In the Garden (1981)
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English Summer 9.5/10
Even though I’ve never experienced an English summer, I still kind of identify with this song. (In spite of the fact I spend most of my summer cooped up in an air-conditioned room.) … This is a rather expressive song for a synth-pop band! … Oh wait, this was before they were popular. Only bands that don’t want to be popular can do stuff like this, I guess. The melody isn’t very complex here, but it’s almost soothing in how it repeats. (Also, the bass-line is sa-weet.)
Not too far off from popular-version Eurythmics, except the drums aren’t that loud. The melody is about as solid as the Eurythmics were ever able to pull off (and, believe me, I’m in love with a lot of their melodies). This song, not only features a nice groove, but a very sleepy (and alluring) vocal performance from Annie Lennox. This seems as if Lennox was of the gods.
Take Me To Your Heart 9/10
Very nice! Again, these songs don’t seem to have much self-importance (which is something that characterizes this lesser-known debut release from the pop-superstar turn this band would take the next year), but it’s a solid composition, a nice groove, catchy tune. … I like it!
She’s Invisible Now 9/10
With a little more heavy synth layers, this might have made a totally valid new age song … even though new age wasn’t quite invented yet. The melody sounds rather loose and made of liquid. … It’s aesthetically pleasing and Lennox’s voice is fantastic.
Your Time Will Come 9/10
Sweeeeeetttt! This is another nice, sleepy song from the Eurythmics people. Again, it doesn’t carry any smugness or self-importance with it … it’s just a solid tune. Lennox, whose voice is overdubbed over itself, provides some nice, pure moments in here.
Caveman Head 8.5/10
Most of these songs repeat the same melody lines over and over again. This one is no exception, but it does that almost to a fault. … Despite that, the song is perfectly listenable … and it continues to intrigue me that this album was actually made by the Eurythmics. … I always knew they had lots of talent, but … dude … this album’s, like, awesome in a totally non 80s MTV superstar way.
Never Gonna Cry Again 10/10
…Just add a really loud drum, more pronounced (and synthesized bass-line), and this would have been a perfectly good Eurythmics hit. The melody (not one of the ones that just repeat a lot) is very very very good. The instrumental interlude (consisting of flute-like instruments) is very pleasant (and something this band won’t do much of again). The instrumentation of this song, in particular, compliments the song perfectly. I’m glad they didn’t save this song for Sweet Dreams!
All the Young (People of Today) 9/10
The song is slow, but the chorus (while never ever showing signs of being self-important) is rather glorious in its reserved way. The instrumentation is quietly chaotic, making this yet another sleepy piece of pop-art.
A disco beat! … Oooooo!!! … The rhythm might be more pronounced on this song (again, the rhythm will be EXTREMELY pronounced on their following albums). Annie is singing in a weird language. … Almost sounds like she’s singing a nursery rhyme. A nice song … it’s not among the album’s strongest, but … all of these songs are pretty freakingly strong.
A great song to close with! (They also had an album called Revenge interestingly enough … I’m not sure if there’s any real connection other than that.) The melody is extremely good, the bassline chugs along very pleasantly … Annie Lennox’s voice is as angelic as ever … oy! Everybody should love this song!
Sweet Dreams (Are Made of This) (1982)
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Love is a Stranger 10/10
Ooooooooooo!!!!! Listening to songs like this reminds me that the 80s pop wasn’t crappy! The instrumentation (using some half-conventional, half-eccentric synths) is fun and not as monotonous as synth-pop can be. The melody is smooth, catchy and not repetitive like other such songs. A minor masterpiece!
I’ve Got an Angel 8.5/10
Still kinda awesome, but not as unquestionably cool as “Love is a Stranger.” The song is very dark and, in a way, atmospheric. You know, you might conceivably picture the song to take place in the dark city streets. It’s well done … there’s nothing wrong with that!
Wrap it Up 8/10
A regular pop song … stylistically, it’s not much different than “Love is a Stranger,” except the melody isn’t so decidedly alluring! It’s awesome and cool, but … eh! This is an averagely good song.
