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Sweet Dreams (Are Made Of This)

Eurythmics

1983

Sweet Dreams (Are Made Of This)

Album Summary

Sweet Dreams (Are Made of This) is the second studio album by British pop duo Eurythmics, released on 4 January 1983 by RCA Records.

Wikipedia

Rating

3.18

Votes

5735

Genres

  • Rock
  • Pop
  • New Wave
Reviews
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Thu Feb 25 2021
2

Sweet dreams the song is a timeless classic, the rest of the album is not, it drags a lot and the spanish song is just shameful

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Tue Mar 22 2022
3

The album has some good moments, but the vibe is somehow not quite right. With synth as the key instrument, it takes some magic to make music that sounds human. Hopefully, there will be examples of European new wave on this list too!

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Fri Feb 05 2021
5

LOVE LOVE LOVE! Big fan of the Eurythmics and enjoyed the album.

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Sun Oct 24 2021
5

Ace, early 80s synth-pop and dance. Always enjoyed this LP. Jennifer is haunting and great. The singles are rightly smash hits. Awesome album.

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Fri Dec 31 2021
5

I would go as far as a title it the music that defined the 80s and was ahead of its time at the same time, and that's even without taking "Sweet Dreams" song

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Thu Jan 14 2021
4

Vocals and electronic music makes this one a classic.

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Fri Mar 26 2021
4

In 11th grade my video production teacher gave me the keys to his Mercedes to run an errand and this album was in the CD player. Shout out to Mr. Fix, the coolest teacher.

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Sun Aug 15 2021
4

“Sweet Dreams (Are Made of This)” by Eurythmics (1983) Even if we set aside the popularity of the title track, this album stands on its own as a fine musical production. It’s best heard from start to finish, noting the fittingness of the attention-grabbing opening track (“Love Is a Stranger”), the LP-flipping start of side two (“Sweet Dreams”), and the wistful goodbye of the closing track (“This City Never Sleeps”). The cohesion is in the sound. It’s wonderfully constructed. Annie Lennox is a first rate lyricist, presenting intriguing and unsubtle metaphors that bring the listener to well considered conclusions. She knows not to overwork the images. An example is the didactic line (in “Sweet Dreams”) “Everybody's lookin' for something”, followed by a compelling explanatory quatrain that sounds like it burst into her consciousness after a fresh reading of Aristotle’s Categories: Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused As a progressively potent breakdown of the relationship between universal desires and the listener’s role in their fulfillment, that about covers it. But what questions remain! What feelings haunt! The grooves are dominated by synthetic bass lines that drive from the basement and provide a (usually dark) background for freshly gathered sonic bouquets. Dave Stewart is a masterful composer/producer. Lennox has a fine voice, with exceptional contralto range that is notably powerful on the low end. And while dubbing melodies in three octaves (“The Walk”), she still has room for soaring descants. Freddie Mercury comes to mind. Choral directors salivate. This album is proof positive that synth and pop can be excellent music. 4/5 (almost a 5)

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Thu Apr 08 2021
3

Very nice. We grew up with hits from Eurythmics and Annie Lennox, especially "Sweet Dreams." I always enjoy '80s new wave, but it took me a few tracks to really get into this. The production is really solid, and Annie Lennox's vocals are always nice, but overall it wasn't as explosive as I expected. Maybe just because the hits like "Sweet Dreams" and "Here Comes the Rain Again" feel so big that some of these songs feel meek in comparison. But it's still a good project. Also, "Jennifer" sounds like a precursor to "Goodbye Horses" by Q Lazarus. That’s more than okay with me. Favorite tracks: Sweet Dreams, Jennifer, The Walk. Album art: I really like the different font choices, and the geometric shapes, but the picture in the middle is just way too small. It's comically large framing. 3.5/5

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Wed Jun 23 2021
2

I don't have that many thoughts about this. There isn't anything that really sticks out to me as memorable (outside of sweet dreams but i think that's just because it's famous) but I don't think that it's doing anything particularly bad either. Middle of the road for me. 2.5/5

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Mon May 24 2021
1

Each song feels like 30 seconds worth of material stretched to 3 minutes. Also, ever song except sweet dreams is musically boring, besides.

