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Here Come the Tears Import


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Product Details

  • Audio CD (June 6 2005)
  • Number of Discs: 1
  • Format: Import
  • Label: Independiente / Sbme
  • ASIN: B0007ZATIQ
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)

1. Refugees
2. Autograph
3. Co-star
4. Imperfection
5. The Ghost Of You
6. Two Creatures
7. Lovers
8. Fallen Idol
9. Brave New Century
10. Beautiful Pain
11. The Asylum
12. Apollo 13
13. A Love As Strong As Death

Product Description

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Format: Audio CD
The title of the review says it all. This is a soaring record of passion, pain and beauty. Musically it is not as grandoise or ballsy an outing as the previous Bernard Butler/Brett Anderson tracks. Butler does no real show-off bits this time up, no real riff that flies at you with full force and imbides itself into your brain; but then again he does not have to here. Instead he places gentle yet melodic riffs at you, matching pace with the most sincere and true lyrics Brett Anderson has written in years. The tunes are neither dark nor beaming but they are powerful and the lyrics follow suit. It seems like the relationship has not quite been fully patched up, but through the music everything seems to work itself out and the beautiful collaboration shines on through here with one of the most lovely records released in 2005. Best listened to after break-ups, during periods of lonliness or in times of deep contemplation under solitary and nighttime conditions. Pick this one up when it comes out, your mind will thankyou.
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Format: Audio CD
The title of the review says it all. This is a soaring record of passion, pain and beauty. Musically it is not as grandoise or ballsy an outing as the previous Bernard Butler/Brett Anderson tracks. Butler does no real show-off bits this time up, no real riff that flies at you with full force and imbides itself into your brain; but then again he does not have to here. Instead he places gentle yet melodic riffs at you, matching pace with the most sincere and true lyrics Brett Anderson has written in years. The tunes are neither dark nor beaming but they are powerful and the lyrics follow suit. It seems like the relationship has not quite been fully patched up, but through the music everything seems to work itself out and the beautiful collaboration shines on through here with one of the most lovely records released in 2005. Best listened to after break-ups, during periods of lonliness or in times of deep contemplation under solitary and nighttime conditions. Pick this one up when it comes out, your mind will thankyou.
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By ,beckers on Sept. 25 2005
Format: Audio CD
i finally received my copy today (after a two month wait and a 30 dollar price tag) and for the past 7 hours i've been playing it non-stop. it's beautiful, flawless production, brett and bernard are tops. soaring, pained, passionfilled, catchy and so many other things that are wonderful.
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Amazon.com: 35 reviews
5 of 5 people found the following review helpful
Very enjoyable, too bad they didn't get off the ground. July 8 2008
By Angry Mofo - Published on Amazon.com
Format: Audio CD
For years since guitarist Bernard Butler left Suede in 1994, fans conjectured about his possible reunion with vocalist Brett Anderson. When it finally happened, in 2005, it was too late for most people to care. The resulting album, Here Come The Tears, didn't sell well (and, reportedly, was poorly promoted), and The Tears were dropped by their record label soon after. But that's not an indication of quality -- this is one of the few reunions that actually adds to the old work, and sometimes even improves on it.

Butler produces consistently great results. That might be a little surprising, since he pretty much dropped off the map after 1994, while Anderson remained famous. But the evidence is clear: if anything, Bernard's abilities have increased. In Suede, he rarely wrote "riffs" as such, he used guitars and keyboards mostly to create moody "soundscapes" for Anderson to sing over. But here, instead of piling on guitar tracks until you can't understand what he's actually playing, he writes distinct, concise guitar hooks. That rising chord progression right before each verse of "Refugees" might be the most elegant guitar line he's ever written. And he's got others that are just as good: the simple but catchy riff in "Autograph," the chugging build-up in "Co-Star" and "Beautiful Pain," the swooning anthemic chords in the outro of "Fallen Idol," and the superb dark grind of "Brave New Century." All of these songs stand up to anything on Suede's first album.

Anderson, at least, sounds more inspired here than on latter-day Suede albums. His lyrics use fewer of the worn Suede tropes. And now he attempts to do some honest reflection, which is quite affecting when he's singing about what he knows: the empty feeling left after one has passed the peak of one's fame. "Fallen Idol" conveys this very well. So does "Autograph," one of his all-time best lyrics. It's about lost love, one of his favourite topics, but now he sounds humble, and expresses tired regret, of the non-glamorous kind that doesn't impress girls. Further in the vein of humility, "Co-Star" acknowledges Butler's role in making Anderson famous, and asserts that Anderson can't succeed without his partner. "Lovers" is a typical Suede song about the glory of love, but now Anderson's tone has the kind of innocence that only appears when somebody isn't young anymore, and begins to idealize youth as a carefree time. It's a lot more heartfelt than when a young man flaunts his poetic sorrow in front of the world.

