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The Seeds of Love
よく一緒に購入されている商品

対象商品: The Seeds of Love
¥1,563¥1,563
最短で11月4日 土曜日のお届け予定です
残り3点(入荷予定あり)
総額:
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曲目リスト
| 1 | Woman In Chains |
| 2 | Badman's Song |
| 3 | Sowing The Seeds Of Love |
| 4 | Advice For The Young At Heart |
| 5 | Standing On The Corner Of The Third World |
| 6 | Swords And Knives |
| 7 | Year Of The Knife |
| 8 | Famous Last Words |
| 9 | Tears Roll Down |
| 10 | Always In The Past |
| 11 | Music For Tables |
| 12 | Johnny Panic And The Bible Of Dreams |
商品の説明
内容紹介
Tears for Fears returned to artistic and commercial glory with this LP in 1989, a string of gorgeous songs including the hits Sowing the Seeds of Love; Woman in Chains (featuring their great gospel discovery, Oleta Adams), and Advice for the Young at Heart. This reissue adds four bonus tracks!
Amazonレビュー
前作『シャウト』から4年以上の歳月を経てリリースした、89年の3枚目のオリジナルである。シングルカットされた<3>、直訳すると愛の種をまき!?は、ビートルズを彷彿とさせるコテコテのブリティッシュサウンドだ。ファンならずとも興味がそそられるナンバーとなっている。
また、本作にはオリータ・アダムスがキーボード&ゲストヴォーカルとしてフィーチャーされているほか、ドラマーとしてフィル・コリンズも参加している。間奏までおいしく味わえる、実に無駄のない作品が並んだ1枚である。(春野丸緒)
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.07 x 12.45 x 0.94 cm; 96.16 g
- メーカー : Uni/Mercury
- EAN : 0731455810523
- 製造元リファレンス : AManPro-0048092
- オリジナル盤発売日 : 2001
- レーベル : Uni/Mercury
- ASIN : B00000JR2A
- 原産国 : 英国
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 94,609位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 16,940位ロック (ミュージック)
- - 21,740位輸入盤
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2023年9月2日に日本でレビュー済み
Amazonで購入
アルバムのタイトルになったエピソードを、個人的に体験した人の話を聞いたことがあります。モデルになった話とは違うけど、気になったのです。ヒーローが、妻とのいさかいに疲れた頃、まだ若くて妻以外の女性と過ちを犯してしまった。妻以外の女性との間柄に、子供を持とうとして関係した。不安定な十代の頃で、結果的には実らぬ子供として受精卵核を出生した。その子供たちのことを埋葬したことを、妻には話したが妻は許したそうです。そして夫へ労りや労いを語るようになった。愛の種蒔きだった子供たちの話。
2023年10月11日に日本でレビュー済み
Amazonで購入
あまり品質は良くありませんでした
内ジャケはスリーブ袋が無かった。
パチノイズも新品にしては多い。
内ジャケはスリーブ袋が無かった。
パチノイズも新品にしては多い。
2018年1月28日に日本でレビュー済み
Amazonで購入
表題曲をFMで聴き懐かしくなり購入。
リマスター効果もあってか、
最初から最後まで全ての音域が安定、
コーラス部も終始クリア。
改めて聞くとインパクト絶大な1曲目から最後の8曲目迄個々の濃いストーリー性を
感じると共に、完成にやりきった空気が
流れている。いい作品創っていながら
既に呉越同舟状態だったようだ。
なおボートラは要らなかった、
出涸らし感しかなかったので。
リマスター効果もあってか、
最初から最後まで全ての音域が安定、
コーラス部も終始クリア。
改めて聞くとインパクト絶大な1曲目から最後の8曲目迄個々の濃いストーリー性を
感じると共に、完成にやりきった空気が
流れている。いい作品創っていながら
既に呉越同舟状態だったようだ。
