Like Peter Gabriel’s So, which I wrote about recently, Songs from the Big Chair is one of those albums that feels like one cohesive suite instead of a haphazard collection of songs. One that I often use as key testimony is Songs from the Big Chair by Tears for Fears. I admit this take is heavily biased by the time in which I grew up, but there’s plenty of evidence I can stack up to make my case. I’ve been nothing if not vocal over the past few decades of my life that I firmly believe 1985 is the best year for music. My students couldn’t reconcile deep, introspective lyrics without an obvious, breathy delivery. For every Foreigner, there’s a Talking Heads, and for every Bryan Adams, there’s a Tears for Fears. For every Loverboy, there’s a Depeche Mode. Of course, both can exist at the same time. Depending on the ebb and flow of nostalgia, the early to mid ’80s are seen as either crass, hollow, and faddish, or as being an era of innovation, depth, and genius. They couldn’t imagine that this was the original. Students recognized the song, being more familiar with the Gary Jules version, but were repulsed by the faster pace and upbeat synth. I had one of many moments of feeling my age this year when just before class started, I played Tears for Fears’ “Mad World” for my students to go along with J.D.
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