[SACD-R][OF] Tears For Fears - Songs From The Big Chair - 1985/2014 (Synthpop, New Wave)

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<var class="postImg postImgAligned img-right" title="http://s020.radikal.ru/i704/1408/4c/1e14087f600f.jpg">&#10;</var><span style="font-size: 24px; line-height: normal;">Tears For Fears - Songs From The Big Chair (2014 SHM-SACD)</span><span class="post-br"><br></span><span class="post-b">Жанр</span>: Synthpop, New Wave<br>
<span class="post-b">Годы записи материала:</span> 1985<br>
<span class="post-b">Год выпуска диска:</span> 2014<br>
<span class="post-b">Производитель диска:</span> Mercury UIGY-9559<br>
<span class="post-b">Аудио кодек:</span> DSD 2.0<br>
<span class="post-b">Тип рипа:</span> image (ISO)<br>
<span class="post-b">Битрейт аудио:</span> 5645 kbps<br>
<span class="post-b">Частота дискретизации:</span> 2,8224 MHz<br>
<span class="post-b">Продолжительность:</span> 41:52<br>
<span class="post-b">Наличие сканов в содержимом раздачи:</span> да<br>
<span class="post-b">Источник (релизер):</span> <var class="postImg" title="http://s47.radikal.ru/i115/1408/4c/321efc6ef2cb.png">&#10;</var><br>
<span class="post-b">Образ снят с помощью:</span> Sony PlayStation 3 и утилиты sacd-ripper v0.21<span class="post-br"><br></span><span class="post-b">Дополнительно:</span><br>
<a href="http://www.cdjapan.co.jp/product/UIGY-9559" class="postLink">http://www.cdjapan.co.jp/product/UIGY-9559</a><span class="post-br"><br></span><span class="post-b">Треклист:</span><br>
1. Shout 06:34<br>
2. The Working Hour 06:32<br>
3. Everybody Wants To Rule The World 04:11<br>
4. Mothers Talk 05:09<br>
5. I Believe 04:55<br>
6. Broken 02:38<br>
7. Head Over Heels / Broken (Live) 05:02<br>
8. Listen 06:53<span class="post-br"><br></span><span class="post-i">Songs from the Big Chair</span> is the second album by the British rock band Tears for Fears. It was released in 1985 on Phonogram Records, and remains their highest selling album to date. The album peaked at #2 in the UK (where it remained in the Top 10 for over six months and in the Top 40 for over a year) and reached #1 (for five weeks) in the US. It contained a string of international hit singles, including: “Mothers Talk”, “Shout”, “Everybody Wants to Rule the World” and “Head over Heels”.

<span>All Music Review</span>
<var class="postImg" title="http://s019.radikal.ru/i613/1206/4d/ef4f400564f7.png">&#10;</var><var class="postImg" title="http://s019.radikal.ru/i613/1206/4d/ef4f400564f7.png">&#10;</var><var class="postImg" title="http://s019.radikal.ru/i613/1206/4d/ef4f400564f7.png">&#10;</var><var class="postImg" title="http://s019.radikal.ru/i613/1206/4d/ef4f400564f7.png">&#10;</var><var class="postImg" title="http://s019.radikal.ru/i633/1206/37/108ab181ec50.png">&#10;</var><span class="post-br"><br></span>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&amp;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.
                                                                                       

                       
                       

                       
                       
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