なおボートラは要らなかった、
出涸らし感しかなかったので。
2004年2月12日に日本でレビュー済み
Amazonで購入
デジタル・リマスターについて。
冒頭の「Woman in chain」、ただ音質がよくなっているだけではなく、サラウンド的というか、
この曲が持っていた”音の密林の中に分け入っていく様子”が鮮明になっている。
緻密に編まれた、音のタペストリーの細密画を、間近で見ているよう。
リマスタリング作業自体が、とてもプログレッシブだと感じた初めての体験。
Curt Smith、Roland Orzabal、Oleta Adams3人のボーカルが立体的に現れると、そこはもう聖堂のよう。
聖壇の前で、ステンドグラス越しの光を浴びて跪いている気分になる。
2曲目「Badman's Song」。イントロのピアノ、運指の様が浮かんでくるぐらいに、ヴォリューム感のある
音感。練り上げられた1曲目と対照的に、バンド・サウンドの一体感と推進力が強調されている。
ブックレットはオリジナルのアートワークの他に、このアルバムのレコーディングの経緯が書かれた文章が付き、
初めて見るピクチャー・ディスク風のビジュアルも含まれている。
全体の中世錬金術師風コンセプトの中で見ていたので、リリース時には意識しなかったが、
何度も出てくる金色の太陽。あれは彼ら流の「太陽と戦慄」だったのかもしれない。
そういえばTFFというと、初期クリムゾンのミニ・ライブに
かぶり付きで2人で見にきていた写真が印象的で、今でもよく憶えている。
*以下、リリース時のアルバム感想
音楽を突き詰めるタイプのミュージシャンは、最高傑作を作ってしまうと、解散するか、
メンバーチェンジするか、減速してしまうが、TFFは事実上の解散(に近い状態だった)。
でもそれだけにこのアルバムは、最高の完成度と緊張感とロックする音楽魂が
脈打つ演奏が披露され、収録されている。
1曲目「woman in chains」とラスト前のライブ演奏「year of the knife」は、
ロックミュージックの天才ミキサーボブ・クレアマウンテンがミックスしている。
それだけに各楽器の分離の良さと、ノリの良さと、ロックする駆動感は抜群。
特に「year of the knife」のドラムスのとギターの切れ味は、何度聴いても頭がいってしまう。
その後に続くアルバムラストの曲とのつながりと対比は素晴らしいの一語。
TFF事実上最後のアルバムとして輝いているだけではなく、
ブリティッシュ・ロックの到達点の一つでもある名盤。
4曲の「Advice for the young at heart」は、ベストアルバムのラストを締めくくっていた名曲。
ラテン的というか、海を感じさせる陽気な優しさがある。カート・スミスの最高のボーカルナンバー。
バックのサウンド、アレンジも完璧。
1曲目「woman in chains」では、フィル・コリンズがドラムスで参加、さすがのドラミングを披露。
カート・スミスのベースラインも味わい深いし、ニール・テイラーの弾き過ぎないギターが
曲をクールに盛り上げる。
プログレッシブ・ロックの正統的継承者のサウンド到達点として聴くこともできる1枚。
ラストの曲は壮大なロック・バラードになっていて、アルバム全体を見事にまとめあげている。
大げさなところはみじんもないが、サウンドと曲と詞が一体となっている様は壮観。
アルバムのテーマとなっている言葉がくりかえされ、曲が、全体が、「no more」という一語で終わる。
完璧。
冒頭の「Woman in chain」、ただ音質がよくなっているだけではなく、サラウンド的というか、
この曲が持っていた”音の密林の中に分け入っていく様子”が鮮明になっている。
緻密に編まれた、音のタペストリーの細密画を、間近で見ているよう。
リマスタリング作業自体が、とてもプログレッシブだと感じた初めての体験。
Curt Smith、Roland Orzabal、Oleta Adams3人のボーカルが立体的に現れると、そこはもう聖堂のよう。
聖壇の前で、ステンドグラス越しの光を浴びて跪いている気分になる。
2曲目「Badman's Song」。イントロのピアノ、運指の様が浮かんでくるぐらいに、ヴォリューム感のある
音感。練り上げられた1曲目と対照的に、バンド・サウンドの一体感と推進力が強調されている。
ブックレットはオリジナルのアートワークの他に、このアルバムのレコーディングの経緯が書かれた文章が付き、
初めて見るピクチャー・ディスク風のビジュアルも含まれている。
全体の中世錬金術師風コンセプトの中で見ていたので、リリース時には意識しなかったが、
何度も出てくる金色の太陽。あれは彼ら流の「太陽と戦慄」だったのかもしれない。
そういえばTFFというと、初期クリムゾンのミニ・ライブに
かぶり付きで2人で見にきていた写真が印象的で、今でもよく憶えている。
*以下、リリース時のアルバム感想
音楽を突き詰めるタイプのミュージシャンは、最高傑作を作ってしまうと、解散するか、
メンバーチェンジするか、減速してしまうが、TFFは事実上の解散(に近い状態だった)。
でもそれだけにこのアルバムは、最高の完成度と緊張感とロックする音楽魂が
脈打つ演奏が披露され、収録されている。
1曲目「woman in chains」とラスト前のライブ演奏「year of the knife」は、
ロックミュージックの天才ミキサーボブ・クレアマウンテンがミックスしている。
