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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Sep 07, 2017 6:23 pm 
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Some forty years into one of music’s most impactful, sometimes tense and yet curiously enduring partnerships, Tears For Fears have finally arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades.

And now, at very long last, Tears For Fears find themselves back in peak form at The Tipping Point, an inspired song cycle that speaks powerfully and artfully to our present tense here in 2021. This is an album that vividly recalls the depth and emotional force of the group’s earliest triumphs. Imagine a far more outward-looking take on TFF’s famously introspective 1983 debut album The Hurting set in an even more mad world, or 1985’s Songs From The Big Chair bravely confronting even bigger issues in our increasingly unruly world. Or even 1989’s The Seeds Of Love that sows a mix of love and other emotions.

The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again.

Tracklist
1. No Small Thing
2. The Tipping Point
3. Long, Long, Long Time
4. Break The Man
5. My Demons
6. Rivers Of Mercy
7. Please Be Happy
8. Master Plan
9. End Of Night
10. Stay

Standard Edition
https://www.amazon.com/dp/B09HN8K23M/?tag=imwan-20

Deluxe Edition
Available for pre-order soon:
https://www.amazon.com/dp/B09HN59RCM/?tag=imwan-20

Autographed Edition (Amazon UK Exclusive)
Available for pre-order soon:
https://www.amazon.co.uk/dp/B09HVS5ZD2/?tag=imwan-21

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Sep 07, 2017 6:28 pm 
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http://www.westword.com/music/roland-or ... rt-9002721

Quote:
Tears for Fears is not a nostalgia act, despite evidence to the contrary. The seasoned British band has been touring in recent years without a new studio album, instead performing its throng of hits and deep cuts. Appreciative fans have been singing along to classic music-video-fueled tunes like “Shout,” “Everybody Wants to Rule the World,” “Head Over Heels” and “Sowing the Seeds of Love.” Attending one of these concerts is like going back to a time when vintage synths, shimmery guitars and anthemic songs seized MTV airtime and FM airwaves.

While folks have been singing along, recounting their youth, the nuclei of the band, Roland Orzabal (vocals, guitar, keyboards) and Curt Smith (vocals, bass, keyboards), weren’t content dusting off old material. This year, Warner Bros. Records will release the band’s seventh full-length studio album; the fifth for Smith who departed and later returned. Tentatively titled The Tipping Point, the record showcases a return that’s been a long time coming. The pair’s last full-length studio outing was thirteen years ago: the sadly overlooked Everybody Loves a Happy Ending. The melodies, musicianship and production on the disc are something to behold. (If people walk away from a listen without “Call Me Mellow” seeping through their lips, then pop hooks have ceased to have power.)

Tears for Fears hope The Tipping Point will live up to its name and resurrect the band's success as a popular recording act.

The musicians have already had a successful return as a live act, largely attributable to their musical aptitude and Orzabal’s unmistakable voice. Like the alligator dropping into a swimming pool in the band’s 1983 video for the song “Pale Shelter,” Tears for Fears isn’t easy to forget, and maybe that’s the secret to the group's longevity.

We caught up with Tears for Fears’ Roland Orzabal preceding the band’s upcoming Denver-area co-headlining show with Daryl Hall & John Oates.


Westword: You’ve been doing Tears for Fears for 36 years. What has been the highlight for you?

Roland Orzabal: That is a tricky one. I think probably when we recorded “Woman in Chains,” and working with Oleta Adams and the whole band during the Seeds of Love era when we were playing live, was fantastic. They were incredible. I also have really fond memories of recording Raoul and the Kings of Spain in L.A. with the band I was touring with at the time. We’d written so much of that on the road that it was so simple and so fantastic to actually play everything live.

In the years that you’ve done Tears for Fears, is there anything that you would have done differently?

From a commercial standpoint, I think that we spent probably too long making albums, and we probably spent too long between albums. I think that hurt us quite a bit, because times change in music.

You’ve had a partnership with Curt [Smith] on and off for a long time. What do you like best about working with him?

Well, he’s very rational. I tend to get quite close to the songs because I’ve always been the main songwriter. He sort of stays more on the periphery. Especially during Everybody Loves a Happy Ending, he was more like an A&R man in the studio with us, so he would, in a sense, let us know what he thought about the material and almost police it. Also, when we first began, I needed his voice because there were certain songs – the way I was writing them, the way my voice was then – he sounded much better on certain songs. He also was a lot more confident than me at that age, so I relied on him a lot. Obviously things changed as I grew older and I grew into myself and became more and more confident, and my voice changed and my writing changed.

I’ve always loved the guitar solos in “Everybody Wants to Rule the World” and “Shout.” They seem to come in at perfect moments, and there’s not a flurry of notes; there’s a ton of feeling. What was it like for you recording those parts?


They’re different, because for the guitar solo on “Shout,” I made a suggestion to the producer. I said, “What it needs is a guitar solo now,” and he kind of laughed because we’d never done things like that before on The Hurting. So I started playing him something, which is pretty much the melody as it is now, and he was cracking up with laughter. He said something like, “Can we really do this?” I said, “Absolutely.” He then helped me design that [solo]. As far as “Everybody,” the first solo was a rhythm solo, which I did. It was really constructed virtually bar by bar, and we had to drop in so many things because we were making it up as we went along. But the guitar solo at the end of “Everybody Wants to Rule the World” is by Neil Taylor, and that was just two takes cut together, and he’s quite incredible.