But it's not a total creative rebirth. It takes supreme cluelessness to sing the line, "passion creeps like death inside me," and then the line, "we stick like chewing gum," in the same verse. Although the premise of that song ("Imperfection") is kind of sweet -- Anderson's girlfriend isn't perfect, but he still likes her, you see -- you can't help but notice that he's listed a whole bunch of physical imperfections ("you grow your nails too long/the scratches on your arms") as evidence of "the defects in your soul," which is astoundingly shallow. It's probably not what he meant, but still.

His attempts to expand his horizons don't always fare well. "Brave New Century" is a bit of social commentary in which Anderson laments the phenomenon of celebrity worship. There are very few people on the face of the earth who would be less suited to make that observation, as Anderson's hunger for fame accounts for much of Suede's success. Good thing Butler is there to save the song with brilliant music.

But, on the whole, Anderson's lyrics are unexpectedly good. It's his voice that's in trouble. Anderson used to have the most powerful voice in Britpop, just recall the way he belted out the final notes in "Pantomime Horse." He can't do that anymore. Even in his reduced range, he's on shaky ground. "Two Creatures" in particular makes me wince, the way he strains his voice in the verses. He still pulls off a falsetto in "A Love As Strong As Death," but it's only once at the end, and he sounds like he's trying really hard.

However, he does rediscover some of his old theatrical mannerisms. His dramatic intonation on the line, "The Salvation Army...collected your things" in "The Ghost Of You," his husky tone on the lines "You're as dark as the ocean/as cold as the rain" in "Beautiful Pain," and his ominous low notes in "Brave New Century" are all very classy. For what it's worth, his voice did get better on his solo album, so maybe it's not gone for good.

I kind of wish they'd ended the album with "The Asylum." Now that would have been a disconcerting ending. The lyrics find Anderson worrying about being put in an insane asylum, and pleading with his friends to stay loyal to him. It's a very atypical subject for him, and he gives a moving performance, which is why I think it would have really been eye-catching as the ender. Unfortunately, the two songs after it are bland -- "A Love As Strong As Death" states that the titular love is desirable, but unlikely, and "Apollo 13" tries to depict a stormy relationship in the verses, only to cop out with the very lazy simile, "Like Apollo 13 we'll explode."

You have to give it to the guys -- instead of using the Suede name for easy publicity, they took the hard way by starting a whole new band and building from the ground up, without relying on any old Suede material. And their album was good enough for them to have a chance, but they were unlucky. Had they made the same album sooner, it would have been much more successful. Hopefully they'll have another opportunity, because the overall high quality proves that they were made for each other.
9 of 11 people found the following review helpful
Excellent Album- A Must Have!!! Sept. 14 2005
By Richie James - Published on Amazon.com
Format: Audio CD
Ladies and Gentleman, Here Comes The Tears. Refugees is the first song and single. It reminds me somewhat of Trash in it's structure. It's really a safe way for a first single and an album beginning. One thing is clear, his voice sounds fantastic- that style. It's been a while since we've heard that and it's clear that Brett has got his demons back.

Autograph kicks it off for realz. That guitar is the Stones that Johnny Marr invoked. Brett and Bernard at last again. It's a total Smiths sound with the acoustic guitar and 60's rock beat. The chorus is so elegant. Bernard, even when he was punking out, was about class. The second verse leads us into a tambourine on the beat with the snare. It's total Motown, something Bernard was working with the previous McAlmont Butler album. He invokes it big time on this one. What makes it though is the harmonica at the end. It's Still Ill from the John Peel Sessions. In fact the whole song could fit as an outtake from Hatful of Hollow. It should be a single.

Co-Star is a very warm song. Bernard always has preferred a chorus with chords that give an uplifting feeling. Brett's lyrics are really tight. Like with the first Suede album, the lyrics are geared with the rhythm of the line above all focusing on the melody. The genius of their pairing is a duel in melody. The both have tunes that can stand alone but are even stronger by their interplay. That went off with Head Music and only began to show it's head again somewhat with New Morning. The do-do-da-do vocals towards the end are so beautiful, so positive. Brett hasn't been into a groove like this for a long time. Positivity was a hint towards what he wanted to get back.