それだけに各楽器の分離の良さと、ノリの良さと、ロックする駆動感は抜群。
特に「year of the knife」のドラムスのとギターの切れ味は、何度聴いても頭がいってしまう。
その後に続くアルバムラストの曲とのつながりと対比は素晴らしいの一語。
TFF事実上最後のアルバムとして輝いているだけではなく、
ブリティッシュ・ロックの到達点の一つでもある名盤。
4曲の「Advice for the young at heart」は、ベストアルバムのラストを締めくくっていた名曲。
ラテン的というか、海を感じさせる陽気な優しさがある。カート・スミスの最高のボーカルナンバー。
バックのサウンド、アレンジも完璧。
1曲目「woman in chains」では、フィル・コリンズがドラムスで参加、さすがのドラミングを披露。
カート・スミスのベースラインも味わい深いし、ニール・テイラーの弾き過ぎないギターが
曲をクールに盛り上げる。
プログレッシブ・ロックの正統的継承者のサウンド到達点として聴くこともできる1枚。
ラストの曲は壮大なロック・バラードになっていて、アルバム全体を見事にまとめあげている。
大げさなところはみじんもないが、サウンドと曲と詞が一体となっている様は壮観。
アルバムのテーマとなっている言葉がくりかえされ、曲が、全体が、「no more」という一語で終わる。
完璧。
2012年2月6日に日本でレビュー済み
Amazonで購入
発売された当時、夢中になって聴きましたが、ここ何年も聴いていませんでした。最近、テレビで「シーズ・オブ・ラブ」が流れて、懐かしくなり、CDを捜しましたが見つからない・・・。どうしても聴きたくてたまらなくなってAmazonで購入しました。改めて聴いてみて、やはり、これは名盤です。ALBUMの最初から最後まで、通して繰り返し聴いて感激できる良い作品だとあらためて思いました。まだ聴いたことのない方は、是非、一聴を。
2016年12月5日に日本でレビュー済み
まず不思議なのが、このCDが結構、◎ックオフとかで激安で売られているという事実。おそらく、1985に一世風靡したルールザワールドやシャウトみたいなポップでキャッチーなのを期待して、1曲目2曲目の渋い曲聴かされて何だこりゃ、という感じだったんだろうと。売った人はせいぜい後悔するといいです。。。とここまで書いて何だが、確かに、ポップさを否定した渋い曲多いかもです。3曲目のシーズオブラブと次のアドバイスヤングアットハート、それに後半のイヤーオブナイフ(以上、曲名は適当です)が無かったらヤバイかも、というぐらい渋くて辛口?です。でも、この3曲があまりに素晴らしい、特にアドバイスヤングアットハートは最高の胸キュンソングであるというのが一つと、あとは、その渋いその他の曲も含め恐ろしいほど緻密で完璧な作り込みがされているということで、これは80年代ブリティッシュニューウェイブの集大成とも言える奇跡の名盤と言っても過言ではないでしょう。90年代になり、何か軽薄で音も悪いマンチェスター?ストーンローゼスとかオアシスみたいな?のがブリティッシュの主流になり、このアルバムのような本格派アルバムが消滅してしまったような気がするのは私だけでしょうか。
2002年12月30日に日本でレビュー済み
Amazonで購入
すでに発表されてから10年以上すぎているが全く色あせる事のない名作。コマーシャルな面では前作「Songs from big chair」収録の「Shout」の様な大ヒットソングが無かったため影が薄い印象だが、トータルな出来はこちらも全く劣らない。他のレビュワーも触れているが、BeatlesのSgt. Pepper's~~をほうふつさせるダイナミックなアルバム。買って損無し。
2011年7月17日に日本でレビュー済み
"Woman in Chains"
"Standing on the Corner of the Third World"
"Year of the Knife"
が◎。
リマスター→良好
"Standing on the Corner of the Third World"
"Year of the Knife"
が◎。
リマスター→良好
他の国からのトップレビュー
johnf
5つ星のうち5.0
Tears for Fears' Masterpiece.
2019年1月7日にアメリカ合衆国でレビュー済みAmazonで購入
Tears For Fears took another giant stylistic leap with The Seeds of Love. Apparently this was not easy as the album had a long, tortuous genesis taking four years and passing through three producers before the band took over production themselves. Along the way both longtime producer Chris Hughes and keyboardist and frequent co-composer Ian Stanley left the group amid great dissention. Both had been with the group from the beginning.