Since you’ve been doing this for so long and I’m sure it’s trying on your voice, how do you keep your voice in shape?


My voice has changed dramatically over the years. When we play live now, we use in-ear monitors, and the trick, as far as I’m concerned, is not to have too much in your ears — enough things to pitch by — and to make sure that your in-ears aren’t too loud, because you could end up giving yourself a false impression of how fantastic you can sound, especially if you put reverb on it. So I try and keep it down. I do a lot of vocal warmups, which are the same warmups I did when I was a kid, because I had a few classical singing lessons and stuff like that, so I know pretty much how I’m gonna be once I get on stage.

Do you ever get annoyed when you hear a Tears for Fears song on the radio?

When I hear a Tears for Fears song on the radio, do I ever get annoyed? Only because they’re the same ones [laughs]. There’s only so many times you can listen to “Head Over Heels” in the supermarket, but I can’t complain. I don’t want them to stop suddenly [laughs]. I’m drawn to the new versions by young artists and stuff like that. Every time someone does something strange with a song, I’m always pleasantly surprised and amazed.

Can you think of one song that you did that you thought should have been a radio song, but it didn’t happen?

Going back to The Seeds of Love album, that record was kind of not fully supported in America, and I think once “Sowing the Seeds of Love” — the single – only got to number two, even though it was outselling Janet Jackson, it wasn’t being played as much on the radio, so we got to number two, not one. I think once that had happened, there wasn’t a vast push from the record label to get another song on the radio to keep the album afloat. I think it’s a shame that “Woman in Chains” wasn’t a hit at the time, although it’s become one of people’s favorite songs. So not so bad after all.

When Everybody Loves a Happy Ending came out, I was blown away by how great that record sounded. You had “Call Me Mellow” on there, which was a brilliant pop tune. What were your feelings when that record didn’t seem to take off like some of your past albums?

Well, again, it proved a point that we would go on American TV; we would play a single from Everybody Loves a Happy Ending. Then we would look at the record sales, and there would be a peak in record sales, but basically everybody was going, “Yes, Tears for Fears. Love Tears for Fears.” They’d go into a record shop and buy the greatest hits. You then realize that a new album generally promotes older material, unless, of course, like we hope on the new album, there is something that will break through, because we’ve got some real up-tempo, fantastic songs.

Do you have a title for the new record yet?

The title at the moment – this could all change, and you’re the first person to know it – is The Tipping Point.

What was it like recording the album?

It was very strange. It was very strange indeed, because we never recorded a record like this. We were always treated as if we were a new act, and we were sort of pushed around between all these hit songwriters, so like one guy, one day, he’d have Britney Spears in his studio, and then the next day, it’d be us. So all of that was very strange, and it didn’t really click until we started working finally enough in London with a guy called Sacha Skarbek and his engineer Flo. Then all of a sudden it just exploded.

Do you have any songs that stand out for you right now?

Yeah, absolutely. There’s a song called “My Demons." There’s a song called “I Love You but I’m Lost,” “End of Night.” These are all very strong singles. “Up Above the World” has just got a great, fantastic beat.

Would you compare it stylistically to anything you’ve done in the past?

I was playing it for someone the other day, pretty much everything, and their comment was this was the most “clubby” record we’ve ever made, meaning able to be played in clubs. That’s interesting, because it’s not an indulgent record in any way. We really concentrated on bringing out the best melodies in a classic pop way, but with a lot of modern electronics.

You are also an author and wrote the novel Sex, Drugs & Opera: There’s Life After Rock ’n’ Roll.


I spent seven years before that actually trying to write something incredibly serious and long and multi-charactered and historical, but I got into a real mess with it. While that was doing the rounds with publishers – not very successfully – I decided that the next book I was going to have a go at was going to be single-person and in the present tense, and that’s what I did, so about 21 pages of Sex, Drugs & Opera are true. I was asked to go on a show in England, which takes pop stars and makes them sing opera. It’s a reality-TV show. You go up against other pop stars, and then you get voted on-off by the public who are watching the show. I’ve had a little bit of flirtation with opera as well, so I went along for the audition. But in a sense, the fiction took over from the fact, and I started writing about this pop star who actually went through the whole process.

Do you have plans to write another book?

I have written another book, and I’m not going to tell you what it is [laughs].

Is it another novel or is it nonfiction?

It’s a novel, but it’s nothing. It’s not comic; no comedy. Sex, Drugs & Opera is very funny. This one is not funny [laughs].

Having seen the band live, I've seen how you obviously enjoy performing. Would you still want to do Tears for Fears if you were just a studio band?