I Could Give You (A Mirror) 9/10
…Dude… don’t give me a mirror. Someone should have given Annie Lennox a mirror when she got her haircut, because her bozo barber gave her a dude’s haircut! Whatever happened to gender identity, the very foundations of our society? … Another “I’ve Got an Angel”-like dark song … except it has a better melody this time. Pretty good. It ain’t no hit, though! … I mean, what’s the Eurythmics without the hits? … (I’m actually quite enthralled that their non-hits are pretty much works of art. How many synth-pop duos who 80s teenagers listened to ever did that?)
The Walk 9.5/10
This song is so cool it hurts. What’s more? It doesn’t particularly sound dated! … Sweet! … (Okay, we all know this was 80s synth-pop, but … dude … kids today can listen to synth-pop … they might even enjoy it.) Such a cool groove, Mr. Lennox sings a hooky melody, and the horn-solo at the end of this isn’t cheesy whatsoever. This is synth-pop for the ages. Dudes.
Sweet Dreams (Are Made of This) 10/10
…Oh yeah… The BIG SONG! The SONG THAT PLAYS ON THE RADIO A LOT! The SONG THAT REMINDS US THAT YOU SHOULDN’T TRY RHYMING WORDS THAT DON’T RHYME. (This is the textbook example of trying to rhyme words that don’t rhyme … they couldn’t even use their British accent as an excuse … “Dreams” and “This” don’t rhyme no matter how weirdly you talk.) Despite that, this song is awesome and I could list about 10,000 songs that commonly play on the radio that are worse than theeeeeeisss. Hoooky song, cool synth-pop groove, Annie’s voice … clazzzzik.
Most commonly known as the song that comes after “Sweet Dreams (Are Made of This)” … well, that’s what I thought when I bought this CD in the dark ages … back when I was a Styx fan and hated “Graceland” by Paul Simon. But just because I was (and still am) a total idiot, doesn’t mean I was wrong to like this song back in 2001. THIS IS A GOOD SONG! … This song is so weird that it takes me to an entire different planet where there is this extremely babelicious alien-woman name “Jennifer” walking around. The synth-scapes are quite unusual and awesome.
This is the House 9.5/10
…Okay, this song is 80s … and it sounds dated … but it’s still pretty freaking awesome! Danceable groove, good horn-stuff … um … nice drum machines … A good super-cool song. Seriously, nothing can be cooler than the Eurythmics on this freaking album.
Somebody Told Me 8/10
Kinda awesome … kinda half-baked … still cool. I don’t think any other decade in the future can measure up to the 80s in coolness. Won’t happen. The Eurythmics are even cool when they suck.
This City Never Sleeps 7/10
Um… Another one of those atmospheric dark things … Again, these guys are hardly boring, but … it’s not super-cool or anything … and at 6.5 minutes, it kinda overstays its welcome. Well, even the super-cool people don’t have everything going for them all the time. When I was in high school, the super-cool people had a lot going for them, but … nothing like knowing the inner-workings of programming languages and chess strategies (or RPG’s nowadays … I guess … dudes, I’m only 22 and I’m already out of date).
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Here Comes the Rain Again 9.5/10
A hit! … And it’s a good one, too (granted, it’s not their *best*). They not only have the whole synth-pop thing going (with that slick’n’cool synth-bass line) but they had the awesomeness to put some nice fakey violin in here, too. Not only that, but the melody is catchy. What else do you need? … I mean, I wish that Annie Lennox didn’t look so scary on the album cover, but … at least she doesn’t have Arnold Schwarzenegger muscles.
This song is kind of neat and cool in a rather understated way. The groove is totally 80s pop, but it’s unusual enough to be interesting. That being said, the melody isn’t exactly instantly memorable. Or maybe that’s only because melody isn’t actually the point of this song … it’s the weird groove. Anyway, I’m sort of borderline about this. It’s only kinda entertaining.
Right By Your Side 9/10
…Well, you definitely can’t say that the Eurythmics’ only goal in their career was to make radio hits. Otherwise, they wouldn’t even try things like this song (and their previous one for that matter). This one features a very Caribbean feel with some nicely-programmed steel drum synths. I enjoy the melody and Annie’s certainly having fun singing this one. Songs like this can easily be misfired if the artists aren’t fully sure what they want to do (see ABBA’s early albums for instance), but it actually works well here because the Eurythmics really put some genuine effort in it.