In interviews Curt said they just wanted to get things right, and years before they had said they would never be prolific because they were very fussy. Most people involved in the making of the album blamed Roland’s perfectionism. At least it’s clear that they were committed artists determined to create something as they envisioned it and not just some band trying to make money. In fact the album cost so much to make that they had to do an extensive world tour to help make up for it. Regardless of its problematic making, the album they produced was absolutely remarkable.
It was a big hit, going platinum, though not the monster-hit Songs From the Big Chair had been, which had been 5 x platinum in the U.S. alone. It wasn’t as full of sing-along anthems as the 1985 album had been, and a great deal of momentum had been lost in four years. In pop terms that’s a lifetime, and they should have had an album out by late ‘86 at most by industry standards.
There was only one big hit single from the album, it’s title song, but what a song that was. Sowing the Seeds of Love was a Beatles tribute unlike anything anyone had ever done. It salutes the Fab Four as they were in 1967 and includes specific nods to I Am the Walrus (opening), Penny Lane’s Baroque piccolo trumpet (middle) and a fade out with a clapping rhythm like All You Need Is Love. All this is perfectly engineered and layered and the song itself is complex and interesting. It’s not a pale copy of some Beatles’ tune but a fully realized song that can stand on its own in a psychedelic 1967 style.
Of course, being the lead single might have led many people to assume the album would be more of the same. But in fact Seeds of Love is a stand alone and the album is more like The Working Hour from Songs From the Big Chair. It pushes much further into rock, soul and jazz with far less synthesizer than the earlier two albums. Guitars, saxophone, real drums and piano play equal or more importance here than synthesizer and the result is a more natural and un-machine-like sound. It’s a long way from The Hurting. The songs are relatively long and opened up and the overall effect is smoother and more flowing.
The vocal mix is very different too, with the addition of Oleta Adams, who was discovered by Curt and Roland singing in a Kansas City hotel where they were staying. She’s one of the best unexpected additions to a group ever. Her voice adds a tremendous emotional power to the songs she’s on and a soulfulness unreachable by the two boys from Bath. Still, Roland’s big, powerful tenor really opens up here in a way it hadn’t before. In Year of the Knife, for me the most dynamic and exciting song they’ve ever done, Roland’s voice sounds like a siren when he sings “...until the day he D-I-E-D” and screams in a falsetto at “I ain’t gonna sleep tonight”. This song is the climax of the album and is recorded from a live performance here in an unnamed location (it’s not Santa Barbara because the backup players are different).
Woman In Chains and Badman’s Song are great duets with Roland and Oleta. The first song is slow and dreamy despite its lyrics while Badman’s Song is bluesy and builds to a powerful emotional climax. Standing On the Corner of the Third World is full of jazz and soul and Swords and Knives features rock guitar. All this doesn’t leave a lot for Curt. He’s the lead vocal on Advice For the Young At Heart, a mellow song with a gentle Latin rhythm perfect for his soft tenor voice. It’s guitar bridge is reminiscent of Steely Dan. But aside from that he’s mostly in occasional harmony parts and otherwise just on bass guitar. This is likely why he left the group after the promotional tour for this album.
The album ends with an epilogue which parallels the end of Songs From the Big Chair. There, Listen was a mostly instrumental song about a nuclear war. Here Famous Last Words is a much more poignant and effective glimpse of a couple sharing one last moment together in another nuclear holocaust. It’s a perfect ending to the album.
Some critics panned this album, saying it was grandiose. That’s like criticizing Mahler as grandiose. Of course he is. An important part of Tears For Fears is that they were always trying to outdo themselves and always reached for big sounds and topics. If you don’t like that then listen to what you do like. The real question is whether they achieved what they wanted and for this album the answer is a resounding yes.
The four bonus tracks are rare singles and B-sides. The CD is from 1999 and the sound is excellent.
In interviews Curt said they just wanted to get things right, and years before they had said they would never be prolific because they were very fussy. Most people involved in the making of the album blamed Roland’s perfectionism. At least it’s clear that they were committed artists determined to create something as they envisioned it and not just some band trying to make money. In fact the album cost so much to make that they had to do an extensive world tour to help make up for it. Regardless of its problematic making, the album they produced was absolutely remarkable.
It was a big hit, going platinum, though not the monster-hit Songs From the Big Chair had been, which had been 5 x platinum in the U.S. alone. It wasn’t as full of sing-along anthems as the 1985 album had been, and a great deal of momentum had been lost in four years. In pop terms that’s a lifetime, and they should have had an album out by late ‘86 at most by industry standards.
