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Pop - Erschienen am 13. April 2018 | Sony Music CG

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Zwei Synthie-Akkorde und alles ist gesagt! Es braucht nicht mehr, um den so einzigartigen Sound der Eurythmics, symbolträchtige Band der 80er Jahre, wiederzuerkennen. Das Tandem aus Annie Lennox und Dave Stewart steht für synthetischen New Wave (der Kern ist Pop, die Form futuristisch), typisch für dieses Jahrzehnt, in dem Gitarren beinahe schon unerwünscht waren… Das britische Duo besetzt die gesamten 80er Jahre hinweg die Spitze der Charts, doch kein Hit kommt an den Erfolg ihres Albums Sweet Dreams heran. Dave Stewart liefert dunkle New Wave-Kompositionen à la Bowie (Love Is A Stranger) und versucht sich sogar an einer Art leichten Krautrock (Sweet Dreams). Ab und an ertönen dann auch mal Klänge, die mehr als Funk (I’ve Got An Angel) bzw. als Disco (Wrap It Up) bezeichnet werden können. Am Mikro beeindruckt Annie Lennox uns mit ihrer Stimme, die mal nach Soul, mal sehr streng und mal sehr klar klingt. Ein Klassiker des Genres. © Clotilde Maréchal/Qobuz
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Pop/Rock - Erschienen am 21. Januar 1983 | RCA Records Label

Auszeichnungen Qobuz' Schallplattensammlung
Eurythmics' breakthrough album is a deft mix of electronic thrills, new wave chills, and sultry R&B, the latter supplied by Annie Lennox's warm tenor. Pretty much relying on themselves, Lennox and Dave Stewart slip past the music's usual coldness and into a territory all their own. It can be smug (the new wave here is served with a side of irony) and a tad dull (the long, operatic pieces serve little purpose), but the payoffs -- "Love Is a Stranger" and, especially, the magnificent title tune -- are among the finest the genre has to offer. © Michael Gallucci /TiVo
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Pop - Erschienen am 6. Juli 2018 | Sony Music CG

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Pop - Erschienen am 6. Juli 2018 | Sony Music UK

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Pop - Erschienen am 13. April 2018 | Sony Music UK

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Pop/Rock - Erschienen am 4. Juli 1986 | RCA Records Label

On their fifth album, Eurythmics moved away from the austere synth-pop of their previous work and toward more of a neo-'60s pop/rock stance. "Missionary Man" (which went Top 40 as a single in the U.S. and charted in the U.K.) featured a prominent harmonica solo, while "Thorn in My Side" had a chiming guitar riff reminiscent of the Searchers and a fat sax solo. Of course, the primary element in the group's sound remained Annie Lennox's distinctive alto voice, which was still impressive even if the material was slightly less so. Revenge was a successful album, reaching the Top Ten in the U.K. and going gold in the U.S., but it was a disappointment compared to their last three albums. And creatively, it was a step down as well -- there was nothing here that they hadn't done a little better before. © William Ruhlmann /TiVo
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Pop/Rock - Erschienen am 18. März 1991 | RCA Records Label

It may have taken them a little while to get going, but when the Eurythmics hit their stride with their second album Sweet Dreams (Are Made of This), they began a hit streak that defined them as one of the most commercially successful and musically satisfying new wave bands of the '80s. For six years, the group was reliable, turning out at least one great single on each album, none of which sounded identical, yet all were recognizable as the work of Dave Stewart and Annie Lennox. Greatest Hits summarizes those glorious years and while it misses a couple of hits -- a bad thing when the sublime "Right by Your Side" is concerned, but not when "Sexcrime (Nineteen Eighty-Four)" is -- it remains an excellent collection. It might not follow a strict chronological order, but it flows nicely, revealing that the band that produced such chilly synth-pop classics as "Sweet Dreams," "Here Comes the Rain Again," "Love Is a Stranger," and "Who's That Girl?" were capable of delivering equally captivating light pop and ballads ("There Must Be an Angel (Playing With My Heart)," "Don't Ask Me Why," "Thorn in My Side"), ersatz soul ("Sisters Are Doin' It for Themselves"), and hard-driving rock & roll ("Missionary Man," "I Need a Man"). Few of their contemporaries were capable of such range and Greatest Hits proves that the best of the Eurythmics' work were undeniable pop classics. © Stephen Thomas Erlewine /TiVo
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Pop/Rock - Erschienen am 4. November 2005 | RCA Records Label