Cool Blue 8.5/10
Definitely fashioned more as an 80s radio pop hit. It can’t hold much of a candle to the pop classics of their previous album, but this is a fine effort, anyway. A snappy synth-pop song with some interesting synthesizer sounds in it. The melody is catchy and the song is danceable … awesome. It doesn’t manage to pump the adrenaline through my veins, but … it’s still okay.
Who’s That Girl 9/10
…Nothing to do with Madonna … thank freaking goodness … Starts out with a sequence in a minor chord (which, it seems, is quite rare for an 80s pop song) … And then it escalates into a very catchy 80s pop song that (I think) was popular on the radio. It’s a good song, anyway. Very classic 80s.
The First Cut 8/10
A bit too usual this time … It relies too much on a groove (which isn’t particularly interesting) and there really isn’t a melody. It’s all listenable, but … dudes, seriously. 80s pop needs a melody! That’s the whole point! (And, by the way, there aren’t loud drums in this … dudes …)
BARBIE GURLLLLLLLL!!!! … Or not … Actually this song is totally non-Aqua in the sense that it doesn’t suck. It has a mighty calm little groove … and it’s a pretty good one. Sort of reserved, but it still has Annie Lennox’s singing on it. How can it go wrong?
No Fear, No Hate, No Pain (No Broken Hearts) 8.5/10
…Again, this is a good song, but it ain’t no great thing. It’s more than 5 minutes long, which automatically works against it, but it does have this slightly freaky slow part in the middle! This synth-pop song is a bit more tuneful than some of the previous ones and I like the groove. Nothing wrong with it, but I’m not excited!
Paint a Rumour 8.5/10
MORE THAN 7.5 MINUTES LONG!!!!!!!!!!!!!!!!! AAAAAAAA!!!!!!!!! … Well, this song could be a lot worse. Actually, this is a pretty good song … 7.5 minutes worth of a mesmerizing Kraftwerk-esque groove with a bunch of silly computer-noise sound effects going off all over the place. That also means that there’s not enough Annie on it, but … oh well …
Be Yourself Tonight (1984)
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Would I Lie To You? 9/10
...No, scary women who are extremely skinny, have short hair and powerful singing voices would *never* lie to me. Because women like that always tell the truth. For example, "Dreams" rhymes with "This." (Will I ever get sick of bringing that "Sweet Dreams" mis-rhyms? Would I lie to you?) Anyway, this is an appropriately powerful synth-rocker with a rather simplistic melody, but loud and driving drums, electric guitars that won't take "no" for an answer, and a synth-horn section that threatens to strip me of all this chest hair. Actually, I wish the horns would get rid of my chest hair, because it's getting a bit thick and this is no longer the 1970s. ... Speaking of this *track* that I'm supposed to be reviewing, I think it's a fantastic way to start and album. It's a good thing to let blare out of your speakers while driving down crowded trafficky roads so that the drivers next to you can laugh at you because you're listening to '80s music. This happens to me all the time ... and I love it, baby.
There Must Be an Angel 8.5/10
I really like the instrumentation on here. It's so well-polished and, as the song's title and lyrical themes would call for, it's heavenly sounding. Lennox gives us some of that high range in her four-octave voice in the background with some magical "angel" singing. Her lead singing is powerful and dedicated, which is always the best thing about listening to Annie Lennox. She might haunt my nightmares, but she's a fantastic singer and I love listening to her. ... I like the melody quite a bit, too. I'm not too sure about the rather awkward gospel bit in the middle of it, even though Lennox sure does have them gospel-singing pipes!
I Love You Like a Ball and Chain 7/10
Hey, this is 80s music! Dude!!!!! ... Oh wait, I was aware of that already. In fact, I think I even mentioned that in a few track reviews above this one. Anyway, this one has a very '80s groove with some rapid New Wavey guitar picking. This song also has a pretty crappy melody, which *kills* it. Annie Lennox might still have that impressive voice (and she's doing a lot of impressive vocal things here, although she's goofing off more than showing off). The '80s instrumentation will make a lot of people grown and ... yeah, this song isn't compelling whatsoever. There were some musically interesting ideas on here (notably the stereo fade-ins and outs toward the end) but not compelling in the aesthetic sense, unfortunately.
