com
Format: CD
Cover Version assembles all the songs Steven Wilson covered on limited edition releases between 2003 and 2010 while also adding six more new tracks to the mix. I'm a big Steven Wilson fan; I own almost everything he has released from Porcupine Tree to No-Man to Blackfield to Bass Communion to his solo material, but I've never been one to get limited editions, especially if they contained only a few songs or B-sides. Therefore, this disc is more likely to appeal to those who haven't heard these tracks before, be it covers or new tunes. So for me, Cover Version is a winner; not only is it a 'new' disc for me, but it is also an amazing release in that it documents Wilson's far-reaching and eclectic musical tastes as well as growth and evolution as a solo artist.

The cover songs are amazing. Steven Wilson has given them all his trademark touch, making them sound like lost tracks from previous sessions. Fans of Blackfield may already be familiar with Alanis Morrissette's "Thank U" since it was covered in their 2007 live album. This version, however, is a lot more powerful. The mid-tempo tune is slowed down to half the speed and delivered in a much more intense manner, matching the spiritual lyrics. Speaking of which, Wilson even changes the lyrics a bit ("How about changing a line cause it don't make sense") but retains the tune's otherwise reflective nature. In The Cure's "A Forest," which has been covered by dozens of artists (including Norwegian black metal band Carpathian Forest), Wilson captures the song's electronic vibe but adds more sonic textures with distinct streams of melody running beneath the whole thing. The result is a darker and creepier soundscape with the second half sounding huge and intense. I would have thought it impossible to do this song justice, given it represents The Cure's definitive moment from their goth rock era, but Wilson has achieved it. Donovan's "Lord of the Reedy River" is twice as long as the original; the sound is developed with a more experimental method in that it weaves looped harmonies deep into the mix, though the folky acoustic guitars and vocals are faithfully re-interpreted. The amazing thing is that the middle section features a bluesy guitar solo, which really elevates it to another level. And the ending is sublime: the densely textured, looming sonic murmurs would not seem out of place on No-Man's Returning Jesus. The traditional English song "The Unquiet Grave" is breathtaking and unforgettable. It starts like a Comus song from 1971: wordless chants form the background for Wilson's vocals, delivered like never before. At one point, his vocals get buried under a slowly rising, Bass Communion-like drone before being brought to the fore again. The lyrics are easily the darkest on this release: they express loss, sorrow, and death, themes Wilson would go on to explore on a larger scale years later, especially on The Raven That Refused to Sing. Actually, this song is another ghost story, a murder ballad in a sense, and examines how the ghost of the protagonist's wife can't find peace due to the protagonist mourning her death obsessively for "12 months and a day."

Steven Wilson has also picked some of these artists' most lyrically powerful songs in their discography. The Prince cover "Sign 'o' the Times" features socially conscious lyrics addressing issues like drug use, natural disasters, and gang violence, but unfortunately it isn't one of my favourites on this collection, neither the original nor the cover. The cover version picks up quite a bit of tempo towards the end, making it one of the most aggressive cuts on this disc and doesn't cohere well with the rest of the songs. The very last song ABBA recorded in their career, "The Day Before You Came" is perhaps one of their few songs based on the band members' personal experiences. It deals with divorce and is possibly the best track on this release: Wilson cuts out the steady, unchanging drum machine completely from the original piece, replacing it with an amazing acoustic guitar element and a distant, slow-burning orchestral arrangement. His vocals are among his most emotionally charged ever, and the ending of this song certainly surpasses the original, which is also a great tune, in my opinion. "The Guitar Lesson" is another lyrically intriguing number: it examines the issue of child abuse, which may put some listeners off, but Momo's rather jarring, avant-garde approach to songwriting is transformed into a more melancholic song, with greater emphasis on mood than lyrics, and, therefore, successfully merges into the fabric of the album.

The 'new' songs are mostly acoustic pieces within the three-minute mark. "Moment I Lost" is a dark piano ballad with some acoustic guitar strumming; it would make for a great song on Insurgentes. "Four Trees Down" is another ballad with flickering guitar arpeggios, but the brief guitar solo is worth the price of this disc alone: Steven Wilson gives us a piece of his heart on this one. The piano intro of "Please Come Home" sounds like something Jon Oliva would play if he were composing a follow-up to Dead Winter Dead. Of course, the resemblance ends the moment Wilson's vocals kick in. One of his simplest yet most moving songs, this track also sports a bluesy guitar solo (well, they're not solos per se, but you'll know what I mean when you hear it) which resolves the gently rising synth effects. There is also a more direct, pop-formatted track on the album: "Well You're Wrong." However, the best track has got to be "An End to an End." I love it when Wilson fully develops his pieces, infusing them with deep undercurrents, meditative passages, and tension-laden twists and turns. This is the type of demo material that Wilson might have shared with Mikael Akerfeldt before they started working on the Storm Corrosion album.

Cover Version is another great addition to Steven Wilson's catalog. Though it is not as cohesive as, say, Grace for Drowning or The Raven That Refused to Sing, it still stands on its own with some of his finest and most powerful songs to date.
14 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x939b0258) étoiles sur 5 There Is Better, There Is Worse 7 décembre 2014
Par Chris - Publié sur Amazon.com
Format: CD Achat vérifié
Oddly, this album is the exact opposite experience that I tend to have with music. I really enjoyed the first listen and became less than thrilled upon further listens. The songs, as you can always expect from a Steven Wilson album, are produced incredibly well. Wilson is one of the best producers in the field today and there is good reason so many bands would fight to get him to mix their albums. The main issue people have with Wilson's music is that he tends to be very self indulgent, which is what you tend to expect from any artist, but at times he does so at the expense of thinking about what his fans might prefer. At the end of the day, I am a fan of Steven Wilson's many projects and enjoy many of the albums that others have shunned.

That said....this album is not a proper album. It is a collection of cover songs, and originals that seem to be inspired by the songs he covered, all compiled together into one set. When you think of it as a collection of odds and ends, especially for the low price, then there is nothing to complain about. The music is very acoustic guitar heavy along with a lot of synth and computer generated effects layered over top. It is easily worth the price of admission...it just isn't worth any more than that.

Sometimes you buy a cheap album and find it to be a gem among stones. This album is an admittedly shiny stone but is still just a stone. A few of the covers are excellent, most of the original songs less so, and overall the dark, listless, ambling pacing gets a bit boring. Which is unfortunate, because any of these songs taken on their own isn't bad, maybe not spectacular but certainly not bad. But all gathered together, you can't help but notice how strikingly similar everything is, and soon your passion for any particular song is drained away. Good for what it is but easily skipped if you're not a fan of Wilson specifically.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x939b03fc) étoiles sur 5 love love love him 20 août 2015
Par Jennifer Nielsen - Publié sur Amazon.com
Achat vérifié
I absolutely am a fan of Steven Wilson, ive purchased all of his personal and colaborative albums, seen him in concert 6 times.. love love love him. But this album by far is my least favorite. The chord changes lend a very sad down feeling. Sleepy.It wont however deter me from buying his next one.
HASH(0x939b07d4) étoiles sur 5 Greatness continues 2 janvier 2015
Par Miles - Publié sur Amazon.com
Format: CD
It took a few listens for me to get into this but I do like the entire thing now. I seem to enjoy the individual songs more when they pop up on the Pod on shuffle at work....I can see why he liked the covers here and the originals he poked in are jewels as well. I can't seem to get enough SW these days...he seems to be a bottomless pit of incredible creativity that comes from somewhere and I sure hope it keeps coming for years to come!
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