Tears for Fears ? Songs from the Big Chair ? 1985 Mercury Records Orig. Vinyl LP

$

50

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Songs from the Big Chair Studio album by  Tears for Fears Released 25 February 1985 Recorded 1984[a][b] Studio The Wool Hall (Beckington, Somerset, England) Genre

• New wave[1]
• progressive pop[2]

Length 41:52 Label

• Phonogram
• Mercury

Producer Chris Hughes Tears for Fears chronology The Hurting
(1983) Songs from the Big Chair
(1985) The Seeds of Love
(1989) Singles from Songs from the Big Chair

1. "Mothers Talk"
   Released: 6 August 1984
2. "Shout"
   Released: 19 November 1984
3. "Everybody Wants to Rule the World"
   Released: 18 March 1985
4. "Head over Heels"
   Released: 10 June 1985
5. "I Believe (A Soulful Re-Recording)"
   Released: 30 September 1985
6. "Mothers Talk (U.S. remix)"
   Released: 1 April 1986

Songs from the Big Chair is the second studio album by English pop rock band Tears for Fears, released on 25 February 1985 by Phonogram Records. The album peaked at number two in the UK and at number one in the US and Canada, becoming a multi-platinum seller in all three countries. It also reached number one in Germany and the Netherlands and Top 10 positions in various other countries including Australia, Switzerland, New Zealand and Italy. It spawned the international hit singles "Mothers Talk", "Shout", "Everybody Wants to Rule the World", "Head over Heels", and "I Believe". It remains their best-selling album to date.

A companion video documentary entitled Scenes from the Big Chair was released in late 1985. Once the band had finished a lengthy touring and promotion schedule for the album, they took an extended hiatus from the music industry.

Background

"The title was my idea. It's a bit perverse but then you've got to understand our sense of humour. The 'Big Chair' idea is from this brilliant film called Sybil about a girl with 16 different personalities. She'd been tortured incredibly by her mother as a child and the only place she felt safe, the only time she could really be herself was when she was sitting in her analyst's chair. She felt safe, comfortable and wasn't using her different faces as a defence. It's kind of an 'up yours' to the English music press who really fucked us up for a while. This is us now – and they can't get at us anymore."

—Curt Smith explains the album's title in an interview with Melody Maker, March 1985

Originally, the album was to be titled The Working Hour, but Roland Orzabal fought to change it to Songs from the Big Chair, which was derived from the 1976 television film Sybil about a woman with multiple personality disorder who only feels safe when she is sitting in her analyst's "big chair". A mostly-instrumental track called "The Big Chair" (which includes dialogue samples from the film) was released as the B-side of "Shout" in 1984, it was not included on the album (but was available on its "special limited edition" cassette version, released in the UK in 1985).

In an interview for the 2005 Deluxe version booklet, Smith noted "The Hurting really was influenced by modern technology at that time. Songs From The Big Chair expressed our desire to move on from there...It was an attempt to be less insular. We were very introverted on The Hurting; it was a very dark album. We found the need to be more outgoing on The Big Chair, and the use of big guitars and the things that we shied away from before allowed us to do that...I remember Chris Hughes bringing in more American stuff; that's when we started listening to Steely Dan – even, dare I say it, to Bryan Adams, before he took off. And Bruce Springsteen. It was really to broaden our horizons more than anything else...As usual, it started with us demoing songs, but the demoing turned into the recording as we became attached to the original demos:' The band started to generate new material around the beginning of 1984. The first song written for Big Chair was "Head Over Heels;' which TFF played live during a tour undertaken between the two albums. Regarding the recording sessions for the album, "They weren't bad. There wasn't any real pain involved in doing Songs From The Big Chair. I certainly think not being as precious and breaking out allowed us to relax a little. I don't remember it as particularly a painful experience."

On the need to reach out to a bigger audience, "That certainly was the plan, more of Chris Hughes and the record company than ours. They saw the capability within us to really reach a bigger audience. I don't think we ever were concerned with it. But we liked the idea of doing something different; we definitely embraced that. That conscious effort to bridge the ocean between here and America was really more down to Chris Hughes and Dave Bates [TFF's A&R man]: I'll give Chris Hughes his due: he was a big supporter of 'Rule The World' and we weren't that sure of it, and in America that was the first single they really went for. And it broke the market for us.' Furthermore, "'Shout' is the obvious stadium thing. We consciously started with the chorus. It was kind of a sing-along; a protest song-like 'Give Peace A Chance,' or 'Hey Jude,' even. It had a really in your face chorus. But we never imagined it would take off like that. We're from Bath. We're not part of any scene. We've never been fashionable. We're quite insulated when we make records. What happens afterwards is really out of our hands. It's not something you can really plan for. We certainly can't. I don't think we're that clever."

