The 1980s have been globally recognized as one of the best periods for popular music, primarily in the genres of Pop and Rock. Several factors came together that would explode and give rise to an era that would be etched in history: a strong prior effort from various musical genres poised for evolution, a generation thirsty for new sounds, considerable technological advancements enabling higher-quality productions, a series of trends (such as fashion) that would eventually become mainstream, and above all, improved global communication.
Tears For Fears capitalized on the vast audiences of both rockers and ‘pop’ music enthusiasts, combining it with their relentless musical skill and knowledge, resulting in one of the most acclaimed albums of the 1980s, somewhat akin to what Supertramp achieved in 1979 with their album “Breakfast In America.” In 1985, Tears for Fears released their most significant album, “Songs From The Big Chair,” which has sold over 10 million copies to date.
What can we hear?
A strong foundation of Progressive Rock and Synth Pop that combined and softened so that practically all audiences could enjoy this fusion; an album that makes you dance, sing, and even engage in deep introspection inspired by its founders and composers Roland Orzabal (Guitar and vocals) and Curt Smith (Bass and vocals), both of whom are appreciated on “Songs From The Big Chair” as musicians of tremendous taste.
The album starts slowly and builds up. It commences with the hit “Shout,” a song that immerses us in the sound of the 1980s, dominated by synth programming in the form of leads, pads, and even bass. Gradually, the song surprises us with the elegant inclusion of electric guitars, featuring funky strumming, along with textures filled with chorus and delay, giving the song a unique space and also revealing Roland Orzabal’s Rock influence, especially when the guitar tone includes a slight distortion.
We hear the progressive undertones of Tears For Fears with songs like “The Working Hour,” a track that evokes a rich atmosphere, with a Saxophone style reminiscent of the British band Supertramp, a group that surely ranks high on their list of influences. Another song that sounds progressively enthusiastic is “Broken,” the darkest track on “Songs From The Big Chair,” with exceptional keyboard and guitar arrangements. It’s interesting how they dare to use atonality in spaces open to experimentation. Roland Orzabal‘s solos are here with a more jazz-inspired style filled with distortion, showcasing his prowess with the instrument.
The resounding success of "Everybody Wants To Rule The World"
Apart from the earlier interesting analysis and the success of “Shout” as a single, ‘Everybody Wants To Rule The World’ stood out on the album as a masterclass in creating musical anthems. It’s a song played in dance clubs but also cherished by serious music connoisseurs due to its excellent composition, surprisingly based on just two chords. The drum timing in this song is neither predictable nor common, something we could define as ‘complex simplicity.’ Virtually every instrument is memorable, along with the band’s distinctive vocal timbre, setting them apart. We can cite “Everybody Wants To Rule The World” as their masterpiece that would introduce them to the world.
Listening to this album is a real delight; it flows like a paper boat in a pool. After this wonderful hit, we hear “Mothers Talk,” a song that begins with a special mystery that gradually evolves and transports us to an ’80s disco full of neon lights. This song also predicts the importance of groove and danceable rhythms that would influence popular music in subsequent years. The outro of ‘Mothers Talk’ deserves mention, where the band experiments with delays to create atmospheres that pleasantly enter our minds.
Far from being a guitar-centric album, it’s a work filled with ambiance provided by keyboards and bass, making the songs function primarily with these instruments and positioning the guitar as an additional instrument that comes in solely to stylize the songs. At times, the synthesizers take the lead to create riffs as in “Head Over Heels/Broken,” a song that also feels progressive, with enough room for the bass to shine.
The nostalgic moments of Songs From The Big Chair
Nostalgia arrives in ‘Songs From The Big Chair’ with songs like ‘I Believe’ and ‘Listen,’ the former audibly carrying a certain innocence, and the latter serving as the album’s closing track. It’s an outro that showcases a special atmosphere, along with varied vocal techniques and tones that integrate with the instruments, allowing the guitar to solo freely.
“Songs From The Big Chair” is a complete album: here, you’ll find hits, high-level instrumentation, danceable tracks, progressive passages, and an endless array of very pleasant surprises. This work proves a formula that, in most cases, results in great albums: “Highly skilled musicians making music for the masses,” something we’ve seen in bands like Toto and Supertramp. A gem!
Are there any lesser-known tracks or underrated albums by Tears for Fears that you feel deserve more recognition?Leave us your comments below!
