| | Tears For Fears Elemental CD Tears For Fears Discography of CDs
(6 Customer Reviews)
Personnel includes: Roland Orzabal, Tim Palmer, Alan Griffiths (various instruments); Guy Pratt (guitar); Mark O'Donoughue (Wurlitzer piano); John Baker (background vocals). Producers: Tim Palmer, Alan Griffiths, Roland Orzabal. Recorded at Neptune's Kitchen (Roland Orzabal's home studio) in Bath, England. All songs written or co-written by Roland Orzabal and Alan Griffiths. On Elemental, Tears for Fears is Roland Orzabal, and he backs away from the cinematic production of The Seeds of Love, preferring a more direct and soulful style of pop music that appeals to both adult contemporary and adult alternative radio audiences. While some of the material is a little weak, the record is easily as good as its immediate predecessor. ~ Stephen Thomas ErlewineRolling Stone (9/2/93, p.66) - 3 1/2 Stars - Very Good - "...the lush sound of Tears For Fears continues to improve....ELEMENTAL flashes the same sort of sheen, wordplay and sound wash that flourished in the '80s and still fights for its place on modern rock charts...[a] splendid concoction..." Entertainment Weekly (6/25/93, p.105) - "...the sampled guitar bursts and nifty studio tracks, like Squeeze mimicking the Beatles, keep you obediently humming while Orzabal plays teen-neuroses word games..." - Rating: B Tears For Fears Elemental Songs Elemental Music Review Average Rating: (4.5 out of 5 stars)    List All Reviews Elemental is Tears For Fears's second best album Elemental, Rolad Orzabal's first of two albums under the name Tears For Fears, is a great record. Elemental, Break It Down Again, Fish Out Of Water, and Brian Wilson Said, are great songs. The onlt album better than this is Songs From The Big Chair. Highly Recommended for Tears For Fears fans. Submitted by Genesis19691992 (New York)  Was This Review Helpful? Yes No
TEARS FOR FEARS ELEMENTAL IS AWESOME Tears For Fears has always been a very creative and inspirational band, with their dynamic poetic lyrics and foot stamping beats. But this is by far their best work yet. Submitted by a reviewer (Billings, MT. USA)  Was This Review Helpful? Yes No
I Do Miss Smith Though!!! This is an exceptionally great CD. Smith is missing on the CD, but Elemental is showing the fans that Tears For Fears is a talented group of musicans, with or without Smith. Purchase it for your collection. Submitted by jejr9 (Irvine) Was This Review Helpful? Yes No
Orzabal proves he needs not Smith to create great art Sometimes when a member of a band leaves, the band itself essentially disintegrates, and/or continues on but becomes just a shadow of its former self. This is not the case with Tears For Fears, as Roland Orzabal (along with Alan Griffiths) embarks on a foray away from the soul influences of "The Seeds of Love" into the realm of pseudo-prog-rock. Let's just say such experimentation fails to disappoint, for "Elemental" just proves again that Orzabal is nothing short of a musical genius. "Elemental," itself, begins with the sound-effects-laden title track, which is one of the catchier numbers on the album. The next song "Cold" is less experimental and more of just a straight up rock song. It showcases Orzabal's talent as a lyricist, as he plays with words and phrases (e.g., "...to rely on hook, line and sinker, what a sinker, sinking like a stone."). Very few poets can make cliches work, but Orzabal is one of them. The next song is definitely one of Tears for Fears' best songs. "Break It Down Again" is a pleasurable mix of experimental sounds and straight up rock, even though it's different from vintage "Songs From the Big Chair" Tears For Fears. Track 4, "Mr. Pessimist," is one of the few songs on "Elemental" I don't like; it's too mellow and lacking of hooks. "Dog's a Best Friend's Dog," though, is probably one of the hardest rock songs Orzabal has ever concocted, but it doesn't seem too forced, so it's a nice little change. "Fish Out of Water" is a great soft-rock song; it sounds vaguely reminiscent of "Fly Like an Eagle," by The Steve Miller's Band. In this song, Orzabal expresses his anger at former bandmate Curt Smith; Orzabal says with spite that Smith will become "food for killer whales." You can only guess what he's using the metaphor for but you know that at the time, he harbored a lot of enmity towards Smith. The next song, "Gas Giants," is an instrumental. Unfortunately, it's not nearly as captivating as "Listen" was, so it's kind of a throwaway track. "Power," "Brian Wilson Said," and "Goodnight Song" conclude the album and all three are pretty good songs, the last of the three being the best. Anyway, "Elemental" is a great album, but it still doesn't compare to "Songs From the Big Chair." The sheer poppiness of "Songs From the Big Chair" made it go platinum, and rightfully so. Of course, "Elemental" goes for the more experimental angle, and that's fine, but there are just a few mediocre songs which make "Elemental" from being a top-notch album. Still, any fans of the prog-rock genre will definitely appreciate Orzabal's eclectic usage of sounds, and I must confess that it was this album that truly introduced me to Tears For Fears. After listening to my copy of this album, I've since purchased every other Tears For Fears album (including "Tomcats Screaming Outside") except "The Hurting." So in conclusion, "Elemental" shows that Orzabal can do well without Smith, but could've probably put a little bit more work into "Elemental" to make it stupendous, and not just very good. Submitted by nhoffhva (Bloomington, Indiana) Was This Review Helpful? Yes No
elemental- anything but! good, solid outing,from ROLAND O. here.