There was only one big hit single from the album, it’s title song, but what a song that was. Sowing the Seeds of Love was a Beatles tribute unlike anything anyone had ever done. It salutes the Fab Four as they were in 1967 and includes specific nods to I Am the Walrus (opening), Penny Lane’s Baroque piccolo trumpet (middle) and a fade out with a clapping rhythm like All You Need Is Love. All this is perfectly engineered and layered and the song itself is complex and interesting. It’s not a pale copy of some Beatles’ tune but a fully realized song that can stand on its own in a psychedelic 1967 style.
Of course, being the lead single might have led many people to assume the album would be more of the same. But in fact Seeds of Love is a stand alone and the album is more like The Working Hour from Songs From the Big Chair. It pushes much further into rock, soul and jazz with far less synthesizer than the earlier two albums. Guitars, saxophone, real drums and piano play equal or more importance here than synthesizer and the result is a more natural and un-machine-like sound. It’s a long way from The Hurting. The songs are relatively long and opened up and the overall effect is smoother and more flowing.
The vocal mix is very different too, with the addition of Oleta Adams, who was discovered by Curt and Roland singing in a Kansas City hotel where they were staying. She’s one of the best unexpected additions to a group ever. Her voice adds a tremendous emotional power to the songs she’s on and a soulfulness unreachable by the two boys from Bath. Still, Roland’s big, powerful tenor really opens up here in a way it hadn’t before. In Year of the Knife, for me the most dynamic and exciting song they’ve ever done, Roland’s voice sounds like a siren when he sings “...until the day he D-I-E-D” and screams in a falsetto at “I ain’t gonna sleep tonight”. This song is the climax of the album and is recorded from a live performance here in an unnamed location (it’s not Santa Barbara because the backup players are different).
Woman In Chains and Badman’s Song are great duets with Roland and Oleta. The first song is slow and dreamy despite its lyrics while Badman’s Song is bluesy and builds to a powerful emotional climax. Standing On the Corner of the Third World is full of jazz and soul and Swords and Knives features rock guitar. All this doesn’t leave a lot for Curt. He’s the lead vocal on Advice For the Young At Heart, a mellow song with a gentle Latin rhythm perfect for his soft tenor voice. It’s guitar bridge is reminiscent of Steely Dan. But aside from that he’s mostly in occasional harmony parts and otherwise just on bass guitar. This is likely why he left the group after the promotional tour for this album.
The album ends with an epilogue which parallels the end of Songs From the Big Chair. There, Listen was a mostly instrumental song about a nuclear war. Here Famous Last Words is a much more poignant and effective glimpse of a couple sharing one last moment together in another nuclear holocaust. It’s a perfect ending to the album.
Some critics panned this album, saying it was grandiose. That’s like criticizing Mahler as grandiose. Of course he is. An important part of Tears For Fears is that they were always trying to outdo themselves and always reached for big sounds and topics. If you don’t like that then listen to what you do like. The real question is whether they achieved what they wanted and for this album the answer is a resounding yes.
The four bonus tracks are rare singles and B-sides. The CD is from 1999 and the sound is excellent.
Karla Amaya
5つ星のうち5.0
A Beautiful, Heart-Grabbing Timeless Album
2016年1月9日にアメリカ合衆国でレビュー済みAmazonで購入
After the success of Songs From The Big Chair, Roland Orzabal and Curt Smith decided to take a break before starting on the new album. The result was three years of recording, finding producers who would support the new album, looking for other musicians to play the instruments, and sadly, it was the last album Roland and Curt would make together as creative differences (as they claim was their main problem) and personal problems (on Curt's side) set them apart and a year later, Curt Smith left and Roland led Tears For Fears to a new era with the later albums, Elemental and The Kings of Spain, both of which are great albums before the two reunited for Everybody Loves A Happy Ending.
Here is my opinion of the songs:
Woman In Chains: A powerful ballad with Oleta Adams as female guest vocalist and the amazing Phil Collins as the drummer on the song but not in the music video. Really grabs at your heart and soul and serves as a reminder to women that even if you are in chains (figuratively or literally), there is always hope that you will be freed. I love the way Roland says; "The sun and the moon, the wind and the rain", which also shows up in Year of the Knife and Famous Last Words.
Badman's Song: The longest song in the album with a mixture of instruments and vocals. The piano playing and female vocalist in this song is done by Oleta who also plays the piano in Advice For The Young at Heart. It's actually pretty cool the way Roland counts in the beginning of the song.
Sowing The Seeds of Love: The Beatles-inspired song that is relevant for us to hear for the politicians have to know "how the majority feels" and put "an end to need the politics of greed" if we want the world to be a better place. Roland and Curt have that to a T and their points are just as correct as they were then.
