Eurythmics ‎– Touch

Can anybody say a few words about this new mastering ? How is it different from the usual one we know ?

Why not ad Who's That Girl 12" Version to the release?
Clueless as usual.

Nothing you already don't (want to) know about Eurythmics - however, how familiar are you with their albums? Although I personally state 'Sweet Dreams' my album of choice for the desert island listening pleasure, 'Touch' was actually the first one to grab my attention - I remember buying the tape version several times as my cassette player always chewed up the tape.

Ironic for you, if you tend to rely on hits (regardless, whether it's Eurythmics or someone else in that respect). While justifiably progressive and with deserved critical and commercial success in years to follow, I guess most Eurythmics albums are somewhat overshadowed. The art of their melancholic synth-driven powers already evident on the first two albums (radically different 'In the Garden' and the spookier twin brother 'Sweet Dreams') comes full pace on 'Touch'. In a way, the duo repeated the formula experiencing skyrocket stardom with 'Sweet Dreams' - by using the very same, cheap equipment (I think it was Soundcraft mixing that's being advertised properly on the inner sleeve of 'Touch'), but the results are as stunning and extraordinary.

While any Eurythmics fan can give a personal recommendation of a certain album, 'Touch' is undoubtedly the universally acceptable introduction to post-punk Eurythmics, brave to mess with synthetics giving it soul without exaggeration (Dick Cuthell's trumpet work plus Dean Garcia's bass slap are also adding to the strange atmosphere). Of course, if there was any other singer involved other than Annie Lennox, I dare doubt Eurythmics would ever be as effective (with all due respect regarding Dave's production skills and effort). Because it is Annie who truly dominates here - her bizarrely mysterious, obliquely stripped s/m look on the front cover and the voice behind the mask that match perfectly - it is ok to feel romantic listening to 'Here Comes the Rain Again' or 'Who's That Girl?' as the albums principal smash hits, but if you scratch beneath the surface, there is a world most feel quite uncomfortable with.

Eurythmics songwriting here is somewhat abstract in order to reach the other side - the aspect of 'death' is at times too scary; 'Cool Blue', kinda-song about indifference and/or loss, immediately echoes the impression of a corpse, while the menacing 'Aqua' in all of its dead calm and the album's closing computer-esque mantra 'Paint a Rumour' address the problem of drug abuse and AIDS (or so it seems)...

'Regrets' and 'The First Cut' also follow suit perfectly, in all of the album's undertone charm with the finest example of the lot - 'No Fear, No Hate, No Pain (No Broken Hearts)' in all of its orchestral/vocal rage and lamentation (the full blast of emotion it is). The only cheerful moment is 'Right By Your Side' - a song which might not entirely fit into the set but makes 'Touch' a strange album of shifting moods, coming on a little too early in hope for the album's "happy ending".

In the year 2013, 'Touch' will turn 30. It still sounds like a broken-hearted love letter from the future.