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DISCID=770aae09
DTITLE=Eurythmics / Touch
DYEAR=1983
DGENRE=Pop
TTITLE0=Here Comes The Rain Again
TTITLE1=Regrets
TTITLE2=Right By Your Side
TTITLE3=Cool Blue
TTITLE4=Who's That Girl?
TTITLE5=The First Cut
TTITLE6=Aqua
TTITLE7=No Fear, No Hate, No Pain (No Broken Hearts)
TTITLE8=Paint A Rumour
EXTD= 1983 RCA Records, Inc.\n\nOriginally Released November 1983\nCD
EXTD= Edition Released 1984\nRemastered + Expanded CD Edition Released
EXTD= November 15, 2005 \n'Boxed' 8CD Collection Released in UK + Euro
EXTD=pe November 14, 2005\n'Boxed' 8CD Collection Released in USA Nove
EXTD=mber 21, 2005\n\n\nAMG EXPERT REVIEW:  Eurythmics followed their 
EXTD=1982 breakthrough album Sweet Dreams with the superior Touch, whi
EXTD=ch yielded three hit singles and kept the innovative duo at the f
EXTD=orefront of the 1980s British new wave explosion and MTV phenomen
EXTD=on. Mixing cold, hard, synthesized riffs with warm, luscious voca
EXTD=ls, the duo crafted some of the most unique and trendsetting musi
EXTD=c the 1980s had to offer. Subsequent albums found the duo leaning
EXTD= heavier toward straightforward rock -- this album found them at 
EXTD=the height of their electronic incarnation. The lead single, "Her
EXTD=e Comes the Rain Again," is a melodramatic opus, complete with pr
EXTD=e-techno beats, sweeping strings, and Annie Lennox' rushing, cool
EXTD= vocals. The soulful "Who's That Girl" is an icy, steamy throwbac
EXTD=k to the torch songs of yesteryear, with Lennox oozing sensuality
EXTD= from every syllable emitted from her lips. The final hit, "Right
EXTD= by Your Side," finds the duo in a cheerful, Caribbean-inspired m
EXTD=ode. Other standouts include the seven-and-a-half-minute disco tr
EXTD=ance of "Paint a Rumour," the driving "The First Cut," and the ic
EXTD=y, spellbinding, and sparse "No Fear No Hate No Pain (No Broken H
EXTD=earts)." The cool, sophisticated musical experimentalism all over
EXTD= Touch cemented Eurythmics' reputation as one of the most innovat
EXTD=ive duos of their time; the hit singles solidified their reputati
EXTD=on as dependable 1980s hitmakers and MTV mainstays. Touch is a te
EXTD=stament to what Eurythmics were at the height of their electronic
EXTD=-techno phase and, without doubt, is a milestone in 1980s pop mus
EXTD=ic.   [This reissue of the album includes seven bonus tracks, inc
EXTD=luding live versions of "Who's That Girl?" and "Here Comes the Ra
EXTD=in Again" (the latter previously unreleased) and a long version o
EXTD=f "Paint a Rumour."] -- Jose F. Promis\n\nAMAZON.COM CUSTOMER REV
EXTD=IEW ('Boxed')\n"Deluxe" is the word, December 14, 2005 \nBy  Phil
EXTD=ip A.Cohen (Bay Harbor Islands, Florida United States)\nAfter 26 
EXTD=months of cancelled release dates, the expanded/remastered Euryth
EXTD=mics CD series is finally here, and for those of you who want all
EXTD= 8 titles, the UK/Europe "Boxed" set is the cheapest way to get t
EXTD=hem.  The CDs more than live up to expectations, with excellent s
EXTD=ound, three-panel cardboard packaging (each with a side pocket fo
EXTD=r an attractive and informative booklet), and a very sturdy outer
EXTD= box.  The bonus tracks are a combination of non-L.P. b-sides, or
EXTD=iginal 12" dance remixes by the artists themselves, some unreleas
EXTD=ed songs & versions (including cover versions of tracks by Lou Re