Sisters Are Doin' It For Themselves 10/10
Yay! This song rules at least! The groove is pretty neat (and very '80s, but in a good way), and the melody is catchy, too. Lennox gives her signature scary woman vocal performance here. There's also some pretty neat funky guitar going off in the background, which certainly helps matters. Women probably like this song more than I do. Since I have seen a woman before and even talked to a few on occasion, I do know that they have a strong opinion of this song. I'm going to approach one of them on my university campus and get a comment from one right now.
Conditioned Soul 6.5/10
You know, it's really easy to tell when this group is just tossing off songs. Although, I was in doubt about "I Love You Like a Ball and Chain," because at least that had some weird stuff. This one's an incredibly simple song with an incredibly simple melody, boring instrumentation and ... even Annie Lennox sounds bored. On the good side, at least this song has some build-up, but they obviously didn't work hard on this one. YYYAWWWNNNNNnnnn..................
This song is kind of neat! This one's particularly '80s, but at least it has a nice and catchy melody. Granted, it's not as well written as 'Sisters,' and it does seem rather cheap. But I like it. It puts a smile on my face, and it's not because I'm drugged up with anti-depressants. (And I don't take anti-depressants anyway. How did that rumor go around?) The instrumentation is high pitched and sweet. There's nothing particularly amazing about this song, but there's no reason for me to dislike it.
It's Alright (Baby's Coming Back) 7/10
What's with all this confounded laziness? The melody is derivative off of a lot of other pop songs that have been rolling over since the 1960s and the instrumentation is just about as routine as '80s music gets. I want more 'Sisters' and 'Would I Lie' and stuff like that. CRAP ON ALL OF YOU, EURYTHMICS!!!!!!!!!!!!!!!!!!!
Here Comes That Sinking Feeling 9.5/10
So, apparently Annie Lennox just killed me. Now, I don't usually let such little things twerk me off like this, but I'm really kind of angry at this. I wasn't ready to die. Not yet. I wasn't even depressed! I'm hella glad that my corpse has typing skills. Otherwise, I wouldn't be able to write this review. ... Well, before Annie Lennox murdered me, I was *ABOUT* to tell her that I enjoy the song on this album called "Here Comes That Sinking Feeling." This song has particular meaning to me, because 'That Sinking Feeling' is exactly what I felt as my lifeless corpse was hitting the floor. Plus, the busy instrumentation keeps this song aesthetically interesting. The interesting synthesizer choices makes one a pleasure to listen to. The melody is pretty good, but this is more of an atmospheric piece, and I like that. Annie Lennox. John Stewart. I applaud you.
Better to Leave 8.5/10
This song is kind of interesting, but I think it's pretty sloppy! That's a shame because the chorus does a few interesting things, and they could have been turned into something pretty captivating. Otherwise, I like the instrumentation of this song overall. It's pretty dark and sinister but it's approachable, which is a nice quality. Lennox isn't on the top of her vocal game, but it's as solid as a particularly hard rock (like that one igneous rock that I kept on trying to pound with my rock hammer at a geology field trip, but couldn't do anything with because I have noodle arms). ... Oh, this review's over. Thank you.
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Missionary Man 9.5/10
This is a power rocker with a confident ('80s) beat. It has a driving force that sounds like it can bust through a brick wall with instrumentation consisting of heavy electric guitars, harmonica, well chosen synths and (most importantly) Annie Lennox's voice. Hey, this song is solid by definition, then! Finally, this song has a catchy melody. Nothing at all is wrong with this song. The songs is addicting and an exciting way to begin the album!
Thorn in My Side 9/10
This track is a calmer and less catchy synth-pop song, but it's still incredibly solid. The instrumentation is pretty developed (which is definitely a good thing in synth-pop). There's a pretty good loop of electric guitar in this song as well as a very nice sax solo. The melody isn't the greatest, but it's functional. Lennox's voice is always good, too!
When Tomorrow Comes 10/10
In my mind, this is the crown-jewell of this album! The melody of it is so infectious that it got into my mind the very first time I heard it and started taking it to some magical places. The instrumentation is also pretty fantastic on this track. It consists of a hooky guitar loop and an even hookier vocal melody. Yeah, this is synth-pop for the radio, but this goes far beyond the simple, miserable tripe we hear so often from the radio people. This is such a great song that it's NOT EVEN FUNNY.