Imperfection is the bomb. It's total Bernard Butler a la Spector wound with swirling, elegiac guitars into this majestically galloping drum beat that just sweeps you up like wild horses. Brett takes this song and runs with it. His voice is so strong, so healthy, so sure. It's like that assuredness of Coming Up but basted with time. He is swoony, with that kind of Sinatra crooner style. Really this comes about because he rides upon this wave of sound from Bernard. He's got the Neil Young thing where all his great songs are based with this wonderful pop music groove that makes you want to dance. It's sweet. Much of the music's enormity comes from Mako Sakamot's drums. The dude is tight, in the pocket. Brett needed this. It's kind of like Bowie when he was in Tin Machine. He didn't want to be BOWIE but the singer of a band. The Tears allows Brett to be the singer and he rocks out. This should be a single.

The Ghost of You is a total Bernard Bedroom Symphony. It's like being back in High Rising, listening to it over and over on the record player in a small bedsit during college. My mind wandered into dreams long gone...but I digress. See only Bernard can make a song elicit such senses. Not Brett's strongest lyrics but a far cry from David McAlmont for sure. Really we just wait for the end when Bernard kicks in with his squealing guitar and some distorted reverse loop music box all distorted like sepia memory. What goes on in his head?

Two Creatures begins with a real naff lyrics but Brett totally pulls the whole thing off just confirming his genius. The song really takes off when the drums come in with a crack. It is a solid beat that Bernard prefers. He can stomp his feet and baby lip pout on stage.

Lovers is the single of the summer like total She's In Fashion style. It's a complete Ronette's Be My Baby beat rip off. The single most fabulous song in years and Brett hasn't come this close since lazy. I would give anything to stand in a concert hall jumping up and down to this song, covered in sweat, singing along at the top of my lungs. Some day love, someday. The lyric is pure genius. It's this Pet Shop Boys thing where all he keeps doing, in a sense, is rewriting Trash. It's a stompy beat, I tell you. Stompy beats are the best, like The Supremes and Temptations and Martha and the Vandellas, cos little babies can dance to them whilst jumping on a bed. I totally sing along with this song every time I listen to it. In fact this is the current single, the single of the summer. It is so rare that I get a single and actually play the single song in addition to still listening to it on the album. Not since The Smiths really...

OMG, Fallen Idol is like Morrissey's Little Man What Now. I love when Brett does that echo thing in songs where you can't really understand what he's saying. It's so sexy, so Stay Together. The chords of Bernard's best songs are always simple progressions like Neil Young. It's the beat that lifts it off, puts it in the groove. Then Brett can really take off. Again he gets into the beautiful blend of the melody of the lyric combined with a rhythm that rides upon Sakamoto's beat. Vide: that played like a bassline when the bassline's right. The bells on the chorus are pure Buddy Holly and give the whole piece a feel reminiscent of Marc Almond's Child Star from his Fantastic Star album. Finally Brett doing some falsetto again that we haven't heard in ages. One of the many touches that hark back to Suede s/t. This was one of the first ones to really stand out for me upon the first couple listens. I love the whistle at the end. Bernard is most effective when he works with simple features, the elegance comes right out.

Brave New Century is simply one of the greatest songs ever. Only Primal Scream come close really. The guitar, the cymbal, the snare, the bass drum, the crash cymbal, and then the bass puts blood through the pulse. The first twenty seconds of the song have all of it right there, you could just loop it over and over. It's total He's Dead! Only Bernard could come up with such a devilish guitar line and beat. It's very Stonesy. No one else even comes close with this kind of sound today. That's why it's so important that these two are working it again.

Because Brett just takes this song and distills it all down. At their gigs, this was the set opener. It's the smallest amount of words in the whole album and it packs the biggest punch. In several of the songs and B-sides Brett uses images of refugees and immigrants with a very powerful effect because it's not patronizing. Ultimately the strength of his lines rely upon their rhythm. Those are the lines that you sing along with the most. Vide: religion breeds like a disease while people spit on refugees. But when you listen to the whole thing you go mental. OMG, Brett I love you. I swear I will go see them if they come to the U.S. I will caravan. Touch you at the soundtrack.

You could just hear Bernard trying to sing Beautiful Pain on his Friends and Lovers album. Brett makes me swoon when he sings the chorus. It's simplicity adds to it's strength. It's like something from Head Music without the crack numbness. Lou Reed should cover this song.

The Asylum is so hilarious it's just brilliant. Poor Mute Witness or Asian Rut, it's total Kill Uncle. The music is right off the second side of Bernard's first solo LP. Harmonica wanderlust.

Would you walk through the gates and visit me? Would you please? In the asylum

Apollo 13 is total Picnic By The Motorway circa Pantomime Horse by way of the Chemistry Between Us. No one's guitar hums like Bernard's. Mascara, Eye liner, estuary girl she is the pantomime horse. It begins with Brett's moan leading into the chorus and then he sails for the moon. If they where playing the Fillmore, this would be the part where they put the lite blue spot light on the mirror ball. Let's explode.