EXTD=ed, Thunderclap Newman, The Doors, The Beatles & French Chanteuse
EXTD= Francoise Hardy), and 2 later 1990's re-mixes by independant rem
EXTD=ixers (they're not bad).  Unless you were an avid collector of th
EXTD=e group's UK 7", 12" &  CD singles, all of the bonus material wil
EXTD=l be new to your collection.  However, these discs (packed as the
EXTD=y are with bonus tracks) only get about half of the group's vinyl
EXTD=-only songs and versions onto CD.  Presumably, there will be some
EXTD= future archival box to get the remaining tracks onto CD.  Amazon
EXTD=.com seems to be having exceptional difficulty obtaining or suppl
EXTD=ying this set to customers, but let there be no doubt: it was rel
EXTD=eased in the UK & Europe November 14,2005, and widely advertised 
EXTD=in UK music magazines by the manufacturer (BMG/Sony), whose adver
EXTD=tisements specifically stated a Nov.14,2005 release date.  If you
EXTD= can't get it here, then try record stores in England (as I did).
EXTD=  The set is worth your extra effort to obtain it.  Amazon was as
EXTD=king me to approve a second shipping postponement (until late Jan
EXTD=uary 2006).  I declined, and obtained the set quite easily elsewh
EXTD=ere.  Amazon did some strange things, pretending that the set had
EXTD=n't been released, temporarily removing customer reviews of the s
EXTD=et, and stopping the marketplace merchants from offering the set 
EXTD=(as they had been). \n\nAMAZON.COM CUSTOMER REVIEW ('Boxed')\nNic
EXTD=e but something is missing, January 6, 2006 \nBy  Danielik (Paris
EXTD=, France)\nThe box is very nice and I agree with other positive c
EXTD=omments on Amazon. However, I want to stress my deception in seei
EXTD=ng that "1984 - For the love of big brother" is NOT included in t
EXTD=he box. It is a wonderful album (released under a different label
EXTD=) and certainly I expected to find it in such a collection. \n\nA
EXTD=nother missing point is: lyrics. At the time, all vynil LPs inclu
EXTD=ded printed lyrics, while now in the CD jacket there is just a le
EXTD=aflet with photos and historical comments. \n\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\nI could tell you something..., August 27, 2006 \nBy  
EXTD=Scott Davies\nBefore 1983 ended, Eurythmics released their 3rd al
EXTD=bum 'Touch'. Continuing with the transitional sound of the previo
EXTD=us album 'Sweet Dreams', it sounds like a sister album, though wi
EXTD=th stronger material. \n\n"Here comes the rain" again was a well 
EXTD=deserved hit. It continued with the electronic sound of the 'Swee
EXTD=t Dreams' album, though classed up with the addition of a beautif
EXTD=ul string section and catchy arrangement. \n\n"Regrets" is strugg
EXTD=ling between herky jerky electronics and soulful blandness, which
EXTD= keeps it an interesting battle. \n\n"Right by your side" is cras
EXTD=s commercialism with a soulful Jamaican feel, added to banal lyri
EXTD=cs about love. This kind of vomit-inducing dullness would eventua
EXTD=lly swallow Eurythmics whole. \n\nThankfully "Cool Blue" gets bac
EXTD=k to the high quality song writing with a strong beat and a catch
EXTD=y hook. \n\n"Who's that girl" was the second single released in t
EXTD=he U.S., and a real pleaser. A beautiful song about a woman scorn
EXTD=ed by a cheating boyfriend. \n\n"No fear, no hate, no pain, (no b
