Rick Beato’s “What Makes This Song Great?” series takes a deep dive into the musical genius behind Tears for Fears’ classic hit “Everybody Wants to Rule the World.”

Released in 1985 on the album *Songs from the Big Chair*, the track was produced by Chris Hughes and written by Roland Orzabal, Ian Stanley, and Hughes. Kurt Smith provides the iconic lead vocals, but it’s the combination of songwriting, arrangement, and production that makes this song stand out.

The song opens with a distinctive D major arpeggio, setting a bright, uplifting tone. The guitar soon joins with a signature riff that recurs throughout the track, instantly recognizable to any listener.

Beato points out that the song is tuned slightly sharp—likely a result of speeding up the master during mixing—so musicians wanting to play along should adjust their tuning accordingly.

The groove is built on programmed drums and a synth bass, both of which sound impressively tight and organic for the era. The rhythm has a triplet feel, but the song remains firmly in 4/4 time, giving it a unique bounce. The bass and drums lock in perfectly, creating a solid foundation for the rest of the arrangement.

Keyboards play a crucial role, providing harmonic color and movement. The intro features two chords over a D bass note: A/D moving to G/D, adding richness and anticipation. The long instrumental intro was typical of the time, allowing the song to breathe and build before the vocals enter.

Beato highlights the clever use of melody, describing an “A/B” structure where the first and second halves of the verse melody differ, keeping the listener engaged. The chorus arrives quickly, with no pre-chorus, and features a memorable hook. Harmonically, the verses use D major 7 and D major 9 voicings, while the chorus moves through E minor, F# minor, G, and A, with the harmonic rhythm doubling midway through to create momentum.

A subtle but powerful technique in the arrangement is the keyboard doubling the vocal melody, reinforcing the hook and adding emotional weight. The guitars alternate between sustained “diamond” chords and muted strums, giving the track both texture and drive.

After the first chorus, a guitar interlude introduces a new melodic motif, and the second verse features a syncopated keyboard rhythm that propels the song forward. The second chorus is distinguished by a syncopated guitar figure, changing the feel and adding variety.

The bridge brings in heavier guitars and, for the first time, vocal harmonies. This section is followed by an extended instrumental bridge, rare in modern pop but common in the 1980s, allowing the song to develop and breathe.

The instrumental bridge features new chord changes and a tasteful guitar solo, with the bass shifting to longer notes and breaks for dynamic contrast.

As the song returns to the final chorus, a high-register guitar lick adds excitement, and another guitar solo leads into the fade-out. Throughout, the arrangement is deceptively simple yet masterfully crafted, balancing repetition and variation.

Beato concludes that what makes “Everybody Wants to Rule the World” great is its combination of memorable melodies, sophisticated yet accessible harmonies, inventive arrangement, and space for the music to breathe. The song’s timeless appeal lies in its ability to sound fresh and engaging, even decades after its release. By dissecting each element, Beato reveals the artistry and attention to detail that elevate this track to classic status.