Tears For Fears - Songs From The Big Chair (Deluxe 2CD) [EAC-FLAC] [RePoPo]

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Tears For Fears - Songs From The Big Chair

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CD: Tears For Fears - Songs From The Big Chair (Deluxe Edition) (Disc 1)



01. Shout [0:06:33.43]

02. The Working Hour [0:06:31.50]

03. Everybody Wants To Rule The World [0:04:12.43]

04. Mothers Talk [0:05:07.60]

05. I Believe [0:04:55.35]

06. Broken [0:02:38.31]

07. Head Over Heels/Broken (Live) [0:05:02.26]

08. Listen [0:06:57.56]

09. The Working Hour (Piano Version) (From UK Cassette Of Album) [0:02:09.69]

10. The Marauders (B-Side Of "The Way You Are") [0:04:18.24]

11. Empire Building (B-Side Of "Mothers Talk") [0:02:50.37]

12. The Big Chair (B-Side Of "Shout") [0:03:35.17]

13. Pharaohs (B-Side Of "Everybody Wants To Rule The World") [0:03:43.52]

14. When In Love With A Blind Man (B-Side Of "Head Over Heels - Remix")

[0:02:26.61]

15. Sea Song (B-Side Of "I Believe - A Soulful Re-Recording") [0:03:50.69]

16. Broken Revisited [0:05:17.49]





CD: Tears For Fears - Songs From The Big Chair (Deluxe Edition Disc 2)



01. The Way You Are (7" Single) [0:04:59.20]

02. Mothers Talk (7" Single) [0:03:54.66]

03. Shout (7" Single) [0:04:52.46]

04. Everybody Wants To Rule The World (7" Single) [0:04:14.33]

05. Head Over Heels (Remix) (7" Single) [0:04:18.24]

06. I Believe (A Soulful Re-Recording) (7" Single) [0:04:41.60]

07. Mothers Talk (US Remix) (7" Single) [0:04:17.05]

08. Shout (US Remix) (12" Single) [0:08:03.28]

09. Shout (US Dub Version) (12" Single) [0:06:48.23]

10. Everybody Wants To Rule The World (Urban Mix) (12" Single) [0:06:00.04]

11. Mothers Talk (Beat Of The Drum Mix) (12" Single) [0:08:58.22]

12. Broken-Head Over Heels-Broken (Preacher Mix) (12" Single) [0:08:04.03]





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THE ALLMUSIC REVIEW

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Review by Stanton Swihart



If The Hurting was mental anguish, Songs from the Big Chair marks the

progression towards emotional healing, a particularly bold sort of catharsis

culled from Roland Orzabal and Curt Smith's shared attraction to primal scream

therapy. The album also heralded a dramatic maturation in the band's music, away

from the synth pop brand with which it was (unjustly) seared following the

debut, and towards a complex, enveloping pop sophistication. The songwriting of

Orzabal, Smith, and keyboardist Ian Stanley took a huge leap forward, drawing on

reserves of palpable emotion and lovely, protracted melodies that draw just as

much on soul and R&B music as they do on immediate pop hooks. The album could

almost be called pseudo-conceptual, as each song holds its place and each is

integral to the overall tapestry, a single-minded resolve that is easy to

overlook when an album is as commercially successful as Songs from the Big

Chair. And commercially successful it was, containing no less than three huge

commercial radio hits, including the dramatic and insistent march, "Shout" and

the shimmering, cascading "Head Over Heels," which, tellingly, is actually part

of a song suite on the album. Orzabal and Smith's penchant for theorizing with

steely-eyed austerity was mistaken for harsh bombasticism in some quarters, but

separated from its era, the album only seems earnestly passionate and immediate,

and each song has the same driven intent and the same glistening remoteness. It

is not only a commercial triumph, it is an artistic tour de force. And 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. [The deluxe edition, released in 2006, adds

seven B-sides, the non-album A-side "The Way You Are," and a dozen 7" and 12"

mixes.]





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SOME SONGS REVIEWED BY ALLMUSIC

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SHOUT



Song Review by Chris True



One of the most recognizable songs from the mid-eighties, “Shout” (along with

“Everybody Wants to Rule the World”) became Tears for Fears signature moments

(and became their second No. 1 U.S. single). For a band named after primal

scream therapy, writing a song that wanted to protest the madness going on

around them by,well, shouting, makes perfect sense. So in one respect, it’s

their signature song because it sums up the purpose of the band (up to that

point) so well. In another, its a signature song because of its utter

simplicity. Driven by its percussion track, “Shout” adds layer after layer as

the song progresses, but never strays from its purpose or gets weighted down by

complex structures. The melodies remain simple even in the solos, the production

never gets out of control. With “Shout,” Tears for Fears had found the most

direct way to create a call-to-arms song that would remain in the pop

consciousness for years.







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EVERYBODY WANTS TO RULE THE WORLD



Song Review by Stewart Mason



"Everybody Wants To Rule the World" sounds like an entirely different band than

the mopey British duo that recorded 1983's pretty but pained The Hurting. It's

big, and anthemic, and it sounds, for lack of a better descriptive term,

American. Clearly, this song was designed for one main purpose: to crack the US

charts in a big way, which it in fact did. Opening with a pealing guitar

curlicue (and featuring not one but two hard-rocking guitar solos), the song

dismisses the band's weedy synth-pop roots in favor of a more muscular sound.

The middle eight could come out of a Def Leppard song! Lyrically, the first

album's obsessions with Arthur Janov's primal scream therapy are jettisoned in

favor of a more elliptical set of concerns. Frankly, the lyrics don't come

together particularly well, but they sound good, and the chorus is a terrific

singalong. This is one of the best pure chart pop singles of 1985.







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MOTHERS TALK



Song Review by Stewart Mason



"Mothers Talk" is by some distance the most dated-sounding song on Songs From

The Big Chair, consisting as it does primarily of booming gated drum samples and

Fairlight orchestral stabs under a kind of half-rapped Roland Orzabal lead

vocal. It frankly sounds like a song that was half-written and added onto the

album at the last moment as a filler track. That said, however, it actually fits

perfectly on the album; coming at the end of side one, directly after the dreamy

"Everybody Wants To Rule the World" (itself the third mid-tempo song in a row),

the uncharacteristic urgency of the call-and-response vocals and Curt Smith's

constricted-but-funky bass line (think of Fear of Music-era Talking Heads)

delivers a much-needed jolt of energy to the album. After the record company had

pulled three big hits out of the album, some bright bulb attempted a more

"normal" sounding remix of "Mothers Talk" for US radio, but it was a complete

botch, reducing the song's already thin charms. This version is available as a

bonus track on some CD versions of the album.







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