EXTD=roken hearts)" has always been one of those beautiful, moody song
EXTD=s that I like to play when I'm feeling a bit somber. I have a lot
EXTD= of memories tied to this classic. \n\nThe album highlight for me
EXTD= is the oddball "Paint a rumour". A driving beat accompanied by s
EXTD=ome bouncy keyboards notes and an appealing bass backbeat keep it
EXTD= an interesting combination of upbeat fun with a sinister side. "
EXTD=It's a secret, secret, it's a secret". \n\nThe bonus material lea
EXTD=ves a bit to be desired. I have no idea why they would include te
EXTD=dious, experimental doodles like "You take some lentils and you t
EXTD=ake some rice" and "Abc (freeform)", yet exclude the excellent 12
EXTD=" extended version of "Who's that girl". \nI was glad to see the 
EXTD=inclusion of the "Paint a rumour" long version, though the only d
EXTD=ifference from the album version is it does not fade out 7:30, an
EXTD=d continues to 8:00. They could have simply put it in place of th
EXTD=e album version and I don't think anyone would have noticed. \n"P
EXTD=lus something else" is nothing more than a dub mix of "Regrets", 
EXTD=and it would have been more suited as a bonus track for a 'Touch 
EXTD=Dance' reissue. \n\nThe remastering of this new reissue sounds ve
EXTD=ry good. Unlike the two previous reissues, I didn't really hear a
EXTD=ny of the occasional stereo fluctuations, so it's very satisfying
EXTD= in that respect. All of the bonus material also appears to be fr
EXTD=om original master tapes. \n\nUnlike the two previous reissues, t
EXTD=he deluxe booklet does not appear to stick to period photos. Some
EXTD= of them look to be from the 'Revenge' era, which was several yea
EXTD=rs later. \n\n'Touch' was the last bit of greatness by Eurythmics
EXTD=, at least as far as this reviewer is concerned. Though I do enjo
EXTD=y the song "Sexcrime" from 1984, and the surprising brief return 
EXTD=to form "Beethoven" from 1987, the rest of what they produced was
EXTD= horrible white soul music. They took on all of the excesses that
EXTD= most bands did after success, i.e. irritating horn sections and 
EXTD=heavy set backup singers, eventually just becoming middle of the 
EXTD=road Muzak. The first three albums will always have a place in my
EXTD= music collection. \n\n\nAMAZON.COM CUSTOMER REVIEW\nBig quip...,
EXTD= December 7, 2005 \nBy  JoJo (Los Angeles, CA United States)\nOn 
EXTD=the original "Touch," "Here Comes The Rain Again" was considerabl
EXTD=y longer at the end. I was hoping that the original version of "H
EXTD=ere Comes The Rain Again" would be on this CD. Instead, they incl
EXTD=ude one which fades early. WHY??? What a disappointment. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nThis Reissue Is Totally Botched, Novemb
EXTD=er 16, 2005 \nBy  J. Brady (PAWLEYS ISLAND, SC United States)\nFo
EXTD=r what is undeniably one of the greatest pop albums of the last 3
EXTD=0 years, the reissue job for Eurythmics' classic "TOUCH" is total
EXTD=ly botched and an incredible letdown. I am a longtime fan of this
EXTD= incredible duo, and have been waiting for almost two years for t
EXTD=he reissue of Eurythmics' back catalogue. Sad to say they really 
EXTD=missed the boat on this one. The sound is great, to be sure. A fi
EXTD=ne job was done on the remastering. Most disappointing however ar
EXTD=e the "bonus" tracks. The B-sides are marginally interesting at b