Advice For The Young at Heart: A bittersweet but powerful love song that grabs at your heart and soul. The only song with Curt as the main vocalist (who also served as backup vocalist for Woman In Chains and Sowing the Seeds of Love), his advice is one we must take to heart including the final lines; "We can do anything that we want, anything that we feel like doing" (which should also be applied to children as a reminder that we can do anything if we just work hard for it and believe in it) so we can have few regrets in life.
Standing on The Corner of the Third World: A haunting song with flutes and trumpets that start the song (for some reason, it reminds me of the Braveheart soundtrack due to the haunting instruments, but if you don't think so, that's okay.) and a harmonica at the end, this one is considered my personal favourite. Roland gives out the strongest point; "When we gonna learn? Who we gonna turn to? The promises they make, the call for our attention. Compassion is the fashion." His voice is haunting but powerful and yet, also sweet to make you feel like you want to sleep.
Swords and Knives: A cool song that begins as a jazzy rock song, becomes a hard rock song with Roland's guitar solo, and ends with some sweet piano playing (this time played by Nicky Holland, the other pianist in Songs From The Big Chair and who wrote five of the lyrics in the album). The female vocalist is not Oleta Adams as some people may think but rather Tessa Niles, who was also a backup female vocalist for Duran Duran's Notorious album. Her voice and Roland's are amazing here especially when Roland says; "And it's sad love's not enough to make things better, ooh, ooh." While it is true that love does hurt, it can also heal but it just takes time.
Year of the Knife: Possibly recorded live rather than in the studio as it begins with a cheering crowd, this rock song shows more of Roland's powerful voice and includes near the end the lines; "The sun and the moon, the wind and the rain".
Famous Last Words: A beautiful, bittersweet ballad with Roland's lyrics and voice touching your heart as a possible farewell to Curt Smith considering Roland said that they should have called this album with this title and with lines like "hand in hand, we'll do and die listening to the band that made us cry" and "All our love and all our pain will be but a tune."
That's all I can say about these songs. However, the four bonus tracks on this album are also worth hearing although three of the tracks- Always in The Past, Tears Roll Down, and Johnny Panic and the Bible of Dreams- also appear on the complimentary album Saturnine Material & Lunatic. The bonus tracks are worth hearing and the last bonus track is a different version with Roland's voice- I think I can hear his voice in the female chorus- than the other version in Saturnine. So if you are a Tears For Fears fan, then go buy this album with the bonus tracks as it's definitely worth listening.
Here is my opinion of the songs:
Woman In Chains: A powerful ballad with Oleta Adams as female guest vocalist and the amazing Phil Collins as the drummer on the song but not in the music video. Really grabs at your heart and soul and serves as a reminder to women that even if you are in chains (figuratively or literally), there is always hope that you will be freed. I love the way Roland says; "The sun and the moon, the wind and the rain", which also shows up in Year of the Knife and Famous Last Words.
Badman's Song: The longest song in the album with a mixture of instruments and vocals. The piano playing and female vocalist in this song is done by Oleta who also plays the piano in Advice For The Young at Heart. It's actually pretty cool the way Roland counts in the beginning of the song.
Sowing The Seeds of Love: The Beatles-inspired song that is relevant for us to hear for the politicians have to know "how the majority feels" and put "an end to need the politics of greed" if we want the world to be a better place. Roland and Curt have that to a T and their points are just as correct as they were then.
Advice For The Young at Heart: A bittersweet but powerful love song that grabs at your heart and soul. The only song with Curt as the main vocalist (who also served as backup vocalist for Woman In Chains and Sowing the Seeds of Love), his advice is one we must take to heart including the final lines; "We can do anything that we want, anything that we feel like doing" (which should also be applied to children as a reminder that we can do anything if we just work hard for it and believe in it) so we can have few regrets in life.
Standing on The Corner of the Third World: A haunting song with flutes and trumpets that start the song (for some reason, it reminds me of the Braveheart soundtrack due to the haunting instruments, but if you don't think so, that's okay.) and a harmonica at the end, this one is considered my personal favourite. Roland gives out the strongest point; "When we gonna learn? Who we gonna turn to? The promises they make, the call for our attention. Compassion is the fashion." His voice is haunting but powerful and yet, also sweet to make you feel like you want to sleep.
Swords and Knives: A cool song that begins as a jazzy rock song, becomes a hard rock song with Roland's guitar solo, and ends with some sweet piano playing (this time played by Nicky Holland, the other pianist in Songs From The Big Chair and who wrote five of the lyrics in the album). The female vocalist is not Oleta Adams as some people may think but rather Tessa Niles, who was also a backup female vocalist for Duran Duran's Notorious album. Her voice and Roland's are amazing here especially when Roland says; "And it's sad love's not enough to make things better, ooh, ooh." While it is true that love does hurt, it can also heal but it just takes time.