The closer [A Love As Cold As Death] speaks for itself. The title is so French. The Lovers single CD 1 came with the video and it's totally boss because it's just the band performing and a creative use of mirrors. It's excellent because it shows off Bernard and Brett. Bernard stomps and pouts as his hair flies around. Brett looks so great, a gray shirt and black tie, his hair black. He is such a star! All I can say is that he is on it and he works it. Not since the first Suede album really...Oh Manchester so much to answer for...
5 of 6 people found the following review helpful
it sounds pretty much... (3.75 stars) Nov. 9 2005
By M. Lohrke - Published on Amazon.com
Format: Audio CD
...exactly like i thought it would -- a follow up to 'coming up.'

no one was more excited than i was upon hearing erstwhile writing partners brett anderson and bernard butler were back together and planning on releasing a new album. i knew not to expect another 'suede' or 'dog man star' as it's been over a decade since those albums were released. be that as it may, i still held some hope that 'here come the tears' would capture (perhaps unfairly) some of 'dog man star's' magic.

does it? yes. and no. brett anderson was always the perfect voice for bernards guitar heroics. brett's voice was a rare thing: he had a flawless falsetto and absolutely gripping baritone/tenor voice. perhaps only andy bell had finer natural range. no matter what brett sang, he sounded marvelous, dare i say rapturous. on 'here comes the tears' brett's voice is a shell of it's former self. perhaps 15 years of cigarettes have taken a toll. the once rich, full, lush voice now sounds as though he's been swallowing asphalt daily. it's still a good voice, maybe even an appropriate voice; yet i can't help but yearn for the old voice. similarly brett's lyrics have taken a turn downward. although it seems he's ditched the 'tiger eyes,' 'petrol and gasoline,' 'mechanical stutters' and 'concrete,' much of the album is lyrically average. having said that however, the brett anderson of 2005 does sound much more energized and vital than he has is years.

bernard butler, for his part, proves once again he's a great axeman, even if he does sound *restrained.* gone are the wide, expansive, sweeping epics and grandeur of 'dog man star' and even his best work with david mcalmont. as with brett, bernard displays a sense of urgency. the guitars are crunchy and immediate, the melodies respectable. the songs are much more compact and succint, sometimes for better, sometimes for worse. there *are* some great songs on the album, particularly 'lovers,' which wouldn't sound out place next to 'trash' and 'the beautiful ones.'

perhaps any review of 'here comes the tears' will reference the band's former work. it's almost inevitable. for the die-hard suede fans, 'here comes the tears' will probably prove a bit of a disappointment. for those new to the anderson/butler songwriting team, 'here comes the tears' is a bright, sunny pop album full of pleasant songs. it really just depends on which camp you fall into. it's certainly not essential listening, but it is worthwhile.
1 of 1 people found the following review helpful
Excellent albums by the heart of Suede June 5 2007
By Robert Moore - Published on Amazon.com
Format: Audio CD
Bernard Butler's departure from Suede during the final stages of the recording of their flawed masterpiece DOG STAR MAN saw the effective end of one of the great bands of the nineties. They continued, led by lyricist and singer Brett Anderson, beyond Butler's abandonment (supposedly fueled by among other things a far-too-complete embracing of the rock star lifestyle by his band mates), but Butler leaving Suede would be exactly like Keith Richards leaving the Stones, it was like ripping the musical heart out of the band. Whether that signaled the virtual end of the band depends, I suppose, on whether you rate Butler or Anderson as the more crucial of the two main members. I like Anderson, but I consider Butler to be a genius, the greatest, by far, of all the shoe gazer guitarists, an absolute magician with his instrument. Given Butler's highly publicized exit and his well known disdain for Anderson, nothing in the world would have been less expected than Suede's two resident geniuses teaming up for a new album. But in 2005, with the two of them taking the name The Tears, this is precisely what happened.

So what is the verdict? Actually, this is amazingly good stuff. Is it a masterpiece along the lines of SUEDE was in fact or what DOG STAR MAN could have been? No. It is merely very good, but sometimes that is more than enough. Neither of the men has lost any performance chops. Anderson is in great voice and Butler remains one of the great guitarists of his generation. Nonetheless, the album lacks a bit of the brilliance of the first two Suede efforts. Part of it might be the result of time. While SUEDE and DOG STAR MAN were haunted, theatrical affairs, the overall tone of this album can only be described as . . . happy. These are not tortured performers. One of the nicer songs on the album, for instance, is about coming to love someone so completely that even their defects are adorable ("Imperfections"). I can imagine some missing the moodiness of the Suede albums. Heck, I miss it. But there is no question that there are some quality songs here.