EXTD=est, and do not warrant repeated listening. "Plus Something Else"
EXTD= is very simply an instrumental version of "Regrets". The track c
EXTD=alled "ABC (Freeform)" is meandering electronic noodling. And the
EXTD= cleverly titled "You Take Some Lentils and You Take Some Rice" i
EXTD=s more of the same. Nothing really memorable. The live tracks are
EXTD= spare acoustic renditions of two great songs that are far superi
EXTD=or in their regular versions. The "long version" of "Paint A Rumo
EXTD=ur" is quite possibly ten or fifteen seconds longer than the albu
EXTD=m version, and differs only slightly. And to cap it off, their co
EXTD=ver of David Bowie's "Fame" should have stayed in the vaults. It 
EXTD=is painfully amatuerish, and simply unbearable. The liner notes a
EXTD=re spare as to the specifics of the origins of the bonus tracks, 
EXTD=although the added photgraphs are kinda cool. There is no informa
EXTD=tion as to the dates and locations of the live recordings and the
EXTD= essay is brown-nosing of the worst kind, offering very little in
EXTD= the way of insight into the recording of this great album. If yo
EXTD=u have "Touch" as it was originally released, I'd say leave it as
EXTD= it is. It is a five star classic, but this reissue leaves me col
EXTD=d. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Must Have, March 31, 2004 
EXTD=\nBy A Customer\nThis Is A Amazing Album By The Eurythmics, Packe
EXTD=d With Lots Of Fun And Funky Dance Music Full Of Rich Textures An
EXTD=d Moody Atmosphere. The Bonus Tracks Are A Great Addition To This
EXTD= Newly Re-Mastered Album, But A Couple Of Key Tracks Are Missing 
EXTD=From This Updated Version. \n\n1. Who's That Girl. (Extended Danc
EXTD=e Mix) \n2. Right By Your Side. (Extended Dance Mix) \n\nThese So
EXTD=ng Should Have Also Been Included. Lets Hope They Will Appear On 
EXTD=A Rarities Set. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSynthetic Music
EXTD=, January 10, 2005 \nBy  G. Newby "Alphonso Kelley" (Memphis, TN 
EXTD=United States)\nThe jury is still out on the Eurythmics. They wer
EXTD=e either god-awful or bloody brilliant, I haven't decided which. 
EXTD=I suspect it was the latter, but there is so much about their mus
EXTD=ic that I object to that I can't whole-heartedly embrace them. Th
EXTD=e two of them were amazing songwriters and Annie Lennox's elegant
EXTD= and powerful vocals were the stuff of legend. But as much as the
EXTD=y were artists they were also businessmen, and they seemed much m
EXTD=ore interested in generating record sales than they were in music
EXTD=al excellence. I know those words are heresy for some, but every 
EXTD=note, hook and bass line seemed purposely placed to fit the mold 
EXTD=of a radio-friendly pop song. Compositions that might have been r
EXTD=eally good come off sounding gimmicky and over-produced. \n\nTake
EXTD= the duo's third album, "Touch," for instance. Best remembered fo
EXTD=r its gigantic hit single "Here Comes the Rain Again," "Touch" is
EXTD= a collection of solidly-structured songs that get buried beneath
EXTD= layers and layers of synthesized twerps, pings and boops. The so
EXTD=ngs themselves might have been exceptionally good if they had bee
EXTD=n recorded in a more straight-forward manner, but here the duo ma
EXTD=kes the grave mistake of not letting the music speak for itself. 