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Pop/Rock - Erschienen am 26. November 1983 | RCA Records Label

Eurythmics followed their 1982 breakthrough album Sweet Dreams with the superior Touch, which yielded three hit singles and kept the innovative duo at the forefront of the 1980s British new wave explosion and MTV phenomenon. Mixing cold, hard, synthesized riffs with warm, luscious vocals, the duo crafted some of the most unique and trendsetting music the 1980s had to offer. Subsequent albums found the duo leaning heavier toward straightforward rock -- this album found them at the height of their electronic incarnation. The lead single, "Here Comes the Rain Again," is a melodramatic opus, complete with pre-techno beats, sweeping strings, and Annie Lennox' rushing, cool vocals. The soulful "Who's That Girl" is an icy, steamy throwback to the torch songs of yesteryear, with Lennox oozing sensuality from every syllable emitted from her lips. The final hit, "Right by Your Side," finds the duo in a cheerful, Caribbean-inspired mode. Other standouts include the seven-and-a-half-minute disco trance of "Paint a Rumour," the driving "The First Cut," and the icy, spellbinding, and sparse "No Fear No Hate No Pain (No Broken Hearts)." The cool, sophisticated musical experimentalism all over Touch cemented Eurythmics' reputation as one of the most innovative duos of their time; the hit singles solidified their reputation as dependable 1980s hitmakers and MTV mainstays. Touch is a testament to what Eurythmics were at the height of their electronic-techno phase and, without doubt, is a milestone in 1980s pop music. © Jose F. Promis /TiVo
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Pop - Erschienen am 8. November 2005 | J Records

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Original Soundtrack - Erschienen am 1. Januar 1984 | EMI Marketing

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Pop/Rock - Erschienen am 11. Mai 1985 | RCA Records Label

On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This disc scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This disc is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic. © Jose Promis /TiVo
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Pop - Erschienen am 6. Juli 2018 | Sony Music CG

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Pop - Erschienen am 16. November 2018 | Sony Music CG

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Pop/Rock - Erschienen am 15. November 1993 | RCA Records Label

Eurythmics released this belated live album nearly five years after We Two Are One, which would prove to be the duo's last record together for a decade. It's a chronological run-through of the group's hits (with some of their stronger album tracks interspersed) with the songs culled from the parent album's respective tours. There are some notable players in their live bands including once-and-future Blondie drummer Clem Burke, future Curve member Dean Garcia, and Eddie Reader (frustratingly, it is not noted who played which tours). The performances are spirited with Annie Lennox's vocals as rapturous as the studio counterparts. Some of the earlier, more new wave-inflected material sounds a bit thin and anemic while the more organic songs from Be Yourself Tonight fare better. Coming far after the Eurythmic's commercial peak, Live 1983-1989 received little interest upon its 1993 release and most fans would be more likely satisfied with the less-complete greatest-hits package issued two years earlier. © Tom Demalon /TiVo
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Pop - Erschienen am 16. November 2018 | RCA Records Label

