Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait Stereophonics

• 1 Make It On Your Own 05:21
• 2 There’s Always Gonna Be Something 04:03
• 3 Seems Like You Don’t Know Me 03:37
• 4 Colours Of October 02:46
• 5 Eyes Too Big For My Belly 02:43
• 6 Mary Is A Singer 03:20
• 7 Backroom Boys 04:12
• 8 Feeling Of Falling We Crave 03:43
• Total Runtime 29:45

Info for Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait

The legendary Stereophonics are releasing their thirteenth studio album ‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’.

'There's Always Gonna Be Something’ evolves Stereophonics' signature sound. Chorus affected guitars chime and weave between suspended bass lines. Kelly Jones’ husky vocals draw listeners to the lyrics which intrigue and unveil new depths on each listen, with lines including “The bayonet tongue of silence, whispering just to remind us” and “I leave nothing for death but bones and the solitude Jester jokes, igniting my energy and bringing me to my knees, in this 21st century, so help this sinner please, this is only one part of me – There’s Always Gonna Be Something, So What’s it Gonna Be Today”.

Kelly comments: “There’s Always Gonna Be Something” is a song that could be describing the restlessness in uncertainty, struggling to arrive at acceptance. A part within all of us.”

With three decades and a wealth of record-breaking achievements under their belts, including 8 number 1 albums, Stereophonics have earned their status and respect amongst their fans, peers and artists from across the musical generations, ranging from Bob Dylan to David Bowie to Dua Lipa. In 2025, the band mark their anticipated return with ‘Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait’, a tight and heavy-hitting eight track record. Written and recorded in London, it is an album devoid of any fat or filler. It is at once clean and precise. Hopeful and joyous. It does what it says on the cover. You Laugh, You Cry, You Wait.

As with previous album artwork, Kelly has gravitated towards different art forms to influence the project's aesthetic, whether that be paintings, books or films. For “Make ‘em Laugh, Make ‘em Cry, Make ‘em Wait”, it was a similar process, Kelly recounts.

“I went to New York, I visited some galleries, I saw ‘ART IS A GUARANTY OF SANITY’, a painting by Louise Bourgeois. She believed art was a form of mental healing and a way to process difficult emotions. The spelling caught me first, then the simplicity of the words etched onto a pink tile. So I tried scratching my title, inspired by my own art school teacher thirty years ago. And I loved it. I loved the simplicity of the pink. The pink album was born”.

With a world tour imminent this year which has already seen the band sell over 300,000 tickets, as well as play some of their biggest shows around the world to date, the band continue to cement their position as one of our most enduring and loved bands. Their knack for blending rock sensibilities with soaring melodies keeps their sound vital, while Kelly Jones’ ever-introspective lyrics continue to resonate with each passing year.

Stereophonics have never been content to rest on their laurels, and this year’s performances promise to be some of their most dynamic yet.

STEREOPHONICS

Stereophonics
A bright new noise in U.K. alternative rock in the '90s and into the new millennium, Stereophonics were comprised of vocalist/guitarist Kelly Jones, bassist Richard Jones, guitarist Adam Zindani, and drummer Jamie Morrison. They were formed in Cwmaman, South Wales, originally as the teenage cover band Tragic Love Company and with the late Stuart Cable on drums. Early reviews cited the Manic Street Preachers as their most obvious influence, and their initial batch of singles struggled to disabuse cynics of this notion.

Yet in Jones, Stereophonics possessed an able writer as well as a singer of some distinction, a fact that was only truly acknowledged following the release of their debut LP. One of the first bands on Richard Branson's new V2 label, they were signed by chief executive Jeremy Pearce in August 1996 before the label was officially up and running. They made their debut in November with "Looks Like Chaplin" b/w "More Life in a Tramp's Vest," which later became a single in its own right. They entered the charts for the first time with "Local Boy in the Photograph" and didn't look back. Each of their subsequent singles sold progressively better, culminating in a U.K. Top Ten placing for their debut album, Word Gets Around, and Top 20 honors for "Traffic." The latter's resigned themes provided the perfect platform for Jones' plaintive vocals. A reissue of "Local Boy in the Photograph" also made the Top 20, in the same week as they received a Brit Award for Best New Group. As a singles band, they seem overburdened with riches -- "The Bartender and the Thief" duly became a British radio staple through the closing months of 1998, followed the next year by the full-length Performance and Cocktails.

The band's third studio effort, Just Enough Education to Perform, was initially slated to go by the abbreviated J.E.E.P.; however, Daimler-Chrysler objected to the plan and claimed ownership of the actual word Jeep. In September 2003, Stereophonics returned with their most honest material to date on You Gotta Go There to Come Back. Not even a month after the long-player's domestic release, the band announced the departure of founding member Cable. Frontman Jones said Cable had had issues committing himself to the band ever since Just Enough Education to Perform. Stereophonics planned to carry on as a duo while ex-Black Crowes drummer Steve Gorman sat in on drums for several tour dates. Language. Sex. Violence. Other? appeared in 2005. It also marked the debut of drummer Javier Weyler. The band's first live album, Live from Dakota, arrived in spring 2006. After an extensive tour, including performances in Moscow and Latvia, the group returned to the U.K. and released three formats of the single "It Means Nothing" two weeks before Pull the Pin hit store shelves in mid-October 2007. The compilation Decade in the Sun: The Best of Stereophonics arrived in 2008, followed by the all-new Keep Calm and Carry On in 2009.

Following a supporting tour for Keep Calm and Carry On, the group once again changed drummers, swapping Weyler for Jamie Morrison. This new lineup was unveiled on 2013's Graffiti on the Train, an album that featured the hit single "Indian Summer." Graffiti on the Train was certified platinum -- the previous two albums only went gold -- thanks in part to "Indian Summer" and the title track. Two years later came Keep the Village Alive. Stereophonics returned in the summer of 2017 with their tenth studio effort, Scream Above the Sounds. The record was released in time to commemorate the 20th anniversary of Word Gets Around. (Alex Ogg, AMG)

This album contains no booklet.