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Songs From the Big Chair 1985
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Songs From the Big Chair

When Tears for Fears set out to create their second album, Songs From the Big Chair, released in February 1985, they were looking for a sound that moved away from the darker introspection of their previous work. The result was a more polished production, with a notable presence of guitars and a broader sonic palette that incorporated diverse influences. The lyrics, handled by Roland Orzabal and Ian Stanley, began to explore themes with a more marked social and political awareness. This shift in focus led to an album that resonated strongly, reaching number two in the UK and the coveted number one spot in the United States, establishing itself as their most successful studio album to date and achieving multi-platinum sales in several territories.

Year
1985
Songs
9
Duration
41 min 50 seg
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About the album

Songs From the Big Chair, according to DoReSol

The album title, Songs From the Big Chair, originated from an idea by Curt Smith, inspired by the 1976 film Sybil. The story of a woman with multiple personalities, who only felt safe in her therapist's "big chair," served as a metaphor. For Smith, this represented both the distinct facets of each song and a response to the British music press, whom they felt had treated them hostilely. This duality is reflected in the music, which was recorded in the band's own studio, The Wool Hall, throughout 1984. Songs like "Shout" and "Everybody Wants to Rule the World" became massive hits, topping the charts in the United States and reaching the top spots in the UK. Other tracks like "Head over Heels" and "Mothers Talk" also had significant international impact.

The gestation of Songs From the Big Chair began in 1983, with tracks like "Mothers Talk" and "Head over Heels" already being performed live. The production, overseen by Chris Hughes, who had previously collaborated on their debut album, extended over eight months, including a month of mixing in Germany. The recording process for singles like "Mothers Talk" and "Shout" was particularly laborious, consuming half of the total production time. Despite initial criticisms that sometimes compared the band's sound to other British offerings, the album was praised for its lyrical honesty and its more exploratory nature, leaving a lasting mark on 1980s music.

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