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Mon Feb 01 2021
5

Easy Listening in my opinion. I enjoyed this album while I was working

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Sat Mar 27 2021
5

Sim

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Fri Jan 29 2021
5

Childhood favourite - incredible

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Mon Jan 18 2021
5

Ahhh! Gotta love the Eurythmics. Such great music and an unbelievable voice!

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Tue Jun 15 2021
5

So cool, so good

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Mon Mar 08 2021
5

grew up with these tunes

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Mon Feb 22 2021
5

Fun and synthy - I like how versatile her voice is

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Tue Mar 23 2021
5

Belta

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Sat Apr 17 2021
5

Classic

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Sun Sep 19 2021
5

Es un must. Love Is A Stranger , Jennifer, Satellite of Love

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Tue Oct 19 2021
5

ну кароче мне зашло, даже чуть больше чем давид бови. Звучит разнообразненько, звук приятный

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Sat Oct 23 2021
5

Cracking bit of synth-pop, good, catchy tunes start to finish.

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Thu Nov 11 2021
5

Classic. Great music to zone out and drive to

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Wed Nov 17 2021
5

Es un must. Love Is A Stranger , Jennifer, Satellite of Love

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Fri Dec 10 2021
5

Incredible. I have tons of nostalgia for this album and Eurythmics in general, and this album absolutely delivers

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Thu Dec 16 2021
5

Great album , timeless!

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Mon Jan 31 2022
5

An old favourite that I used to enjoy dancing to with my sister when I was a child.

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Fri Feb 04 2022
5

Amazing

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Fri Feb 11 2022
5

One of the best of the 80’s…loved this ..really forgot how much I appreciated this album….dancing the night away..good music….back in the day

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Mon Feb 14 2022
5

Sweet album, actually forgot to do this cause listening to that. Club movie

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Fri Mar 04 2022
5

I deeply, madly love The Eurythmics and I feel they are severely underrated. To me they are THE sound of the 80s. One of my first real musical memories is being in my Mom's Honda Civic, hearing "Sweet Dreams" come on the radio, and being completely hypnotized by it. I can even remember the street we were on. As dark as this album tends to be, I associate it very strongly with my childhood. It is definitely where my fascination with electronic music began. I have always admired the way The Eurythmics combine cold, dark electronics with warm and soulful elements - Annie Lennox's incredible, shape-shifting voice being the warmest and most soulful element of all. It's an approach that seems like it would be easy to replicate but honestly I don't know if I've ever heard it better than on this album.

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Sat Mar 12 2022
5

geðveik

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Mon Mar 28 2022
5

Wow, I loved this. I only knew the title track. This album reminded me a lot of Lady GaGa and I'm here for it.

