Additional personnel: Oleta Adams (vocals, keyboards); Alan Griffiths, Tim Palmer (various instruments); Phil Palmer, Robbie McIntosh, Neil Taylor, Randy Jacobs (guitar); Mel Collins (saxophone); William Davis (piano); Mark O'Donoughue (Wurlitzer piano); Simon Clark, Nicky Holland (keyboards); Ian Stanley (keyboards, programming); Pino Palladino (bass); Manny Elias, Chris Hughes (drums, programming); Manu Katche, Phil Collins, Simon Phillips (drums); Ross Cullum (percussion); Caroline Orzabal, Sandy McLelland, Annie McCaig, Marilyn Davis, Steve Lange, John Baker (background vocals).

Producers: Chris Hughes, Ross Cullum, Tears For Fears, David Bascombe, Tim Palmer, Alan Griffiths.

Compilation producer: Mike Ragogna.

Includes liner notes by Jeremy Holiday.

Digitally remastered by Suha Gur (Universal Mastering Studios-East).

Personnel: Roland Orzabal (vocals, guitar, keyboards, programming); Curt Smith (vocals, keyboards); Oleta Adams (vocals); Randy Jacobs, Neil Taylor (guitar); Mel Collins (saxophone); Mark O'Donoughue (Wurlitzer organ); Ian Stanley (keyboards, programming); Manny Elias, Manu Katche, Phil Collins, Simon Phillips (drums); Chris Hughes (programming); John Baker, Caroline Orzabal (background vocals).

Audio Remixer: Bob Clearmountain.

Photographer: Retna.

British duo Tears for Fears debuted in the age of New Romantic synth-pop, and while their early output did share some superficial elements with the likes of Simple Minds, OMD, et al, they were always master craftsmen first and foremost, in terms of both songwriting and production. SHOUT: THE VERY BEST OF TEARS FOR FEARS kicks off with such early hits as "Pale Shelter," "Change," and "Mad World," which array the requisite early-1980s layers of synthesizers in such an artful way that one would be forgiven for regarding TFF as the Beach Boys of electro-pop.

It didn't take long for Curt Smith and Roland Orzabal to transcend the genre, though, and elegant melodic pop gems "Head Over Heels" and "Everybody Wants to Rule the World" are lush, timeless classics more akin to the contemporaneous works of, say, Prefab Sprout. Unsurprisingly, Tears for Fears survived well beyond the Reagan/Thatcher years, turning their attentions to ornate, decidedly Beatlesque efforts, their "comeback" hit, "Sowing the Seeds of Love," exemplifying the shift. Those who assumed the pair had all the longevity and stylistic range of Blancmange will be pleasantly surprised at the bounty on offer here.