The Last Time 8/10
It has a pretty good melody, but the hooks seem a bit obvious! Well, it's nothing like "When Tomorrow Comes," anyway. Based on rapid synths, this song manages to be mesmerizing (but not all that great). I like the bells I hear occasionally in the background the most. This remains a pretty good effort, and I enjoy listening to it, but this is a serious let-down after 'Tomorrow.'
Miracle of Love 8/10
This is very unfortunately a ballad. And it's not a very interesting ballad! I think the melody is decent, but it's not catchy enough to make it memorable. The instrumentation and Annie Lennox's singing is by far the strongest aspect of this song. It makes a perfectly engaging and listenable song at the moment, but there isn't a whole lot that I take away from this.
Let's Go! 7.5/10
The melody is mostly nicely written (with a few nice hooks in it), but the instrumentation seems a bit too '80s radio for me. This clearly wasn't developed as well as some of the other songs on here and, for the worse, sounds like a weaker incarnation of "Missionary Man." The end of this is too goofy! (But hey, at least they're not pretentious buggars.)
Take Your Pain Away 8.5/10
The driving bassline propels this song and those pounding monotonous drums in the background makes this sound like a very mean factory. The instrumentation is pretty good in this song (although I can't be sure if they actually spent very long with this track). The melody isn't everything it could've been, but I'm too busy paying attention to that freaky rhythm section. The ending really wasn't too great, but in any case, this song works!
Little of You 9/10
This one is a pretty good song. I like the instrumentals thoroughout the song. It has an obligatory synth-pop backdrop, but it's fairly modest. The instrumental interlude, consisting of violins and a clavinet-type-instrument, is really awesome. These alone make the song engaging. However, the melody is pretty well written, too! (Awesome.)
In This Town 7.5/10
It's hardly a sinker, but this another mediocrely developed song. It makes too fine of a listen at the time to really want to dismiss it (besides, I really like Annie Lennox's power-woman voice). The instrumentation isn't too great here, either, although adding in audience noises thoroughout it turned out relatively well. This is probably the worst song of the album but, then again, it ain't that bad.
I Remember You 9/10
A very nice song to close with (and an interesting choice for such a well-established synth-pop duo) is a strictly orchestral ballad. The instrumentation is obviously done with synthesizers, but it sounds almost like they had an orchestra full of keyboard players doing their stuff. It could've been more lush sounding, but I like the more modest approach! The song is incredibly engaging with a nice, uppity rythm going (thanks to a violin-sounding synth).
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Beethoven (I Love to Listen to) 7.5/10
It took me about five listens of this to convince me that this isn't actually a bad song. But here's my beef: This seems like an '80s production nightmare. It features all these broken up little noises that culminate to produce an extremely messed up song. Why on Earth the Eurythmics decided to turn this into a Beethoven (of all dead people) tribute is beyond me. It doesn't really feature a whole lot of singing to my dismay ... Annie Lennox is talking and ... HEY! SHE'S BRITISH!!!! ... Anyway, this is without a doubt the worst Eurythmics opening song of their entire career thus far. It's not the worst song known to mankind, but ... for the Eurythmics this is pretty dismal. Especially for a song that doesn't seem like they were treating it as second rate material.
I've Got a Lover (Back in Japan) 6.5/10
...So... she likes Japanese dudes ... I thought Annie Lennox would go out with someone who could sing, at least. (OH! STEREOTYPE! I JUST MADE A RACIST REMARK!!) ... Well, this is a pretty disappointing song, too. The production is high, but the hooks are low. I kind of like the Asian stringed instrument we hear in at times in song, but ... those are synthesizers anyway. How on Earth are the Eurythmics writing all these songs and forgetting to put hooks in the melodies? That was always one of their strong points. While this song most certainly is listenable, there's no genuine value to it. (I'm being nice, by the way.)