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Tue Apr 19 2022
5

I still enjoy the ginormous hit and title cut off this LP, but I’ve also heard it so many times that I now tend to take its initial shock appeal for granted. It was helpful to revisit the song in the overall context of this excellent album. The lyrics, first of all, are haunting: ‘Everybody’s lookin’ for something. Some of them want to use you.’ Uh oh, my guard is up. ‘Some of them want to get used by you.’ Hmm, things are beginning to get a little weird. ‘Some of them want to abuse you.’ OK, now I’m downright uncomfortable. ‘Some of them want to be abused.’ Oh, my. If you just slowly read those five sentences, with the words emphasized in their proper places, it ought to make the hairs on your arms rise. Just as you’re trying to shake that off, Dave Stewart then gets his sulky rich synth hooks into you, and now you’re in his grasp. Until Annie Lennox reasserts herself to conclude the number with a powerful lead vocal melody, terrific backup harmonies, and even a surprising descant. The thing is, though, that’s just one great song dwelling within the company of others even greater. The LP opens strong with ‘Love Is a Stanger,’ ‘in an open car to tempt you in and drive you far away… Love is a danger of a different kind. To take you away and leave you far behind.’ Compelling lyrics, delivered with precise vocal harmonies, and accentuated with echoes and other effects. Dave is adept at these studio techniques throughout. It’s an agreeable pairing, these two. The next two songs feature a Latin infused electronica, ‘I’ve Got an Angel,’ followed by ‘Wrap It Up,’ an Isaac Hayes and David Porter composition, but I remember hearing it first from the 1960s soul duo Sam and Dave. (Three years following the Eurythmics, blues band The Fabulous Thunderbirds would also score a big hit from their cover.) The Eurythmics’ take finds Annie channeling the likes of Aretha Franklin, but again through the musical filter of purely synthesized accompaniments. The effect is rather interesting, too. It might immediately come across as somewhat dispassionate, but a deeper, longer listen will begin to reveal its soulfulness of a different breed. It’s an authentic union of modern electronic dance music with old school soul and R&B. But the birth is not a combination, where both are heard equally; rather, they mingle and mix together to create a whole new, third, creation: like yeast reacting to barley malt and yielding beer. Sweet Dreams is probably better accompanied with a very dry martini, but you get what I’m sayin’. By the time I was five songs in (still before the hit ‘Sweet Dreams’), I knew the album was both growing and growing on me. ‘The Walk’ is artfully arranged, and the dual play between Annie’s melodic, assertive femininity to Dave’s baritone background is tasty. ‘Jennifer,’ though (the song following ‘Sweet Dreams’), was this album’s real triumph. With the background sounds of an ocean breaking at midnight, the lyrics concern a girl/woman who is lost, and eventually found underneath the water. The music is perfect for this mystery. Are we talking murder here, or some kind of tragic accident? Tell me she didn’t take her own life? Questions unanswered that left me pondering hours later. Dave’s sparse, pounding synth beat is dynamically unsettling, then finishes with a high register synth solo effected by a strange buzz tone that sounds fiendish. By now, the last three songs were more than a confirmation of this LP’s ability to fire on all cylinders: ‘This Is the House,’ with Annie’s harmonies arranged and performed with creative brilliance, ‘Somebody Told Me,’ with a funky robotic ‘oh well’ refrain that builds in intensity along with the singer’s shock and mounting anger, and the conclusion, ‘This City Never Sleeps,’ with its successful transportation of the listener into the shared space of an overcrowded apartment in the inner city, and traveling among the desperate and poor in the ‘underground trains.’ The outro gradually stretched out to infinity, and when it faded, unresolved, I was yearning for more, but with a personal experience to reflect upon. Sweat Dreams accomplishes something that occurs, thankfully, from time to time in pop music- carving out a bit of a new path and inviting the rest of us to hop in for a little off-roading thrill ride.

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Sun May 08 2022
5

Maravilhoso!

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Tue Jun 14 2022
5

Great album.

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Tue Jun 14 2022
5

After listening to their debut effort I wasn't holding out much hope. I love Annie's voice (weapon) but found it had that repetitive dullness that colours so much euro-electronic stuff (that definitely includes the humdrum that is Bowie's Berlin trilogy). But they got their groove going in this one, retaining the experimental edge while truly displaying their rhythmic, melodic pop sensibility. Songs like Somebody Told Me have that hypnotic quality while being fun.

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Mon Jun 20 2022
5

Love the rythm and the instruments !

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Sat Jul 23 2022
5

I've been listening to this album for years now and it's always such a joy. Everyone knows Sweet Dreams, but there is a lot of other really great stuff on here (Jennifer, This is the House, Love is A Stranger). Really pure 80s perfection here.

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Wed Aug 24 2022
5

The ethereal beauty of Annie Lennoxs voice never ceases from taking my breath away every time.

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Thu Aug 25 2022
5

Better than expected. For once the title track isn't the best jam!

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Sun Aug 28 2022
5

Classic electro 80s sound

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Sat Sep 17 2022
5

Bangers all round , fantastic

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Mon Sep 19 2022
5

Wrap it up is so strange and I like it a lot. Fuck yeah. I was dancing down the street to Sweet Dreams. I really never got sick of this. It’s weird. It’s dancy. Good for them.

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Fri Sep 23 2022
5

Milestone... !

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Sat Sep 24 2022
5

cool

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Fri Oct 07 2022
5

It's a bit unfair to ask me to be objective since this is one of my all time favourite bands and albums. Annie and Dave. What a team! The greatest since Beauty and the Beast. I could listen to this all day. Perfect production and perfect New Wave Synth. And what a voice she has.

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Tue Dec 06 2022
5

Love it

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Wed Jan 04 2023
5

Annie Lennox slaps

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Fri Nov 20 2020
4

11/19 Great Synth-Pop album. Standout Tracks: Love Is A Stranger, Sweet Dreams (Are Made of This), Jennifer, This Is The House, This City Never Sleeps

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Tue Feb 23 2021
4

Fun

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Fri Jan 15 2021
4

Love them. .

