Album #120: Tears for Fears - Songs from the Big Chair

Tears For Fears

Songs From The Big Chair (1985)

After the monstrosity that was Here Come The Drums the other day, I was forced to listen to Tears For Fears' classic track Head Over Heels, to wipe the heinous memory of Rogue Traders from my mind.

Upon completing my listen, I realised that I really, really wanted to review a Tears For Fears album. Not only because they're a great band (with the distinction of having their first three albums chart massively in Britain) but because I've always felt that they've not received all the credit they deserve, being overshadowed by other pop artists. Despite me trying to steer away from the obvious sometimes, I felt there was no better album to choose than the one that is considered their defining album, Songs From The Big Chair.

My main question was a bit like when I reviewed Icehouse though - is it just singles, or is there something more to Tears For Fears?

The Album

Unlike Icehouse, there's something more. The band's lush arrangements and production, utilising a standard 80s blend of guitars, bass, drums and synths, are key features not just of the singles but of the album tracks also. Additionally, it's the way that the band fuse together all those swirly layers of synthesiser and guitar that give the songs a particular personality. The hero of the album though is bandleader and chief songwriter Roland Orzabal. It would do him a disservice to say he's just a pop songwriter - sure, he penned his share of great hooks on this album - but there's also nuance, feeling and craft present in his work here....and not just on the big songs.

Those three big songs though are absolute monsters, and all are deservedly thought of as some of the most instantly recognisable from the 80s. Shout is a sprawling, synth/bass driven ode to protest, with a jangly guitar lick playing a supporting role throughout. Orzabal's lead vocal is splendid, sending tingles down the spine at times, and there's even a fairly simple, yet powerful, guitar solo at the song's conclusion. Everybody Wants To Rule The World is sublime pop; all instruments work together and, at times, take the lead (the verses are basically synth and bass, while the guitars play prominence during the choruses...and there's even a couple of guitar solos to boot). The song is brilliantly crafted (witness the guitar-driven bridge in the mid-section which breaks the song up beautifully) and Curt Smith's vocal of some more quality Orzabal lyrics about the powerhungry is terrific. Head Over Heels is a superb pop love song, though (and this may be controversial) it's my least favourite of the three. Synths again drive the song, which interestingly falls in the middle of a kind of sonata (sandwiched by the song Broken twice, albeit with the second version being live and abbreviated).

Outside of those three big songs (and accompanying sonata tune) there's only four other tracks on the album, and they are a bit of a mixed bag. The tender, touching ballad I Believe (written by Orzabal originally for Soft Machine drummer, and 60s prog legend, Robert Wyatt) is a brilliant, brilliant tune. Lush piano fills the soundscape, supported by flourishes of saxophone, while Orzabal's vocals alternate between a soft, heartfelt croon and, later, more powerful acclamations. Listen is a pretty tune with a very hooky melody, with anthemic synth strings, wind chimes and opera vocals - in fact, it has many hallmarks of ELO-style pop. Unfortunately, it might be pretty (and Curt Smith, again, does a great job on lead vocal) but it really meanders around, not going anywhere. The Working Hour overdoes the sax solos horribly (funny sidenote- the man providing the sax solos on the album, Will Gregory, is now one half of the electronic duo Goldfrapp) but there's enough of the lavish Tears For Fears musical style present to, again, make the song a decent listen. Lastly, Mother's Talk, which was a single from the album also, is nowhere near the same class as the other monstrously successful songs. Yes, its mountainous-sounding drums rumble with pure power, and the synthbass line is pretty damn cool, but there's no hook to speak of and because there's no hook to attach to, this pop song ends up....well, not very poppy at all. It's the only song on Songs From The Big Chair I didn't like at all.

The Verdict

Songs From The Big Chair is surprisingly good. Those classic songs help, of course; they'd be worth stars on their own; but even some of the album tunes have that earcatching Tears For Fears trademark sound. It'd be a great driving album for when you're touring through boring country, because there's plenty of interest going on in each soundscape.

I'd recommend it, especially if you already know/like some (or all) of the band's big hits.

My rating: ****

Standout Tracks

Shout

Everybody Wants To Rule The World

I Believe

Head Over Heels