Tears for Fears' 1985 album Songs from the Big Chair is full of timeless synth-laden pop hits, combining stark poetry with slick production, the album's biggest hit was a last-minute addition titled Everybody Wants to Rule the World. Initially titled with Run instead of Rule, the song went on to blitz charts everywhere and has remained a classic of the 80s synth era. The duo, consisting of Roland Orzabal and Curt Smith, were primarily songwriters, and the album's tight production was a result of utilising at-the-time brand new technology, as well the duo's perfectionism. Everybody Wants to Rule the World was one of the simpler tracks off the album, mostly made up of MIDI programmed tracks, with the only organic elements being guitar and vocals. For more information on the hardware used in the recording of Songs from the Big Chair, check out my previous article on Shout.
Rule the Prophet
One of the composition's central musical ideas is the synth chord stabs, which outline the harmony as well as providing call-and-response interplay with the verse vocals. The part was likely recorded on the groups Prophet-5 synth, a powerful 80s polysynth famed for its lush sound.
Near the end of its [Shouts] evolution, Orzabal walked into the studio and played two simple, chimey chords on his acoustic guitar. He didn't give them much thought, yet he couldn't stop playing them. “It's nothing,” he told Hughes. “It sounds a bit like [the Simple Minds song] ‘On the Waterfront.’” Those two chords became the foundation for “Everybody Wants to Rule the World.”
The patch itself consists of two detuned squarewave oscillators with some subtle filter modulation. A great software version of the Prophet 5 is Arturia Prophet V, which can recreate the sound quite well. In Arturia Prophet V choose with the template preset Pro5 2 Osc, which gives us a simple two oscillator patch to start working with. Switch both oscillators from the default sawtooth waves to square waves, and move Oscillator A & B's PWM (pulsewidth modulation) knobs to 0.30 and 0.75 respectively to create the sharp, almost metallic oscillator sound.
Now move to the filter section, and set the filter cutoff to 10 o'clock, the resonance to 9 o'clock and keyboard tracking all the way down. Now we want to control the filter cutoff over time using the envelope, so raise ENV AMT to 4 o'clock and set the ADSR envelope with no attack, decay just below 3 o'clock, sustain at 9 o'clock and release at 11 o'clock. Experiment with these envelope attacks to see what works best for you, and if you're following this using another synthesizer then definitely experiment with envelope settings. The most important elements are the low sustain and long decay, as they have a big influence on the brightness and length of the sound.
Now add some subtle LFO modulation to the filter to give a wobbly sound once the chord has begun to fade out. On the Prophet-V the only way to control modulation amount is using the mod wheel, so raise the mod wheel until the value at the bottom left is 0.06. Make sure that only FILT is activated under the Wheel-Mod section, set the LFO shape to triangle and raise the LFO rate to the 2 o'clock mark. Process the track with a small amount of reverb and you're done!
Rule the Bass
The bass synth is a complex patch that was created on a PPG Wave synthesizer, an early wavetable synthesizer great for metallic basses and interesting digital sounds. A wavetable synth refers to a synth that can use sound sources called wavetables as the sound source, instead of just traditional oscillators. This allows timbral possibilities that traditional subtractive synths just aren't complex enough to produce. The sound can be approximated in other synths with wavetable capabilities, and it just so happens that Arturia Prophet-V has a wavetable mode! Clicking VS at the top-right of the interface switches the synth to VS mode, an emulation of the Sequential Circuits Prophet VS, a wavetable synth from the same makers of the Prophet-5 synth.
In Arturia Prophet V, start with the template ProVS 2 Osc Structure, and change Oscillator B's wavetable to 087: hack3. Then, to fatten up the sound considerably, go to Audio/Effects, turn on Unison mode, and raise detune to just over halfway. This starts us off with a complex oscillator sound suitable for guitar-y bass sounds.
Now we want to add a plucking effect, which we'll do using the filter envelope. Lower the filter cutoff all the way and lower ENV AMT to halfway. Then go to Filter Envelope and set up an envelope with a short decay and no sustain, by lowering the volume and time of Stage 2 to 0 and 433 respectively, as shown below. Process with some light saturation to add some drive to the track, and that's the basic patch done.
There is also an octave-up part layered with this bass part that makes the bass part sound a lot fuller in the mix. It's pretty wood-y sounding and could've come from the PPG Wave, or possibly a Yamaha DX7. I recreated it closely in Native Instruments FM8 but the patch ended up being really complex. For anyone who knows their way around FM8, you can see the operator settings I found worked below, otherwise just layer the same Prophet VS patch an octave up and tweak the decay time to be shorter to get a good layered patch that sits well an octave above the original bass patch.
Rule the Drums
The drums are a major driving force of the song, giving it a bouncy groovy that sounds natural despite being from a drum machine, or rather a variety of machines:
Hughes programmed most of the drums on “Everybody Wants to Rule the World.” They borrowed the snare drum sound from “Shout” and pitched it up. The hi-hat and shakers came from the LinnDrum. The kick drum sound came from the Fairlight CMI.
Although the original vintage drum machines used in the track are now hard to find, all of them have been sampled for use in the digital age. I did some digging around in my drum sample collection, mostly downloaded for free from various online sources, and managed to come up with a couple of samples that sound like the original sounds from Everybody Wants to Rule the World. I only struggled with the snare, which is the snare from Shout pitched up. The original snare sound on Shout comes from the Emu Drumulator with the rock drum setting, and although I found similar samples, I didn't find anything that sounded exactly the same. Check out the different layers in action:
Putting It All Together
“It's probably the most straightforward recording on the record,” adds Hughes. “Other tracks were recorded to two 24-tracks, then we would do edits on tape, and any piece of technology that could have gone wrong or held us up probably did. But ‘Everybody Wants to Rule the World’ was so simple and went down so quickly, it was effortless, really. In fact, as a piece of recording history, it's bland as hell.”
Lastly, hear the recreated tracks all together. I used minimal EQing and reverb, but for the most part the tracks compliment each other so well there's little need for lots of mixing.
Thanks for reading, this article took a while to come together but was worth it in the end! Check the link below to download the Arturia Prophet-V patches to use for yourself.