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Die lieben 80er. Da sind sie also wieder. Obwohl ich mit ihnen nicht mal mehr in meinen schlimmsten Träumen gerechnet hatte. Aber es gab ja auch gute Sachen damals. Die Eurythmics zum Beispiel. Da drehte sich noch nicht mal die Indie-Gemeinde weg. Jetzt liegt ihr neues Album vor bzw. neben mir. Und irgendwie war ich davon überzeugt, dass mich dieses Album nicht aus dem Sitz reißen würde. Tut es auch nicht. Aber es geht ins Ohr - und wie! Die Vergangenheit lassen sie gleich im ersten Song "17 Again" hinter sich, gegen Ende zitiert sich Annie Lennox nicht ohne Ironie selbst, Textstückchen aus ihrem größten Hit "Sweet Dreams" werden eingebaut und ich kann mir dabei ein Grinsen nicht verkneifen. "17 Again" wirkt wie ein Aufatmen, sie scheinen überglücklich zu sein, wieder unter den Lebenden zu weilen. Danach gleich das inzwischen sicherlich jedem bekannte "I Saved The World Today", das wie die meisten Stücke auf "Peace" der Lennox'schen Stimme wie auf den Leib geschneidert zu sein scheint. Rockig geht's weiter mit "Power Of The Meek". Natürlich nicht so hart, dass es irgendwem weh tun oder man den Mainstream verlassen würde, aber für Eurythmics doch ungewöhnlich gitarrenlastig. Nach dem fünften Song beginne ich mich langsam zu fragen, wie lange sie dieses Level wohl halten können, als mit "Peace Is Just A Word" mein persönlicher Favorit für die nächste Single angerollt kommt. Ist das der perfekte Popsong? Zumindest dicht dran. Bemerkenswert ist auch der vorletzte Track, "Forever". Ich weiß nicht wie, aber die Eurythmics schaffen es in diesem Songs mindestens fünf Titel der Beatles auf einmal zu vereinen ohne dass es peinlich wirkt. Oasis werden vor Neid erblassen! (Obwohl man auch deren "Don't Look Back In Anger" raushören kann...) "Lifted" - ich höre schon wieder Beatles und zwar die Gitarrenlinie von "She" - wirkt im Anschluss daran allerdings etwas deplaziert, "Forever" wäre ein gelungener Abschluss gewesen. Aber auch das kann dem wundervollen Gesamtbild der Platte nichts mehr anhaben. Dass das Duo Lennox/Stewart immer schon gute Songs geschrieben hat, ist bekannt, aber dass sie nach so langer Pause noch einmal zu einem solchen Geniestreich in der Lage wären, damit hat wohl kaum jemand gerechnet. Die Welt werden sie damit nicht retten, aber diese Platte wirkt so wunderbar frisch, ausgewogen, lebendig und positiv wie kaum etwas in letzter Zeit. Pop. Ganz groß! © Laut
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Pop - Erschienen am 13. April 2018 | Sony Music CG

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Pop/Rock - Erschienen am 19. Oktober 1999 | RCA Records Label

Nearly a decade after Eurythmics went on an unannounced, virtually unnoticed hiatus in 1990, Annie Lennox and Dave Stewart returned with the heavily publicized Peace. Both Lennox and Stewart had been silent since 1995, which means that reuniting really wasn't a sacrifice, since their solo careers had stalled. In fact, it was a wise idea to re-team, both commercially and artistically, since their best and most popular music was made together. What's odd is that Peace strongly resembles Lennox's Diva. True, Eurythmics were moving toward the melodramatic grandeur of Diva on their final '80s album, We Too Are One, yet they still had an innate sense of quirkiness and a desire to take risks. In 1999, they're more about craft, which only emphasizes the maturity of the music. That's not entirely a bad thing, even if it means that Peace needs a couple of spins before the songs begin to register. Lennox and Stewart know how to write gently insinuating melodies and how to layer their tracks with small sonic details, weaving lush tapestries of sound. Peace keeps its alluring mood throughout; even when they attempt to revisit their Stones-y tendencies, the songs play as sleekly and smoothly as the ballads that dominate the record. In one sense, that's good, because it means that Peace keeps a consistent tone from front to back, but it also means that most of the songs blend together. There are no standout singles here, and that's the hardest thing to accept about the record since Eurythmics were one of the best singles bands of the '80s. Even so, Peace is a successful debut for Eurythmics, Mark II -- it's classy adult pop, delivered with style and grace. © Stephen Thomas Erlewine /TiVo
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Pop - Erschienen am 20. Oktober 2008 | Arista

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Pop/Rock - Erschienen am 14. November 1987 | RCA Records Label

Although Revenge, Eurythmics' fifth album, failed to generate a substantial hit single and sold poorly in the U.S. compared to previous efforts ("I Need a Man" and "You Have Placed a Chill in My Heart" both charted, however), the album hit the Top Ten and spun off four chart singles in the more faithful U.K. Musically, Eurythmics, for the most part, abandoned the more conventional pop/rock they recently had been pursuing, returning to the synthesized dance music and arch tone of their early hit "Sweet Dreams (Are Made of This)." © William Ruhlmann /TiVo

Der Interpret

Eurythmics im Magazin