Here Come the Tears [Import]

The Tears | Format: Audio CD

Product Details

• Audio CD (September 6, 2005)
• Format: Import
• ASIN: B000AQAD4C
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (33 customer reviews)

Editorial Reviews

The Tears bring Suede's Brett Anderson and Bernard Butler back together again. Here Come The Tears is dominated by pop songs; brazen and beautiful pop songs, delivered in perfectly formed packages. Opening track and first single, 'Refugees' is swaggering, instant and majestic, and just shy of three minutes it's so brief you need to blast it again as soon as it's over. Butler has been able to intricately build songs according to the grand vision in his head, and the result is an astonishing wall of sound that at times feels like Spector producing the Spiders From Mars covering 'Bridge Over Troubled Water', only bigger. V2. 2005. --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Most Helpful Customer Reviews

7 of 8 people found the following review helpful:

5.0 out of 5 stars Excellent Album- A Must Have!!!, September 14, 2005

By 

Richie James "Richie_James" (Northern California) - See all my reviews

This review is from: Here Come The Tears (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...

2 of 2 people found the following review helpful:

4.0 out of 5 stars Beyond Suede, July 22, 2005

By 

Artmanvic (Manhattan) - See all my reviews

This review is from: Here Come The Tears (Audio CD)

Those who liked Suede may be looking for more of the same from The Tears, but despite the obviously recognisable vocals from Brett, and the familiar wailing of Bernard's guitar, this marks a watershed in their repertoire. The most obvious difference is that all the songs seem to have been crafted as 'hits' (much more radio-friendly, and why not?). It's also a more mellow sound than Suede (there were fewer opportunities for vigorous bouncing and hand-clapping at the Tears concert I attended). Another important difference is the guitar work, with Bernard soaring off into sonic highs not experienced since Reeves Gabrels and Tin Machine. Among the better songs are Apollo 13, Brave New Century, Refugees and Co-Star. Though Brett and Bernard are capable of better, this is a shot in the arm for us disenfranchised Suede-heads, and I recommend you turn it up loud.

4 of 5 people found the following review helpful:

4.0 out of 5 stars it sounds pretty much... (3.75 stars), November 9, 2005

By 

M. Lohrke (Saratoga Springs, UT) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: Here Come the Tears (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.