Year of the Knife: Possibly recorded live rather than in the studio as it begins with a cheering crowd, this rock song shows more of Roland's powerful voice and includes near the end the lines; "The sun and the moon, the wind and the rain".
Famous Last Words: A beautiful, bittersweet ballad with Roland's lyrics and voice touching your heart as a possible farewell to Curt Smith considering Roland said that they should have called this album with this title and with lines like "hand in hand, we'll do and die listening to the band that made us cry" and "All our love and all our pain will be but a tune."
That's all I can say about these songs. However, the four bonus tracks on this album are also worth hearing although three of the tracks- Always in The Past, Tears Roll Down, and Johnny Panic and the Bible of Dreams- also appear on the complimentary album Saturnine Material & Lunatic. The bonus tracks are worth hearing and the last bonus track is a different version with Roland's voice- I think I can hear his voice in the female chorus- than the other version in Saturnine. So if you are a Tears For Fears fan, then go buy this album with the bonus tracks as it's definitely worth listening.
Biarritz Man
5つ星のうち5.0
A must listen
2023年9月24日に英国でレビュー済みAmazonで購入
The CD sounds better than the downloaded album on my hi-fi. I’ve never been a Tears for Fears fan, however this is a must listen.
I will be listening to other albums by this group now. Thank you Spotify!
I will be listening to other albums by this group now. Thank you Spotify!
Gwyn Timmer
5つ星のうち5.0
Cheesy, overblown, over-produced, lyrically suspect, and Utterly Magnificent
2012年8月30日に英国でレビュー済みAmazonで購入
OK, so I was just trying to get your attention with that title. This really is a confusing one. Tears For Fears were massively popular when this album was released, as evidenced by them playing Knebworth in 1990 along with various heavyweights of the rock world and Cliff Richard. Being from Stevenage, I would've loved to have seen them then, but I was busy being 7 at the time.
So why, therefore, does no one talk about it nowadays? Many people seem content to yak on about how brilliant and influential bands like Duran Duran and Spandau Ballet were, but they could only dream of writing songs like those on show here. This was one of those oh-no-what-have-I-bought albums when I first listened to it, but those feelings of doubt soon gave way to feelings of content. Content with having discovered, despite its big sound, what can now surely be described as a forgotten gem.
The album kicks off with the slow groove of the Oleta Adams-assisted Woman In Chains, an appeal for men to just, you know, be a bit nicer? It starts off sparse and slow, but gradually builds to a crescendo of good stuff (when those guitar arpeggios come in - oh!).
On to Badman's Song, an over-exuberant number drenched in organs, guitar solos and choral "ooohs" and it's here where dusky Spanish lion Roland Orzabal finally lays to rest some demons from the past (presumably his primary school days, and him finally forgiving the boys from class 628 after overhearing them calling him a "long-haired sissypants").
Everyone has surely heard Sowing The Seeds Of Love at some point, and it's immediately apparent as an unashamed tribute to 'them four from up north' (was the "politician granny" line some kind of obscure reference to Lennon's infamous quote about McCartney's "granny music ****"?). As an aside, if you see this song on the karaoke menu, don't bother (I'm sure there were more people in the pub before I started...?).
Next is Advice For The Young At Heart, and it's here that the album really starts to hit its stride. This is sadly the only track that has Curt Smith on lead vocals, but it's a belter, a light, summery feelgood track that's surely the best of all the songs that were released as singles.
This is sharply contrasted by Standing On The Corner Of The Third World - a brooding, contemplative number that highlights the cruel inequalities in the world, this was also the second track after Badman's Song in which poor old Curt was elbowed out of the way by Welsh Bass Wizard Pino Palladino.
Standing On The Corner and next track Swords And Knives are the two that really define the album for me. A simple piano hook gets things started, but other instruments come in one by one and in the chorus the luscious cherry on top, the mixture of female backing vocal and Roland's lead. Perhaps it's the song's subject matter - war - that makes it so poignant, as it's pretty much the opposite of both the album title and title track?
The cutlery theme continues with Year Of The Knife, and some quick research shows that Orzabal was born in the year of The Ox, so who knows what the song is about.
In the closer Famous Last Words, Roland aptly sets the scene of loved ones sharing their last moments in the face of fiery doom to the tune of When The Saints Go Marching In (have you ever heard the other verses to that song? That's some scary ****!).
