Tears For Fears’ multi-platinum-selling second album, Songs From The Big Chair, will be reissued in multiple formats on November 14th, 2025 marking its 40th anniversary and celebrating its enduring impact.

Originally released on February 25th, 1985, Songs From The Big Chair became a global sensation, topping the US charts and spawning five hit singles: “Mothers Talk,” “Shout,” “Everybody Wants To Rule The World,” “Head Over Heels,” and “I Believe.” The album captured a perfect intersection of pop accessibility, sharp lyricism, guitar power, and new-wave innovation.

To mark its Ruby Anniversary, UMe will unveil a range of special editions, including a limited edition 2LP Transparent Red vinyl featuring the original unused artwork and tracks previously unavailable on vinyl, a 3CD deluxe set, a limited edition 1LP Coke Bottle Clear vinyl, and a limited 1LP picture disc.

The album’s influence cannot be underestimated and continues to resonate with new audiences. Everybody Wants To Rule The World has been covered by Lorde for The Hunger Games: Catching Fire and featured in Guardians of the Galaxy (as well as the Guardians of the Galaxy Cosmic Rewind ride at Walt Disney World), Despicable Me 4, and The Lego Batman Movie, among many others.

Side A:
1. Shout [6:32]
2. The Working Hour [6:31]
3. Everybody Wants To Rule The World [4:11]
4. Mothers Talk [5:06]

Side B:
5. I Believe [4:55]
6. Broken [2:38]
7. Head Over Heels [5:02]
8. Listen [6:53]

Tears For Fears managed to do an amazing thing with their second album. They had three of the biggest international pop hits of the decade in rapid succession in 1985. But instead of putting them in an album of easy to like pop songs, they placed them in a serious and complex album that explored darkness and ambiguity and one that was challenging to normal expectations as well.

How many artists would follow an exuberant and joyful number like Head Over Heels with a long, bleak, mostly instrumental number like Listen, which sounded more like something from Pink Floyd or the Alan Parsons Project?

But this was what made Tears For Fears a step above many other recording artists of their day. In an age of frivolity they came on with an earnestness and seriousness of purpose which was rare. Their first album, The Hurting, was absolutely bleak, a raw exploration of Roland and Curt’s troubled childhoods that included the original version of Mad World.

Early critics were quick to dismiss them as just another synth-pop band, and a mopey one at that, but it was clear to the public that there was more to them and the album reached #1 in Britain and produced three big hits in 1983. For some reason the American audience didn’t take to them at first, whether because the songs were too dark or from poor promotion by the label I don’t know.

Songs From the Big Chair was a giant leap forward for the band in every way. The first album really was almost all synth and drum machine, even if in service to dark lyrics. Here, to multiple synthesizers and drum machines they added real drums, multiple guitars, saxophone, and organ in many layers of sound.

There’s layers upon layers of things going on in the new sound of Tears For Fears, especially in numbers like Shout, The Working Hour and Head Over Heels. The music is more flowing and loose as well with jazz and R&B influences. Often it seems like they are accompanied by a great righteous noise, a swelling of instruments and sounds rather than instruments playing a melodic line. This would be the basis of their sound which would go even further into jazz and soul in the next album.

At this point Tears For Fears was a real touring band and Ian Stanley and Manny Elias were considered part of the group though Roland and Curt obviously occupied a more forward position. They had the ability to recreate all of their music live just like it was on the album, though this needed an extra guitarist, keyboardist and saxophone.

Ian was very important to the band at this time, and I don’t think he gets all the credit he deserves. Not only did he offer Roland and Curt free use of his studio, but even this late, most of this album was made there with producer Chris Hughes. He was important in creating the sound and at least gets some writing credits here.

Songs From the Big Chair is not quite a concept album, but it does seem thematically united. The lyrics are often a bit oblique and open to interpretation, but they often seem to he lost in indecision. The songs’ protagonist is unsure whether to believe everything will work out, or, as he also says, “I believe that it’s too late for anyone to believe.”

If he cries while he writes the words is it absurd or real? The album is full of moments like “Find out, find out, what the fear is all about” in The Working Hours and “I stop believing everything will be alright” in Broken. Yet the final lyric (in Spanish) of the album translates as “Birthday girl, everything will be alright”.

It’s not unusual for Tears For Fears that a dark or cynical lyric is cloaked in a bright melody. Pale Shelter (from The Hurting) sounds dynamic and upbeat despite its bitter words. The cynicism of Everybody Wants To Rule the World sounds like fun in its loping, flowing rhythm and big chorus.

Shout is full of anger but also hope that at least you can let it out and is positively hypnotic with its solid chant and its huge sound that keeps getting bigger. Tears For Fears was more about the sound to me than the lyrics anyway, which I usually had to see printed out to fully understand. The sound of Tears For Fears is usually very spacious, full of reverb, the musical equivalent of Big Sky Country. This is true whether it’s dark and deep like Shout or high and straining for the heavens like Head Over Heels.

The Working Hour is beautifully realized with its percussion and saxophones and has a pleading sound close to songs from The Hurting like Start of the Breakdown. Will Gregory’s saxophone is a very important part of the song and makes it different than any previous song of theirs.

Mother’s Talk is more of a rhythm piece without the strong melody that is usual for the group. It was a minor hit in the U.K. and in the U.S. in a remixed version. It seems like a bit of a throwback to The Way You Are. I Believe is a quietly jazzy meditation on uncertainty that could almost work as lounge music if it had a more typical love lyric.

The album’s finale is a trilogy of songs of wildly different moods played without a real break with Broken and Head Over Heels sharing melodic material. Broken is fast, frenetic and jagged, and a bit like something Yes might do. It includes the theme which opens Head Over Heels while Heels ends with a repeat of Broken’s central section; they also share the line, “Funny How Time Flies”.

This is something more prog-rock than synth-pop or new wave and this tying together of the three songs was usually kept together in live performances. Then comes the real surprise. Instead of a big, positive anthem of a song, Listen is a bleak, almost minimalist instrumental riff which includes a brief opening lyric referring to an atomic war in Russia sung to jazz chords. This was a really gutsy way to end an album. I’m sure the label execs must have argued against it. But that’s Tears For Fears, always full of surprises.

It’s rare that an album this creative is as popular as Songs From the Big Chair. It was the album of the summer in 1985, sold five million copies in the U.S. alone and about ten million worldwide.

Side C:
1. Shout (Alternative Mix) [5:08] (First time on vinyl)
2. The Working Hour (Piano Version) [2:08] (First time on vinyl)
3. Everybody Wants To Rule The World (Alternative Single Version) [4:21](First time on vinyl)
4. Mothers Talk (Early Mix) [4:39 (First time on vinyl)

Side D:
5. I Believe (A Soulful Re-Recording) [4:42]
6. Broken (Demo) [5:39] (First time On vinyl)
7. Head Over Heels (Hughes 7" Edit) [4:16]
8. Listen (Clean Intro) (First time on vinyl)

Official Purchase Link