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Tue Feb 23 2021
4

Loads of cool stuff here but the title track is so immense

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Thu Feb 04 2021
4

Solider 80er-Sound, Satellite of Love ist gut

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Tue Jan 26 2021
4

Enjoyed it a lot more than I thought. I like some of the weirdness of it, it's a unique album

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Thu Jan 14 2021
4

An old favourite, straight from the 80's. Intelligent pop. Annie Lennox voice is always incredible.

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Sat Jan 23 2021
4

Quintessential 80’s

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Fri Apr 09 2021
4

better than i expected. very listenable. nice word joe.

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Tue Jan 26 2021
4

Unapologetically 80s. So many great tracks on this with some concept/wacky stuff that holds up

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Tue Mar 30 2021
4

I don't like the song Sweet Dreams so I was shocked that I love the rest of the music on this album!

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Wed Jan 27 2021
4

A classic album with a couple songs I already own. Fun to listen to the whole thing.

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Fri Jan 22 2021
4

A very good classic. Sweet Dreams just blows me away every time

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Fri Jan 29 2021
4

Oh well, this is pure nostalgia for me! I basically grew up with this kind of music, being driven through foreign countries on the backseat, listening to this for hours on end because no one would switch the CD. I don't think I'd like it very much, if I listened to this today for the first time, so this review might be skewed by my past, but then again, the perception of music is always subjective. And what could be better than to remember the carefree times during childhood just by listening to a song?

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Fri Mar 05 2021
4

The titular song is the best, not super fussed otherwise

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Wed Feb 10 2021
4

Would give 5 if only some of the other songs than Sweet Dreams where as good buy, Sweet Dreams in it of itself carries the whole album, anyways it was very synth pop heavy, as expected

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Wed Feb 10 2021
4

Gran álbum desconocía por completo de quien era la canción, pero sweet dreams es el soundtrack de posiblemente una de mis escenas favoritas de los x-mens cuando quicksilver rescata a toda la banda.. Animoooo miercolitos ombliguito de semana

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Fri Feb 05 2021
4

I liked this ones! The first two songs I wasn't enjoying as much, but the more it got into the album the more fun I had listening to it.

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Tue Mar 30 2021
4

All good songs

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Mon Feb 15 2021
4

Very 80s! Lots of energy and synth sounds.

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Thu Apr 08 2021
4

Like their work.... a few songs I liked a lot but others I didn’t recognize .....seems to be filler for the LP....

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Tue Mar 02 2021
4

ooh don't mind if I do

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Tue Jul 13 2021
4

solid sound on classic album.

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Sun May 09 2021
4

Cleaned my car to this album was pretty groovy

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Fri May 21 2021
4

Great bops, endlessly catchy, sounds futuristic and retro at the same time

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Thu Jun 17 2021
4

The songs are fun and great head-boppers, but they don't build up to/don't stand up to the highs of the album, which they need to if the album is going to come together as a whole. It sometimes feels like the other songs are just filler for the killer hit of "Sweet Dreams," or the less killer but still really good "Love is a Stranger." That's not to say they're bad, just secondary.

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Wed May 26 2021
4

Najs!!

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Mon Aug 02 2021
4

Such a complete album.

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Wed Aug 04 2021
4

supercatchy 80s pop music. music to vogue to

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Wed Aug 04 2021
4

4/5. Surprised that I enjoyed this as much as I did. Standouts: Sweet Dreams, Love is a Stranger, Jennifer, This is the House, Somebody Told Me. I also enjoyed some of the bonus tracks.

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Fri Aug 06 2021
4

Aah, eighties nostalgia. Great opening song. Great titelsong. Some of the other songs are also okay.

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Sat Aug 07 2021
4

I knew of this band before but only really knew one song. The Sweet Dreams song is enough to carry the entire album.

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Thu Sep 30 2021
4

This is a pretty good techy sounding album. Obviously the popular song for which the album takes its namesake but it has a number of other good ones. 7/10.

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Thu Sep 30 2021
4

There are some really interesting electronic soundscapes on this album, which I was not expecting going in. Still, it was a bit low energy for my taste and many of the songs were just alright. 7/10

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Thu Sep 30 2021
4

7/10. Considered an 8/10, but not feeling generous today. Fun and synthy, short and sweet, would relisten to because most of the songs were solid enough and the opening and title tracks were quite good.

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Fri Oct 15 2021
4

I can imagine this being spun in an underground nightclub filled with typical 80s dancing young adults. I like that, though.

