Tag: Tears for Fears

Ted Leo and the Pharmacists kick off A.V. Club cover project

Ted Leo and the Pharmacists cover Tears for Fears' "Everybody Wants to Rule the World"

The A.V. Club launched their series “Undercover” today, which sees 25 bands covering 25 hits. The list was chosen by the website beforehand, and as bands tackle the songs, their peers will have have less to choose from. Ted Leo and the Pharmacists are the first up, and they’ve opted to hammer out the 1985 classic “Everybody Wants to Rule the World” by Tears for Fears. The song is extremely faithful to the original version, which obviously makes for a good time.

New videos will arrive every Tuesday. The A.V. Club won’t announce which artist is covering the song until that date.

Next up: Depeche Mode’s “Endure the Silence”

Oleta Adams: Let’s Stay Here

If you’ve ever listened to an Oleta Adams record, you know what to expect from Let’s Stay Here – namely, a whole bunch of smooth, tasteful tracks that run the slight gamut between gently grooving mid-tempo numbers and velvety ballads, all topped off with her warm, soulful vocals. Adams’ voice is a singular instrument – we’re talking, after all, about a performer who earned her shot at the big time with a performance at a Kansas City bar that just happened to be overheard by Roland Orzabal and Curt Smith of Tears for Fears – and its strength has never been up for debate. What she uses that voice for is another question entirely; aside from a handful of pop and R&B hits (most notably “Get Here” in 1991), Adams’ solo career has mostly flown under the radar because her records, by and large, are one quiet storm after another: competently written, tightly performed, and extremely dull. Let’s Stay Here marks her return from a long break from secular recording, but she picks up right where she left off, for better or worse – aside from the moderately funky closer “Act of Forgiveness,” this is one long episode of “For Lovers Only.” It’s perfectly fine for draining a bottle of white wine, in other words, but don’t expect to remember much of it when you’re done – and like the wine, excessive consumption may leave you feeling headachy and nauseous. (Koch/E1 2009)

Oleta Adams MySpace page

Spain Colored Orange: Sneaky Like a Villain

They hail from Houston, but there’s nothing about Spain Colored Orange’s sound that will make you think of oilmen and longhorns; instead, their debut full-length effort, Sneaky Like a Villain, suggests a rainbow-colored collision between 10cc and late-period Tears for Fears, with perhaps a dash of Jellyfish thrown in. Pop fans, in other words, will find this album seriously addictive; from the moment you hear the bright, brassy overtones and sugary sweet melody of “Who Am I?” you’ll know you’re in for a treat. The set’s biggest flaw, really, is that the band isn’t content to stick with those sounds — Sneaky falters when it drifts into more ambitious territory, such as songs like “I Remember It Was Christmas Time,” whose compositional depth, though admirable, comes as something of an annoyance after the glorious melodic highs of songs like “Hide” and “Cheap Thrills.” Both sides of the band’s personality mesh perfectly, though, on “Uh Oh, Trouble,” a sprawling, vaguely “Tusk”-like epic that offers five minutes of twists and turns without forgetting the hooks. It’s clearly just an opening statement from the band, but it’s a strong one; by the time the record struts off your speakers with the kids’ chorus and trumpets that close out “The Birds and the Bees,” you’ll be ready to start it up all over again. (Shout It Out Loud 2009)

Spain Colored Orange MySpace page