I don’t know. Maybe. Most of the time we are a studio band, unfortunately. We don’t go out that often. It seems to be a seasonal thing; it tends to be around the summer. Everyone in England keeps moaning, “Why are you not playing here?” We’ve rectified that; we’re playing there in July. I think, live, what’s great is that you get to play all your best songs back to back, and it can be a very powerful thing.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Sep 07, 2017 7:53 pm 
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The Last Hippie

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i'm in.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Sat Sep 16, 2017 6:59 pm 
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In as well but some of his comments on the new material are concerning. Still, they haven't made a bad album together, granted that they've only done 4.


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Mon Sep 18, 2017 12:24 am 
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Good Stuff, Maynard!

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As I was listening to Tame Impala for the first time last week, my thought was that if Rick Wakeman, after having quit Yes for the second time after Tormato came out, hooked up with Roland and Curt and convinced them to form a band with him, rather than the other guys in Graduate, and they asked Brian Wilson to produce The Hurting, that's what Tame Impala's new album would sound like.

I don't blame them for trying to capitalize on the trend of bands showing '80s influence, and try to make something relevant to a younger audience who might appreciate what they have to offer, rather than retread what they've done before for their existing fan base. I mean, take a look at Duran Duran's last album. That was more successful on the charts than anything they've done in ages. At first, I was like, couldn't they have done another like All You Need Is Now? but Paper Gods really grew on me, and Pressure Off stands with their very best singles, even those from Rio.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Mon Sep 18, 2017 12:31 am 
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I'm hoping this all inspires them to tour more as they are a fun live band.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 2:25 pm 
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Good Stuff, Maynard!

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"I Love You But I'm Lost"


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 2:49 pm 
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Good Stuff, Maynard!

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Hank wrote:
"I Love You But I'm Lost"



Oh, wait, this was a new track on their new comp that came out before Christmas. Still, a good indication of the sound they're going for.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 6:51 pm 
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I really liked that new song though its a little more reminiscent of the Pet Shop Boys. What I really want is them to do another US tour that includes NY.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 8:08 pm 
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The Last Hippie

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JohnG wrote:
I really liked that new song though its a little more reminiscent of the Pet Shop Boys. What I really want is them to do another US tour that includes NY.

i don't think neil young will let them headline though....... :evil:

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 8:26 pm 
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Renny wrote:
JohnG wrote:
I really liked that new song though its a little more reminiscent of the Pet Shop Boys. What I really want is them to do another US tour that includes NY.

i don't think neil young will let them headline though....... :evil:

And then they'd have to skip Cleveland! :lol:


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Jan 17, 2018 9:49 pm 
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The Last Hippie

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Tricky Kid wrote:
Renny wrote:
JohnG wrote:
I really liked that new song though its a little more reminiscent of the Pet Shop Boys. What I really want is them to do another US tour that includes NY.

i don't think neil young will let them headline though....... :evil:

And then they'd have to skip Cleveland! :lol:

:sigh:

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Jan 18, 2018 1:53 pm 
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any chance the new full-length will include BOTH new tracks from the just-released "hits" compilation and/or the 3 unique tracks from the Record Store Day EP?


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Sat Feb 29, 2020 2:01 pm 
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The title track is supposed to be out as a single in April, so I've updated our thread to show a tentative 2020 release date for the album.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Sat Feb 29, 2020 4:36 pm 
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Is Leap Day like April Fool’s Day now?


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Oct 06, 2021 1:06 pm 
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Good Stuff, Maynard!

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Curt Smith is hinting on Twitter that the title track will be released as a single tomorrow. No update on the full album, but it sounds like Roland took a couple of years off when his wife died in 2017. He tried to get back to work immediately (which explains the AWFUL TfF show I saw that fall), but then had something of a breakdown.

https://www.pressreader.com/uk/daily-ex ... 7948058526

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Wed Oct 06, 2021 8:40 pm 
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I've added cover art and pre-order links to Hank's opening post.


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Oct 07, 2021 3:03 am 
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"The Tipping Point"



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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Oct 07, 2021 8:55 am 
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Tricky Kid wrote:
"The Tipping Point"




Not bad at all, enough so that I'm looking forward to what else might be coming. I really enjoyed "Everybody Loves A Happy Ending", so even though it's been something like 17 years or so since that, I'm hoping that this will be good.

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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Oct 07, 2021 10:54 am 
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Update: The description and tracklist have been added to the opening post.


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Oct 07, 2021 11:12 am 
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FYI, there is an exclusive version out there with 3 bonus tracks. Forum rules forbid linking to it (and maybe discussing it?) but if you are a TFF collector, you should keep that in mind. I ordered mine today.


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 Post subject: [2022-02-25] Tears For Fears "The Tipping Point" including Amazon exclusive edition (Mercury)
PostPosted: Thu Oct 07, 2021 1:08 pm 
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Good Stuff, Maynard!

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This is interesting - it sounds much more like the Curt-less albums Elemental and Raoul & The Kings Of Spain, than it does their last album, Everybody Loves A Happy Ending. I think with that album, it was an attempt to celebrate the reunion, but this was never a band that celebrated anything, They sang about anxiety and pain and regret, and coping with and surviving those things. As much as I hate to see anybody have to go through what Roland's gone through, it's made for a return to an artform that these two guys have shown that they're better at than anybody over the last four decades.

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