Do You Want to Break Up? 5/10
You're actually a dude in a wig, so you freaking bet I want to break up. ... This song sucks as well. Again, the Eurythmics utlilize this incredibly awkward instrumentation. The melody is utterly toneless and there's a relatively short melody line that just repeat and repeats and repeats. There isn't even a hope of a hook in here. It's good that the Eurythmics were trying a new type of synth-pop than they were going for in previous albums, but this seriously isn't working. Guys, tell Annie to take off that wig and come up with some hooks or something.
You Have Placed a Chill in My Heart 8/10
Thank you! This is the first enjoyable song of Savage. Maybe that's why they called this album Savage. They wanted to savage your brain up before they start delivering real songs! The instrumentation can decidedly be placed in the late '80s, which might be too much for some people to take. But, I say if there's a good melody, it's worth bearing through the production standards one of pop music's most misguided periods in the entire history of Western civilization. Even though this is enjoyable overall, this really isn't that great of a song. Hooks are present, but they don't stick to you for too long.
This isn't awful. It does take too long to get started, there's about a half a minute of pretty boring fade-in and then a vocal chord of "Shame." Then, another awkward (and not very good) groove pipes up and ... ew. The '80s drums and the synthscapes come in making this flow a little bit. The only place where this song is truly enjoyable is a terribly awkward and very brief chorus, which is so hooky that it really doesn't fit in with the rest of the song! ... The build up during the latter half of the song works pretty well, though. There could have been big improvements made with this song, but ... by the time the end rolls around, I forget about the rocky start.
This isn't so bad, but ... it seriously could have used a lot more work. It's a slow song, and sometimes slow songs are really awesome for electronica groups, because this is their chance to make enchanting synthscapes. The Eurythmics do no such thing here. This song is boring. And where is the melody? Huh? Just because you say you're making an experimental album, that doesn't give you a compelling excuse to forget about melody.
I Need a Man 8.5/10
...You need a man... I thought Dave Stewart was your man! ... Or maybe Frodo Baggins is your man. After all, you're one of the 300,000 people who won an Academy Award for The Lord of the Rings: The Return of the King. This song was the Eurythmics' most marketable singer in here. They sure could've done without the introduction. I enjoy Annie's spirit through this song and the late '80s groove is sort of enjoyable this time. It still sounds awfully awkward, though.
Put the Blame on Me 8/10
The melody here seems more conventional, which is good, because it's more enjoyable. The groove, which is another over-emphasized "experimental" thing, is better done here. Although, it's not experimental. It's very mainstream sounding. Granted the Eurythmics mainstream is better than what the average crappy band could accomplish, but seriously ... you know these guys are capable of so much more than this. I really wish the Eurythmics would've consulted the inner artists in them before they decided they wanted to be experimental, because these songs really aren't very compelling.
OH MY GOSHHHHHHHHHHHHHHHHH... This song is just another one of those boring old "experimental" grooves and then Annie Lennox coming in and saying "That's right" sometimes and then singing "heaven" sometimes and then singing a little bit in the background. How utterly dull.
Wide Eyed Girl 6/10
This is yet another dreadfully misfired song. It starts with one of the most awkward grooves of the entire album. Fortunately, this groove stops when Lennox starts singing. I'm not sure what the deal is with this song. Her vocal performance, while strong, is not as compelling as it used to be. The end of the song gets all violent, but my soul wasn't following the song well enough to allow myself to be compelled by the violent build-up. The end of the song features some really ugly vocals. Ick.
I Need You 9.5/10
This is very odd! This is an acoustic piece that ... um ... WHAT THE HELL IS THIS DOING IN THIS ALBUM FULL OF MISFIRED SYTNTH-POP SONGS???? ... Anyway, since this is the only song in here that doesn't sound misfired and ... besides ... this is a pretty good song, and it is the album's best song by default.
Brand New Day 7/10
The first part of this track is done entirely with Annie Lennox vocals. Now, if there were ever a song I'd like to hear with just vocals, it'd be Annie Lennox, because she can even sing bass guitar parts due to her phenomenal range! Unfortunately, she's decided to sing a gospel song, which isn't always my favorite thing to listen to. The end of this song also has some cheesy instrumentation. Granted, this isn't generic instrumentation, because I don't think we can find some of this stuff in normal radio crap. This was another misfired song, but at least it was somewhat unique.