The only reason I can't regard this as highly as their work with Suede is that the album begins to flag some towards the end. Not that the last half is out and out bad. On the contrary, "The Asylum" and "Brave New Century" are strong songs, but not nearly as strong as the best of the first seven cuts.

The album starts off with a string of really superb cuts, the first being "Refugees." "Co-Star" is another of the album's many happy songs, or at least one of the not-unhappy songs. Then on to the aforementioned "Imperfections." Cuts 6 and 7 bring the first half of the disc to an end in very, very strong fashion with "Two Creatures" and "Lovers." As I mentioned, Bernard Butler was the main reason I loved Suede so deeply and happily he plays brilliantly throughout this album. If I have ever had a complaint with him it is that he has had in the past a tendency to employ too much dubbing. In listening, for instance, to "Pantomime Horse" from SUEDE it is impossible to figure out just how many guitar tracks are being used. Here he uses maybe 2 or 3 tracks whereas before he might have been using 4 or 5. He still has an unrivaled genius for the invention of irresistible guitar lines, adding texture more brilliantly than any other guitarist that I know. I marvel listening to his playing on "Autograph," where he takes essentially the same guitar line and over the course of the songs turns it inside out and outside in, twisting and turning it every which directions, deconstructing it and reconstructing it. What makes him so brilliant is that he makes what is actually truly difficult sound so easy. There are times when I have wondered whether he might not have the best ear of any guitarist since Hendrix. He certainly is far more sophisticated than the guitarist he emulates, Johnny Marr. If you listen to Marr's work with the Smiths or his current work with Modest Mouse, there will be a lot of resemblance at times between Butler and Marr, but you'll quickly realize that Butler goes to places that not just Marr but no one else can really go. And what is most amazing is that Butler rarely plays the trumpet style parts that we typically think of as guitar solos. Nonetheless, he musically dominates almost every song.

In short, while not as brilliant as the first two Suede albums, it is nonetheless definitely better than any of the subsequent Suede albums. It is, in fact, a superb album on every level. It does drag a bit by the end but the first half is so marvelous that this hardly matters. If you love Suede, or if you don't know Suede and just love great music, you will love this album.
1 of 1 people found the following review helpful
sounds pretty much... (3.75 stars) Nov. 9 2005
By M. Lohrke - Published on Amazon.com
Format: Audio CD
...exactly like i thought it would -- a follow up to 'coming up.'

no one was more excited than i was upon hearing erstwhile writing partners brett anderson and bernard butler were back together and planning on releasing a new album. i knew not to expect another 'suede' or 'dog man star' as it's been over a decade since those albums were released. be that as it may, i still held some hope that 'here come the tears' would capture (perhaps unfairly) some of 'dog man star's' magic.

does it? yes. and no. brett anderson was always the perfect voice for bernards guitar heroics. brett's voice was a rare thing: he had a flawless falsetto and absolutely gripping baritone/tenor voice. perhaps only andy bell had finer natural range. no matter what brett sang, he sounded marvelous, dare i say rapturous. on 'here comes the tears' brett's voice is a shell of it's former self. perhaps 15 years of cigarettes have taken a toll. the once rich, full, lush voice now sounds as though he's been swallowing asphalt daily. it's still a good voice, maybe even an appropriate voice; yet i can't help but yearn for the old voice. similarly brett's lyrics have taken a turn downward. although it seems he's ditched the 'tiger eyes,' 'petrol and gasoline,' 'mechanical stutters' and 'concrete,' much of the album is lyrically average. having said that however, the brett anderson of 2005 does sound much more energized and vital than he has is years.

bernard butler, for his part, proves once again he's a great axeman, even if he does sound *restrained.* gone are the wide, expansive, sweeping epics and grandeur of 'dog man star' and even his best work with david mcalmont. as with brett, bernard displays a sense of urgency. the guitars are crunchy and immediate, the melodies respectable. the songs are much more compact and succint, sometimes for better, sometimes for worse. there *are* some great songs on the album, particularly 'lovers,' which wouldn't sound out place next to 'trash' and 'the beautiful ones.'

perhaps any review of 'here comes the tears' will reference the band's former work. it's almost inevitable. for the die-hard suede fans, 'here comes the tears' will probably prove a bit of a disappointment. for those new to the anderson/butler songwriting team, 'here comes the tears' is a bright, sunny pop album full of pleasant songs. it really just depends on which camp you fall into. it's certainly not essential listening, but it is worthwhile.

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