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Wed Oct 27 2021
4

Great band. Leave a couple of songs sounding in our minds.

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Mon Nov 01 2021
4

Very good.

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Tue Nov 23 2021
4

Liked it more than I anticipated and it got better as I kept listening. It didn't turn me onto synth pop as an entire genre but I enjoyed this album. Favourite songs: sweet dreams (of course), Jennifer, This is the house, somebody told me

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Thu Dec 02 2021
4

fun album, very electronic feel, i think they were pioneers? dunno. enjoyed it though.

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Thu Dec 02 2021
4

Refreshing and weird

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Mon Dec 13 2021
4

This is a really good album. Lots beyond Sweet Dreams, though that's a classic. It's 80s but doesn't sound dated. It's a keeper 4 🌟

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Wed Dec 15 2021
4

Nice sound with an all timer of a song on the album

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Fri Dec 17 2021
4

Big step forward from Kraftwerk!

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Sat Dec 18 2021
4

New waviest of the new wave.

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Wed Jan 05 2022
4

Done

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Sun Jan 09 2022
4

Great to hear this all the way through. Some surprises along the way. Interesting how Sweet Dreams REALLY stands out among the album

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Sun Jan 09 2022
4

80s synth pop album that still sounds amazing in 2022.

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Mon Jan 17 2022
4

The eighties were a very, very strange period for music. In only a very few years whole paradigms were turned upside down, and this under a twofold influence: technology and business. Overreliance on the first and obsession about the second created overall aesthetics and atmospheres so representative of that period that, apart from the sixties, no other decade can boast being so instantly recognizable on the merits of its *sounds* alone. And this for better or for worse. During those early eighties, just as Eurythmics was conquering charts worldwide, it's for instance worth noting that even someone like Neil Young was busy using synths and vocoders (see the much maligned and frankly misunderstood *Trans*), and this mere anecdotal footnote here speaks volumes. The times they had-a *really* changed in those years. But probably not in the ways good ol' Bob had expected.  Contrary to Neil Young, Eurythmics were typically "eighties" from the get-go, and that's a *huge* difference between the two, of course (one among many). By the time of their second album *Sweet Dreams (Are Made Of This)*, the duo had indeed fully embraced the schlock, glossy world of fatty synth bass lines and other electronic-driven pulses and would never fully depart from it, even during the nineties. But *there* was also a peculiar twist, a paradox of sorts, because Eurythmics had actually only embraced the clichés of their day and age so as to better reinvent songwriting tropes from far earlier periods, namely the ones of the good old rhythm 'n blues of days yonder. At least, that was the plan. To counterbalance the increasing power of the machines, the solution Annie Lennox and Dave Stewart found out was to inject *soul* into the 'popular mechanics" of their time, even though such "soul" could turn up being totally unrecognizable in those brand new, icy whereabouts. When replicants in *Blade Runner* claim they have their own 'souls', and that they are therefore as 'human' as you and me, there's more than a few eyebrows raised in response. It's the sort of eyebrows that Lennox and Stewart's band are still raising today, especially now that the eighties are far off into the rearview mirror.  They were certainly not the only ones to step on that tightrope line in those days. In the U.K. dance scene, Soft Cell's legendary cover of "Tainted Love" had used the same mash-up of electronics and African-American, tried-and-true, melodic lines. But Eurythmics's version of that formula was a whole other level of complexity. Annie Lennox's diaphanous timbre and androgynous presence were not just masks or disguises in plain sight, only *pretending* to hide the obvious rhythm'n' blues influences of her voice inflexions. They were also an ambiguous statement about cultural appropriation and simulacrum. Music once considered "warm" or even "hot" was turning into its own *cold* self-conscious copy. It was *whitened*, in all senses of the word. And it seems audiences just took a lot of pleasure out of this without asking too many questions. In a way, Lennox's almost superhuman abilities on a technical point of view, like when she adlibs soulful pleas and performs other risky voice tremolos, only reinforces that initial ambiguity between (wo)man and machine. What do we have here? A genuine soul singer with flesh and bone? Or a robot only pretending to be one? Do androids dream of cybernetic Aretha Franklins? Not even Philip K. Dick or William Gibson had answered those queries before... Let's just address the electric elephant