We Too Are One (1989)
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We Too Are One 8.5/10
This track begins with a strange instrument that sounds like a morph between a trumpet and Annie Lennox's voice. I'm not sure what they did to produce that unusual sound. At any rate, this is an entirely decent album opener. The melody is catchy and the instrumental is solid --- it panders to the trends, but it's not annoying. That's all you can ask for!
The King and Queen of America 9.5/10
The instrumentation proves these guys had a lot of taste. It's difficult to explain. It's clearly overproduced 1989 pop music, but it's actually enjoyable and fun --- compare it to stuff like Mariah Carey from the era and you can't help but appreciate it. Anyway, this is another catchy song. The melody is catchy though not particularly memorable. It's full of good spirits, and it'll probably lift yours as you're listening to it.
Baby's Gonna Cry (My, My) 7.5/10
It's OK though it's not so easy to get caught up in. I guess the melody is the culprit, although it's technical quality probably isn't that different from the previous two. The instrumentation continues to be overproduced, but I actually like it. It's all balanced really well --- and they even deliver a lot of guitars with this pop tune. This isn't bad.
Don't Ask Me Why 9/10
OK, this sounds a lot like the previous three tracks (there's not a lot of diversity here unfortunately). But I'm enjoying it. So who cares? The overproduction is glorious again --- they know exactly how to layer on the sounds to produce a great atmosphere. There's some nice chord changes here and there, and I like the melody. Madonna really should have signed up for lessons from these guys if she had an ounce of humility.
Oh finally a ballad! Here is a pretty little song with about eight layers of thick production. Yes, they go a little bit too far with their dated instrumentation techniques here, but it's still fairly constructive. If this song was the only thing you had to judge 1989 by, you probably wouldn't think it was too bad. Anyway, the melody is fine although the chorus is the only thing worth mentioning. The whole experience is entertaining, but it does grow rather stale by the end.
This seems to be an attempt at recreating Michael Jackson's funk-pop '80s music. Hm. The groove definitely should have been catchier! The groove is stale, which makes this all seem very difficult to enjoy. Hm. They should have just stuck with their usual stuff...
You Hurt Me (And I Hate You) 10/10
Ah, I'm glad they followed my advice! This track is positively glorious --- especially in comparison. It doesn't start that well although that dramatic opening is certainly interesting. What follows is an interesting update of disco music. Of course, Annie Lennox is (pretty much) the greatest female singer of all time, so she's perfect here. The melody is catchy and it soars --- their instrumentation is complex and glorious. Wow!!!!! Let's give the Eurythmics a big cookie. It seems like overproduction normally sucks, but they knew exactly what they were doing.
This might be a bad song. I'm not sure! Well, it's definitely weaker than the previous track --- that's all I know at this point! This isn't too enjoyable or memorable. The instrumentation consists of brooding, pounding synth strings. They were possibly trying to write an "Eleanor Rigby" of the '80s, but it didn't really work. The harmonies are pretty good, but for some reason that didn't translate into a catchy melody. Hhhmm.
How Long? 8/10
They follow that up with a more mainstream pop rocker. I like the bass-line although that's about the limit of its appeal! (Ah, what a shame that.) The song is fun for about the first 30 seconds, and then the enjoyment factor drops off considerably after that point. Oh well, it's still fine. The overproduction worked well enough.
When the Day Goes Down 8/10
This is an OK ballad, but it's difficult to get into. It might grow on you anyway. The melody is fine but not extremely memorable. The instrumentation is overboard-city again, but I still think they know what they're doing. This is all a little bit tedious! At the same time, they seem to do something to keep me engaged --- at least a little bit.
"Precious" is alright --- the groove seems rather awkward. There doesn't seem to be much to the melody. At least they had the sense to keep this away from the album.... meh.....
"See No Evil" has a certain likability although it also has an awkward groove. I'm not sure what these bonus tracks were meant for --- maybe they were planning another album. Well, they definitely lost something --- whatever it was.
And now it's just other versions of "The King and Queen of America" and "Angel" ... the enthusiasts will care! I'm not really one, so I guess I don't care.
"Last Night I Dreamt That Somebody Loved Me" is a neat ballad --- there's no reason that one couldn't have made it on the album. It has a nice mood, and the melody definitely suits Lennox's vocals. Yea... that one's nice.
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