- The Eurythmics third studio album was their breakthrough, and here it is with outstanding Double Plus (A++) sound
- This copy was surprisingly rich, smooth and analog sounding, with an especially nice weighty quality to Lennox’s powerful vocals
- Includes some of the most memorable synth-pop anthems of the era – “Here Comes The Rain Again,” Who’s That Girl?” and more
- 4 1/2 stars: “The cool, sophisticated musical experimentalism all over Touch cemented Eurythmics’ reputation as one of the most innovative duos of their time… 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.”
We’ve tried a fair number of this band’s albums and to be honest, every one but this one has had horribly bright, overly-processed, distorted sound, even on import vinyl.
Until we run across something a lot better than what we have been auditioning, this will be the only title we can offer as a Hot Stamper from Eurythmics.
This vintage RCA import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What outstanding sides such as these have to offer is not hard to hear:
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1983
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
For Big Production Synth-Pop ’80s Classics such as this killer Eurythmics album there are some obvious problem areas that are common to the record.
With so many heavily-produced instruments crammed into the soundfield, if the presentation is at all veiled, recessed or smeared — problems common to 90+% of the records we play in our shootouts — the mix quickly becomes opaque, forcing the listener to work too hard to separate out the elements of greater interest.
Transparency, clarity and presence are key. Note that none of the British copies we played was thin and anemic. (The domestic copies are made from dubs and can’t begin to compete.) Almost all had some Tubey Magic and bottom end, so thankfully that was almost never a problem. They did however tend to lack top end extension and transparency, and many were overly compressed.
The sides that had sound that was bigger, clearer and really jumped out of the speakers, with driving rhythmic energy, worked the best for us. They brought this complex music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper — it’s the copy that lets the music work as music.
What We’re Listening For on Touch
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
Here Comes The Rain Again
Right By Your Side
Who’s That Girl?
The First Cut
No Fear, No Hate, No Pain (No Broken Hearts)
Paint A Rumour
AMG 4 1/2 Star Review
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 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.