in the room, once and for all. As overplayed as it is, "Sweet Dreams"--that bouncy title track everyone has hummed under the shower at least once--still sounds superb today. But the apparent simplicity of that hit belies the fact that the song is first and foremost the epitome of the paradoxes spotted up there. And that at its core, it's part of that "Tainted Love" tradition of expressing doubt or heartbreak in such a lively manner (while not plagiarizing the full on minor-key vocal line of the old Gloria Jones hit, there's definitely a similarity in its "Sweet Dreams" equivalent). So if f the track works so well, it's because of those rhythm 'n blues influences first, as is the case in most of the less famous cuts in the album. The great synths sounds, drum-machines, and overall "programming" are just cream on the cake. Excellent cream, but cream nonetheless. The only problem with this track and its place on the album is that it is like a large tree hiding a whole forest. Indeed, if Eurythmics's second effort still holds up relatively well decades after it was released, it's for one reason only: the songwriting. Strip *The Walk* of all its trimmings, for example, electronic or otherwise--yes, even the horn section and that mellifluous trumpet solo at the end--and what you have here is basically a good PJ Harvey song circa *Stories From The City, Stories From The Sea*. Just imagine a different "rock" instrumentation on its verses, and the ressemblance is simply striking. Likewise (but conversely in a chronological point of view), final track "This City Never Sleeps" is nothing but a barely-veiled homage to Marvin Gaye's "Inner City Blues", with its hypnotic bassline supporting lyrical snapshots of urban melancholy and destitution. What links those two very different reference points (PJ Harvey and Marvin Gaye) is inspiration from the blues and nothing else. And it's an inspiration that a synth-driven act like Depeche Mode will use only quite a few years later compared to Eurythmics. So they knew what they were doing here. Other strands of black music run throughout the course of the album. The use of echoes and reverb in "I've Got An Angel" is drawing its inspiration from dub, and it's a move that feels like a weird, off-kilter way to explore the same paths Massive Attack would step on fifteen years later, musing about other sorts of 'angels'. And in "Somebody Told Me", Lennox even... raps (!), and the outcome of this experimentation is definitely not as ridiculoius as it may sound on paper. Add other decent tracks like that, plus a fantastic Kraftwerk-like, minimalistic opener ("Love Is A Stranger"), and the whole proposition holds the proverbial water like no other Eurythmics record. Speaking of water, don't miss that mesmerizing dark reverie about a drowned girl veering towards This Mortal Coil's goth territory. The girl is named "Jennifer", but she could as well have been named 'Ophelia'. There are only two duds in the album: first another Kraftwerk-inspired track, a cyberpunk cover of Sam And Dave's "Wrap It Up", which might read like an interesting or even daring idea on paper, except that it's not when you're hearing the final clunky results. And there's also "This Is The House", which sounds like a reject from The Talking Heads post-*Remain In Light*. it actually says a lot about the 'Heads that the line between success and failure when it comes to such "white funk" forays is so... thin. But the study of this thin line will surely come in its own time... The point is that if a band like the Talking Heads is enjoying such a raving critical status today, I don't see why another act like Eurythmics couldn't be redeemed as well, at least partly. So the *ideas* behind those failed experiments in the album might have been worth it and you can't blame the band for trying a little too hard. Unfortunately, they are the sorts of ideas that will increasingly come to Lennox and Stewart's minds after *Sweet Dreams...", and there again, the execution will produce many mixed results, actually far more than on this second LP. There will always be a couple of great, catchy tracks and singles to redeem those failures, but nothing that will *wholly* save any of the subsequent records. Replicants always have an expiration date, and for some non-fans, 1983 was maybe the date Eurythmics should have been "retired" by a disgruntled Rick Deckard policing good music out there. Given that it's the exact same year our endearing Roy and Pris of eighties pop broke out with *Sweet Dreams...* (and also *Touch*, released the same year), it seems that, creatively speaking at least, 'replicants' appear to have an even shorter life in reality than the ones they are enjoying in Sci-Fi flicks. You just can't always 'replicate' souls, Annie and Dave, you need to have ones of your own, too. Skills, influence or production values won't necessarily give you one. There are things that all the money in the world can't buy, even during the eighties.

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Thu Jan 27 2022
4

Relevant as used to see Dave Stewart a lot in Harringay Arms in Crouch End neighbours want to shut due to noise (the NIMBY morons). It's a great breakthrough album, little filler and Annie Lennox's voice is iconic

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