great voice, good songs,just a enjoyable work.had a copy early, then
it got gone. will get another! Submitted by tony (lake wylie,s.c.) Was This Review Helpful? Yes No
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Purchase Elemental CD To buy, Click on price to add to cart | Culture Club From Luxury To Heartache CD (1986) Import
Elemental
$10.49 FROM LUXURY TO HEARTACHE is a 13-track release by U.K. pop quartet Culture Club, featuring "Move Away," "I Pray," and "Gusto Blusto." For their fourth album, From Luxury to Heartache, Culture Club jettisoned producer Steve Levine in favor of pop/R&B veteran Arif Mardin, seeking to reverse the commercial decline they had suffered with their third album. When the danceable leadoff track, "Move Away," rose into the singles chart, that seemed like a good decision, and the rest of the album followed through with a pronounced drum sound and a relentless ...
| | Tears For Fears Songs From The Big Chair CD (1985) Bonus Tracks; Remastered
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| | Tears For Fears Hurting (1st LP) CD (1983) Bonus Tracks; Remastered
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| | Tears For Fears Everybody Loves A Happy Ending CD (2004)
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$12.59 Tears for Fears: Curt Smith, Roland Orzabal. More than a decade has passed since Roland Orzabal and Curt Smith parted ways with their soulful and ambitious swansong, Seeds of Love. Orzabal released two records under the Tears for Fears moniker in the mid-'90s, but the band's signature blend of hook-filled anthems and art pop excess seemed destined to reside eternally in the post-new wave graveyard of the '80s. Then came the film Donnie Darko, a left-field cult hit that featured California singer/songwriter Gary Jules' chart-topping (in the U.K. anyway) rendition of the band's 1983 hit, "Mad World." The renewed interest in the ...
| | David Holmes Let's Get Killed CD (1997)
Elemental
$10.59 Import pressing of his sophomore album which is out-of-print in the US. Irish DJ David Holmes' (composer of the hit soundtracks, Ocean's 11, Ocean's 12 and Out of Sight) second album, Let's Get Killed, provides the perfect link between his first and third albums, This Film's Crap, Let's Slash the Seats and Essential 98/01. For this album, Holmes and a friend wandered the streets of New York, collecting voices and noises; Holmes then assembled them into an imaginary soundtrack with the structures of modern dance music and the sonic qualities of rock and dub reggae. Universal. 2005.
Personnel includes: David Holmes; Rodney Yates, Deflon Sallahr (vocals); Keith Tenniswood (guitar, vibraphone); Paul Noble (guitar, bass); Gem (guitar); The London Session orchestra (strings, brass); Daphne Tragaki, Steve Corley (keyboards). Producers: David Holmes, Richie Fermie, Tim Goldsworthy. Engineers include: Keith Tenniswood, Gary Burns, John Brough. Audio Remixers: Richie Fermie; Tim Goldsworthy. On David Holmes' second album, the first to be released in America, he explores with even greater depth his fascination with original soundtrack material. Recording snippets of conversation on the streets of New York with his DAT recorder, Holmes returned to England and weaved the vocal samples around his amorphous embrace of several electronic styles, ...
| | Dave Matthews Band Everyday CD (2001)
Elemental
$12.79 Dave Matthews Band: Dave Matthews (vocals, acoustic & electric guitars, baritone guitar); Leroi Moore (flute, contra bass clarinet, alto & tenor saxophone, background vocals); Boyd Tinsley (violin, background vocals); Stefan Lessard (electric bass); Carter Beauford (vibraphone, drums, bongos, congas, background vocals). Additional personnel: Vusi Mahlasela (vocals); Carlos Santana (electric guitar); Glen Ballard (keyboards, programming). Recorded at Conway Studios, Hollywood, California. "The Space Between" was nominated for the 2002 Grammy Award for Best Rock Performance By A Duo Or Group With Vocal. Personnel: Dave Matthews (vocals, acoustic guitar, electric guitar, baritone guitar); Boyd Tinsley (violin, background vocals); LeRoi Moore (flute, contrabass clarinet, alto saxophone, tenor saxophone, background vocals); Carter Beauford (vibraphone, drums, congas, bongos, background vocals); Stefan Lessard (electric bass). Recording information: Conway Studios, Hollywood, CA. The fourth proper studio album by the Dave Matthews Band had a rough birth, as the group jettisoned a set of sessions recorded with their longtime producer Steve Lillywhite, starting afresh with Glen Ballard, the mastermind behind Alanis Morissette's Jagged Little Pill. Ballard has a tremendous influence on the resulting record, collaborating with Matthews on every track and changing the direction of their sound. To a certain extent, the change is welcome, since Before These Crowded Streets suggested that the group was running out of steam, but the sudden shift toward measured maturation and slickness is jarring all the same, since it emphasizes Matthews' melodies and leadership over the group interplay that is the group's calling card. It's not that the music is now simplistic, since there are still some tricky rhythms and shifts in tone, but the group doesn't have much room to stretch in Ballard's precise arrangements. In a sense, they sort of benefit from this increased focus, since the group's instrumental ...
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