Critical reception

Professional ratings Review scores Source Rating AllMusic Consequence of Sound A+ Encyclopedia of Popular Music The Guardian Mojo Pitchfork 8.9/10 Q Record Collector Smash Hits 8/10 The Village Voice B

Songs from the Big Chair received critical acclaim. In his review, critic Barry McIlheney of Melody Maker stated that "none of you should really be too surprised that Tears for Fears have made such an excellent album", calling it "an album that fully justifies the rather sneering, told-you-so looks adopted by Curt Smith and Roland Orzabal on the sleeve", before concluding, "An awful lot of people will, of course, go on and on about overcoats, The Lotus Eaters and an alleged lack of depth. And an awful lot of people will have to eat an awful lot of words." Ian Cranna of Smash Hits described it as "looser, more exploratory than before" in nature, and noted its "unflinching lyrical honesty". Rolling Stone critic Don Shewey wrote that Tears for Fears "sounds a lot like a lot of other British bands" and observed traces of "U2's social conscience, the Bunnymen's echoing guitars and XTC's contorted pop wit" on the album, but commented that Chris Hughes' production "nudges Songs from the Big Chair slightly ahead of the pack." Robert Christgau was less enthusiastic in his review for The Village Voice, observing some substantial lyrics, particularly on "The Working Hour", and musical elements such as an "uncommon command of guitar and piano, Baker Street sax, synthesizers more jagged than is deemed mete by the arbiters of dance-pop accessibility". However, he felt these are all beneath grandiloquent lamentations suggesting "a depth and drama English lads have been falling short on since the dawn of progressive rock."

In a retrospective review published on AllMusic, Stanton Swihart wrote: "In the loping, percolating 'Everybody Wants to Rule the World', Tears for Fears perfectly captured the zeitgeist of the mid-'80s while impossibly managing to also create a dreamy, timeless pop classic. Songs from the Big Chair is one of the finest statements of the decade." Mark Elliott of Record Collector agreed, while adding that it contained the band's "most consistently interesting material". Q remarked that the album "zeroed in on every angsty adolescent's desire to feel heroic, with a sound of spotlit, spacious sophistication plus anthemic choruses you'd bet your house on." In Stylus Magazine, Andrew Unterberger concluded that "even today, when all rock musicians seem to be able to do is be emotional and honest, the brutality and power of Songs from the Big Chair's catharsis is still quite shocking." Songs from the Big Chair has been included in the book 1001 Albums You Must Hear Before You Die. Slant Magazine listed the album at number 95 on its list of the best albums of the 1980s.

In February 2020, the album was the focus of an episode of the BBC's Classic Albums documentary series. The episode included new interviews with key personnel including Orzabal, Smith, Ian Stanley, producer Chris Hughes, engineer Dave Bascombe, and A&R man David Bates. Additional interviewees included Oleta Adams and John Grant.

Track listing

Original release

Side one No. Title Writer(s) Length 1. "Shout" Roland Orzabal, Ian Stanley 6:32 2. "The Working Hour" Orzabal, Stanley, Manny Elias 6:30 3. "Everybody Wants to Rule the World" Orzabal, Stanley, Chris Hughes 4:10 4. "Mothers Talk" Orzabal, Stanley 5:09 Side two No. Title Writer(s) Length 1. "I Believe" Orzabal 4:53 2. "Broken" Orzabal 2:38 3. "Head over Heels/Broken (Live)" Orzabal, Curt Smith 5:01 4. "Listen" Stanley, Orzabal 6:48

Notes

• "I Believe" is dedicated to 'Robert Wyatt (if he's listening)'
• In some US editions, the live reprise of "Broken" was omitted, and the end of "Head over Heels" led directly into "Listen". On these same US editions, the full 5:09 version of "Mothers Talk" was replaced with the 3:53 short version, resulting in an overall runtime two minutes and ten seconds shorter than the original album.