The expanding year of 1984 had already some of the hottest new wave bands in America like Duran Duran, The Thompson Twins, The Pretenders, and The Human League. However, for a duo comprised of Curt Smith and Roland Orzabal, it was not in their path yet. The tadpole years from 1981 to 1984 showcased this scenario with their 1983 debut album, “The Hurting”. Releasing such Billboard Hot 100 flops like “Change” and “Mad World”, Britain would be their only successful and harmless path into being well-known in the world. “The Hurting” would feel like an independent recording for the duo since I feel like it could compare itself to Elvis Costello’s eponymous 1977 debut “My Aim is True” or Blondie’s 1976 self-titled debut.
One year later in 1985, Tears for Fears decided to record a follow-up to “The Hurting” simply called “Songs from the Big Chair”, deriving from a similar plot element from the 1976 horror miniseries “Sybil”. Comparing to their debut flop in 1983, Tears for Fears hit it obsessively huger than they would ever think. It is considered the album that would not only gain them as a popular name in the new wave era hitting number one in the United States, but also as a popular-known top 40 artist here. At that time, the duo established four smash hits off the album including two number 1 singles that would get played so much on many pop radio stations. (“Shout”, “Mother’s Talk”, “Head over Heels”, and “Everybody Wants to Rule the World”)
From what my mind perspective is on, I can see that some of my personal favorite new wave albums are The Pretenders self-titled debut and Frankie Goes to Hollywood’s “Welcome to the Pleasuredome”. Out of all of the new-wave albums I listened in full, this could arguably be my favorite new-wave album of all time. The reason being is because during on several Saturday car-trips to the movie theater with my dad, I always reference this album as my favorite in that genre. Sure there is Elvis Costello’s debut “My Aim is True” existing from the smooth and plain depths of heaven, but there is no competition for ME since it has such an exuberant library of moods as well as some commentaries on the conflicting sides of life.
The album (of course, like every other album starts with) introduces the listeners on the first side to their biggest smash hit, “Shout”, which encourages the listeners to simply explode our troubled and scared souls with pure honesty. The drum machines and keyboard arrangement by Roland Orzabal and Ian Stanley respectively feel the alarming heart beats to symbolize nervousness into the human souls. Then there comes probably the least memorable, but still great track called “The Working Hour”, which comments on a person adapting to a life that can perceive it’s society different. The greatest aspect of this song is the saxophone introduction that proceeds into a very realistic keyboard arrangement.
It goes into a more familiar and satisfying tone when “Everybody Wants to Rule The World” starts to play on its raw commentary on dictatorship in terms of being directional with the beginning lyrics, “Welcome to your life, there’s no turning back”. This song honestly never gets old when I listen to it because of its dance-worthy keyboard arrangement by Ian Stanley that just consistently pops through the album and speaks the 80’s decade as a whole. The album’s tone gets more hyperactive when “Mother’s Talk’s” chorus “we can work it out” evolves into another jiving dance tune from them although lacking human commentary.
Now this is where I make my strong argument since the rest of this album is truly spectacular to behold (although not relying on human commentary) starting off with a soft, beautiful ballad by the name of “I Believe”, written and sung by Roland Orzabal. It works as a calming method after the hyperactive and political tones of “Mother’s Talk” and “Shout” respectively on the first side with a soothing voice and flawless piano work by Orzabal. Following up that song is the fast-paced instrumental “Broken”, which incorporates little to no lyrics, revealing the passion I cherish about this particular song.
The album develops into a somewhat troubled love song called “Head Over Heels”, where the singer thinks he loves the woman, but thinks that he is wasting his own time to choose better things to do in life. This song once again speaks the 80’s with its fluid piano intro by Andy Davis, its “na na na na na” chorus at the end, and Orzabal’s consistent, impulsive vocals that fit the subjective emotion alone. Unlike the typical radio version of the song, the album version concludes with an epic, realistic live version of “Broken” to conclude the love song.
This is probably the best textbook definition of “saving the best for last” on an album because it will live up to the statement imperially. That would be the very underrated instrumental phenomenon, but with fateful minimal lyrics, “Listen”. When I encounter or even think about listening to Tears for Fears on Spotify, it would be either this song or “Everybody Wants to Rule the World”. Why? Because it represents and feels like a true 80’s icon. Any listener will never deny the powerful keyboard work by Ian Stanley nor the constant operatic vocals by Marilyn Davis signifying the respect of what this album fits into the 80’s decade.
This along with Purple Rain by Prince, So by Peter Gabriel, and Double Fantasy by John Lennon and Yoko Ono gains my respect in legitimate 80’s music with fluid instrumental work by Ian Stanley and Roland Orzabal, smooth vocal harmonies, and evokes so much strong commentary on the modern world with the first four tracks. It is such a broad achievement in many levels that in the aftermath, it will become untarnished by many listeners of the 1980’s.
Grade: A+