The extra tracks are a mixed bag. Tears Roll Down is much better in its later Laid So Low guise. Always In The Past is driven by an infectious bass melody topped with multi-layered male and female vocals and is probably the best of the four. Music For Tables is a slightly jazzy laid back piano-and-sax-driven instrumental that probably would never have fitted in to the main album. Johnny Panic And The Bible Of Dreams has the lyrics from Sowing The Seeds Of Love rapped 80s-style over the backing melody from Shout. Erm, yeah, it hasn't aged well.
In conclusion, I can never really decide which I like best, this or Big Chair, they're both so different. But one thing's for certain: of the three albums they made in the 1980s, this still sounds the freshest. I guess all those years holed up in the studio paid off! If you still don't own this lesser-known rich tapestry of goodness, I suggest you get it now. It's even worth it just for tracks 4, 5 and 6 in my opinion. And gather up all those Wham and Human League albums, pop them in a bin bag and leave them outside your nearest charity shop. Tears For Fears are far more deserving of being remembered as one of the big sounds of the 80s.
So why, therefore, does no one talk about it nowadays? Many people seem content to yak on about how brilliant and influential bands like Duran Duran and Spandau Ballet were, but they could only dream of writing songs like those on show here. This was one of those oh-no-what-have-I-bought albums when I first listened to it, but those feelings of doubt soon gave way to feelings of content. Content with having discovered, despite its big sound, what can now surely be described as a forgotten gem.
The album kicks off with the slow groove of the Oleta Adams-assisted Woman In Chains, an appeal for men to just, you know, be a bit nicer? It starts off sparse and slow, but gradually builds to a crescendo of good stuff (when those guitar arpeggios come in - oh!).
On to Badman's Song, an over-exuberant number drenched in organs, guitar solos and choral "ooohs" and it's here where dusky Spanish lion Roland Orzabal finally lays to rest some demons from the past (presumably his primary school days, and him finally forgiving the boys from class 628 after overhearing them calling him a "long-haired sissypants").
Everyone has surely heard Sowing The Seeds Of Love at some point, and it's immediately apparent as an unashamed tribute to 'them four from up north' (was the "politician granny" line some kind of obscure reference to Lennon's infamous quote about McCartney's "granny music ****"?). As an aside, if you see this song on the karaoke menu, don't bother (I'm sure there were more people in the pub before I started...?).
Next is Advice For The Young At Heart, and it's here that the album really starts to hit its stride. This is sadly the only track that has Curt Smith on lead vocals, but it's a belter, a light, summery feelgood track that's surely the best of all the songs that were released as singles.
This is sharply contrasted by Standing On The Corner Of The Third World - a brooding, contemplative number that highlights the cruel inequalities in the world, this was also the second track after Badman's Song in which poor old Curt was elbowed out of the way by Welsh Bass Wizard Pino Palladino.
Standing On The Corner and next track Swords And Knives are the two that really define the album for me. A simple piano hook gets things started, but other instruments come in one by one and in the chorus the luscious cherry on top, the mixture of female backing vocal and Roland's lead. Perhaps it's the song's subject matter - war - that makes it so poignant, as it's pretty much the opposite of both the album title and title track?
The cutlery theme continues with Year Of The Knife, and some quick research shows that Orzabal was born in the year of The Ox, so who knows what the song is about.
In the closer Famous Last Words, Roland aptly sets the scene of loved ones sharing their last moments in the face of fiery doom to the tune of When The Saints Go Marching In (have you ever heard the other verses to that song? That's some scary ****!).
The extra tracks are a mixed bag. Tears Roll Down is much better in its later Laid So Low guise. Always In The Past is driven by an infectious bass melody topped with multi-layered male and female vocals and is probably the best of the four. Music For Tables is a slightly jazzy laid back piano-and-sax-driven instrumental that probably would never have fitted in to the main album. Johnny Panic And The Bible Of Dreams has the lyrics from Sowing The Seeds Of Love rapped 80s-style over the backing melody from Shout. Erm, yeah, it hasn't aged well.
In conclusion, I can never really decide which I like best, this or Big Chair, they're both so different. But one thing's for certain: of the three albums they made in the 1980s, this still sounds the freshest. I guess all those years holed up in the studio paid off! If you still don't own this lesser-known rich tapestry of goodness, I suggest you get it now. It's even worth it just for tracks 4, 5 and 6 in my opinion. And gather up all those Wham and Human League albums, pop them in a bin bag and leave them outside your nearest charity shop. Tears For Fears are far more deserving of being remembered as one of the big sounds of the 80s.
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