Tears For Fears Songs From The Big Chair MFSL Gold CD Neu OVP Sealed UDCD 730 Ultradics II mit J-Card

Erscheinungsdatum:  7. September 1998
Label: Mobile Fidelity Sound Lab
Import aus: USA
Format: Audio CD

     Tracks


1. Shout (6:35)
2. The Working Hour (6:33)
3. Everybody Wants To Rule The World (4:12)
4. Mothers Talk (5:08)
5. I Believe (4:56)
6. Broken (2:38)
7. Head Over Heels / Broken (Live) (5:23)
8. Listen (6:54)
9. Shout (Extended Mix) (8:17)
10. Everybody Wants To Rule Te World (Extended Mix) (5:41) BONUS TRACK
Produktbeschreibungen


Audio
Roland Orzabal und Curt Smith schrieben einige der schönsten Pop-Hymnen der 80er Jahre: das powergeladene "Shout" zum Beispiel oder das pulsierende "Everybody Wants to Rule The World" - beide vereint auf dieser 85er Scheibe des britischen Duos. Das Nummereins-Album lockt noch mit weiteren sechs vollmundig arrangierten Romantic-Pop-Songs zum Abheben. Und die edle Gold-CD-Variante von MFSL glänzt nicht nur mit astrein aufgefrischtem Klang - sie hat auch "Extended Mixes" der zwei Hits zu bieten.
© Audio

Stereoplay
Nur eine weitere New-Romantic-Band? Irrtum: Spätestens die "Songs From The Big Chair" präsentierten Tears For Fears als die mit finessenreichsten Melodienschmiede der 80er Jahre. Völlig zu Recht kommt dieser Wavepop- Klassiker jetzt zu güldenen Remaster-Ehren. Das Duell gegen die (zum Midprice erhältiche) deutsche Normal-CD gewinnt der sehr präzise Goldtaler denn auch klar; weit knapper endet das Duell gegen die muskulöse Japan-Version (PHCR-3158, 41:52). Zwei Trümpfe aber stechen für MFSL: die Maxi-Versionen von "Shout" und "Everybody Wants To Rule The World".

© Stereoplay

Review by Stanton Swihart
If The Hurting was mental anguish, Songs From the Big Chair marks the progression towards emotional healing, a particularly bold sort of catharsis culled from Roland Orzabal and Curt Smith's shared attraction to primal scream therapy. The album also heralded a dramatic maturation in the band's music, away from the synth-pop brand with which it was (unjustly) seared following the debut, and towards a complex, enveloping pop sophistication. The songwriting of Orzabal, Smith, and keyboardist Ian Stanley took a huge leap forward, drawing on reserves of palpable emotion and lovely, protracted melodies that draw just as much on soul and R&B music as they do on immediate pop hooks. The album could almost be called pseudo-conceptual, as each song holds its place and each is integral to the overall tapestry, a single-minded resolve that is easy to overlook when an album is as commercially successful as Songs From the Big Chair. And commercially successful it was, containing no less than three huge commercial radio hits, including the dramatic and insistent march, "Shout" and the shimmering, cascading "Head Over Heels," which, tellingly, is actually part of a song suite on the album. Orzabal and Smith's penchant for theorizing with steely-eyed austerity was mistaken for harsh bombasticism in some quarters, but separated from its era, the album only seems earnestly passionate and immediate, and each song has the same driven intent and the same glistening remoteness. It is not only a commercial triumph, it is an artistic tour de force. And in the loping, percolating "Everybody Wants to Rule the World," Tears for Fears perfectly captured the zeitgeist of the mid-'80s while impossibly managing to also create a dreamy, timeless pop classic. Songs From the Big Chair is one of the finest statements of the decade.