EXTD=It is as though Dave Stewart poured on the sound effects to disgu
EXTD=ise the fact that, underneath, these are not really very good son
EXTD=gs, and nothing could be further from the truth. \n\nThe worst th
EXTD=ing about these synth-heavy performances is that they fail to mus
EXTD=ter the test of time. Not only do they sound dated but, worse, th
EXTD=ey sound cheesy, especially the bouncy riff keyed out on "The Fir
EXTD=st Cut." However exotic "Who's that Girl?" may have sounded in 19
EXTD=84, it is downright laughable now. (Just thinking about all those
EXTD= pre-programmed loops and melodies makes me want to cringe.) Fort
EXTD=unately, Annie Lennox is just like the Calvary. She always rides 
EXTD=in to save the day. Without her, this would just be an unlistenab
EXTD=le mess. On the other hand, the album does have two really strong
EXTD= tracks, though neither of them were hit singles. "Regrets" is a 
EXTD=good funk-laden number that shows Lennox warming up her soul chop
EXTD=s, and "Paint a Rumour" is an underground-techno wannabe that is 
EXTD=almost, though not quite, dark enough for the goth scene. \n\nRol
EXTD=ling Stone magazine recently released its list of the 500 greates
EXTD=t albums of all time, placing this one at #500. I'm not sure "Tou
EXTD=ch" actually belongs on the list at all, but if it has to be ther
EXTD=e then last place is the most appropriate. The Eurythmics did bet
EXTD=ter stuff both before and after "Touch," and I suspect that this 
EXTD=album suffered by the fact that it was released just after the du
EXTD=o had become superstars. The pressure was on to generate more hit
EXTD= singles and record sales. Still, one can hear the duo struggling
EXTD= to find its wings, which it later did. But, here, I get the feel
EXTD=ing that the Eurythmics themselves were not exactly comfortable w
EXTD=ith the album, which is why they kept it mercifully short. \n\n\n
EXTD=Half.com Details \nProducer: David A. Stewart \n\nAlbum Notes\nEu
EXTD=rythmics: Annie Lennox (vocals, flute, keyboards); David A. Stewa
EXTD=rt (guitar, dulcimer, keyboards, xylophone, background vocals).\n
EXTD=\nAdditional personnel includes: Martin Dobson (baritone saxophon
EXTD=e); Dick Cuthell (trumpet, cornet, flugelhorn); Dean Garcia (bass
EXTD=).\n\nThis came at the end of 1983, a particularly prolific perio
EXTD=d for Stewart and Lennox - they had already spent most of the yea
EXTD=r in the chart with "Sweet Dreams," released at the beginning of 
EXTD=the year. This album shows less reliance on programmed instrument
EXTD=ation and a less "Germanic" feel to the production. "The First Cu
EXTD=t" and "Right By Your Side" indicate a loosening up and a more ro
EXTD=otsy approach as Lennox discovers she has a great R&B/soul voice.
EXTD= "Here Comes The Rain Again" and "Who's That Girl?" exemplify the
EXTD= more familiar haunting Eurythmics sound.\n\nIndustry Reviews\nRa
EXTD=nked #13 in CMJ's Top 20 Most-Played Albums of 1984\nCMJ (01/05/2
EXTD=004)\n\n4 stars out of 5 - Recorded in a frantic three-week burst
EXTD= of inspiration, the third Eurythmics album saw Annie Lennox and 
EXTD=Dave Stewart raising their game significantly.\n\n\n\nROLLING STO
EXTD=NE REVIEW\nA doctor friend of mine who was working in a sanitariu
EXTD=m for the mildly insane told me about a card one of the patients 
EXTD=made for Mother's Day. "To my mother," it read. "who has always b
EXTD=een just like a mother to me." Funny? Perhaps, but chilling, too-
EXTD=-an oddly mordant comment on the distinction between what we call
EXTD= something and what that something really is. The difference betw
EXTD=een saying "I love you" and actually loving someone can be sharp 
EXTD=indeed, regardless of our best intentions or feelings. It is a di
EXTD=stinction with which Annie Lennox seems only too familiar. "The l
EXTD=anguage of love," she sings with brutal elegance, "has left me br
EXTD=oken on the rock."\n\nThe heartbreak of language--inherent in the
EXTD= difference between words and actions--haunts Touch, the brillian
EXTD=t, if erratic, new Eurythmics album, the second to be released in
EXTD= America. (Their first album, In the Garden, recorded before Swee
EXTD=t Dreams, remains available only as a U.K. import.) But for all o
EXTD=f vocalist-songwriter Lennox' semiotic perambulations, Touch reli
EXTD=es more on instrumentalist Dave Stewart, whose synthesizer work i
EXTD=s thankfully free of the blowsy, ersatz-Motown touches that domin
EXTD=ate other British technopop. Instead, Stewart incorporates textur
EXTD=es that span Western music, from Seventies pop to chamber music.\n
EXTD=\nNowhere do Lennox' and Stewart's talents meld more stirringly t
EXTD=han on the surging ballad "Who's That Girl?," a clear heir to the
EXTD= irresistible "Sweet Dreams (Are Made of This"). Stewart's synthe
EXTD=sizer summons the pulsing of a string quartet, while rapping out 
EXTD=stuttering, stick-in-your head harpsichord fills. Lennox' lusciou
EXTD=s phrasing evokes both eroticism and anguish ("The language of lo
EXTD=ve slips from my lover's tongue/Cooler than ice cream and warmer 
EXTD=than the sun"), culminating in a chorus of Spectorian power and s
EXTD=implicity that asks, "Who's that girl/Running around with you?" "
EXTD=Who's That Girl?" is Revolver rock, Eighties style: appealingly m
EXTD=elodic, lyrically intriguing and truly inventive all at once.\n\n
EXTD=The gap between real love and its stances and rituals gets a more
EXTD= uptempo, minor-key treatment in "Here Comes the Rain Again." "Ta
EXTD=lk to me/Like lovers do," Lennox begs as violin lines swirl aroun
EXTD=d her rich vowels while she sings of rain falling "like a new emo
EXTD=tion." Not even the marimba-flavored romp "Right by Your Side" is
EXTD= wholly devoid of emotional ambiguity: "There's nothing left to f
EXTD=eel/When love gets into town."\n\n"The First Cut," with its James
EXTD= Brown-style guitar and thumb-plucking bass, shifts gears from a 
EXTD=bubbling funk to a smoothly sung melody line: "Ooh, I'm a white g
EXTD=irl/You can see my skin/Look at this picture that I'm living in."
EXTD= The title may refer to a first love or to the first song on a re
EXTD=cord, and the song ends, as do many of Touch's tracks, in an ecle
EXTD=ctic instrumental frenzy. Here, it's a fuzzed-out guitar; other t
EXTD=racks conclude with squirrelly saxes and weird strings. But later
EXTD=, on side two, things get a little more self-consciously arty, es
EXTD=pecially on "Aqua," where cocktail-piano glissandos trivialize it
EXTD=s account of a junkie's life.\n\nThere is a lot of music on this 
EXTD=record--almost fifty minutes' worth--and thirty minutes or so int
EXTD=o the LP, you're ready to trade the spare experimentation for the
EXTD= kind of aural power that this band can put across live. Only the
EXTD= stark bravado of "No Fear, No Hate, No Pain (No Broken Hearts)" 
EXTD=suggests Lennox' uncommon stage presence. She's more a sexless vi
EXTD=rtuoso than a rock star, but is no less affecting. "Nobody told y
EXTD=ou it would feel like this," she growls as the aural backing -- d
EXTD=isconnected supporting vocals, unwavering synth lines -- evoke an
EXTD=guish in a world that couldn't care less. "Paint a Rumour," which
EXTD= recalls "Pop Muzik," also plays on the danger of words ("I could
EXTD= tell you something," she hints ominously), but things dwiddle ou
EXTD=t a tad too soon over its seven-plus minutes.\n\nDespite its exce
EXTD=sses, Touch emerges as an uncannily thoughtful album that's direc
EXTD=t without being simple-minded, avant-garde without being inaccess
EXTD=ible. In its finest moments--"Who's That Girl?," for example -- T
EXTD=ouch seems to offer a synthesis of Beatlesque popcraft and the un
EXTD=sparing intelligence of the young Joni Mitchell. In a musical fie
EXTD=ld awash with deep-pocketed clotheshorses and hoary soul revivali
EXTD=sts, Eurythmics are creating something unmistakably new. (RS 414 
EXTD=-- Feb 2, 1984)  -- \nCHRISTOPHER CONNELLY
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