Love Is a Stranger
"Love Is a Stranger" is the fifth single by the British rock/pop duo Eurythmics. Released in late 1982, the single was commercially unsuccessful, but it was rereleased in 1983 when it became a hit, reaching the UK Top Ten; the single was re-released again in 1991. Released in November 1982 in the United Kingdom, the song reached a disappointing #54 on the singles chart. Following the huge success of "Sweet Dreams" the following year, the song was re-released and reached #6 in April 1983. In the United States, the song was the second single from the Sweet Dreams album and it was released just as the title track reached number one, it entered the Billboard Hot 100 at #81 on 17 September 1983 and peaked at #23 on 12 November of that year. The song was in the charts for thirteen weeks; the single release was accompanied by a music video directed by Mike Brady, in which Stewart acts as chauffeur for an androgynous Lennox, who plays the role of a high-class prostitute. Lennox removes a curly blonde wig to reveal close-cropped, red hair, though in the music video her hair was slicked back rather than being a buzz cut as seen in the subsequent music video, "Sweet Dreams".
This caused minor controversy in the USA, as some people mistakenly thought Lennox was a male transvestite. Annie Lennox – lead vocals, synthesisers David A. Stewart – keyboards, programming, backing vocals Robert Crash – e-drums, robotic vocals Adam Williams – synthesiser Reynard Falconer – synthesisers A: "Love Is a Stranger" – 3:43 B: "Monkey Monkey" – 5:20 A1: "Love Is a Stranger" – 3:43 B1: "Monkey Monkey" – 5:20 B2: "Let's Just Close Our Eyes" – 4:19"Let's Just Close Our Eyes" is a newly recorded version of "The Walk" with a more synth-oriented instrumentation. A: "Love Is A Stranger" - 3:43 B: "Julia" - 4:05 A1: "Love Is A Stranger" 6:32 A2: "Love Is A Stranger" - 6:34 B1: "Love Is A Stranger" - 7:17 B2: "Love Is A Stranger" - 6:07 B3: "Love Is A Stranger" - 3:43 "Love Is A Stranger" - 3:43 "There Must Be An Angel" - 5:23 "Julia" - 4:05 "Love Is A Stranger" - 6:30 Video on YouTube Lyrics of this song at MetroLyrics
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
James Iovine is an American record producer best known as the co-founder of Interscope Records. In 2006, Iovine and rapper-producer Dr. Dre founded Beats Electronics, which produces audio products and operated a now-defunct music streaming service; the company was purchased by Apple Inc. for $3 billion in May 2014. Prior to the Apple acquisition of Beats in 2014, Iovine became chairman of Interscope-Geffen-A&M, an umbrella unit merged by the then-newly-reincarnated Universal Music Group in 1999. James Iovine was born in New York, to an Italian working-class family, his mother was a secretary and his father, Vincent "Jimmy" Iovine, worked in the docks as a longshoreman. His father's passing and his love for Christmas inspired Jimmy to record A Very Special Christmas in 1985. Iovine attended Catholic school in Brooklyn, graduating from the since-closed Bishop Ford Central Catholic HS and went on to attend New York's John Jay College of Criminal Justice. At 19, he was a college dropout, he was introduced to music production after he met a songwriter who got him a job cleaning a recording studio.
He began working as a studio professional around 1972. Since the start of his career, Iovine has been involved in the production of more than 250 albums. In the early 1970s, Iovine became a recording engineer, working with John Lennon and Bruce Springsteen, among others. By 1973, Iovine was on staff at the New York studio the Record Plant, where he worked on Springsteen's Born to Run and Meat Loaf's Bat Out of Hell albums, he came to prominence via his work on the 1978 Patti Smith album Easter, which included her Top 40 hit "Because the Night". He teamed with the Heartbreakers on Damn the Torpedoes and U2 on Rattle and Hum. Iovine produced Bella Donna, Making Movies for Dire Straits, Get Close for The Pretenders. Iovine served as sound engineer for the Voyager Golden Records, a pair of phonograph records which were launched aboard the Voyager space probes in 1977. Iovine was responsible for supervising the music used in the 1984 romance film Sixteen Candles and the 1988 comedy film Scrooged. In 1990, Iovine co-founded Interscope Records, which became Interscope Geffen A&M after a merger in 1999.
Iovine signed Tupac Shakur to a recording contract as one of the first hip-hop acts on the Interscope label in 1991. Iovine was responsible for providing distribution, initial funding and financial oversight for the successful Death Row Records hip-hop label in the 1990s. Death Row operated as a subsidiary of his company Interscope, was responsible for Interscope's initial platinum selling chart successes throughout the 1990s, which launched the company into greater success in the 2000s with platinum artists like Eminem and 50 Cent. In 2002, Iovine co-produced the Academy Award-winning Eminem movie, 8 Mile, which opened at #1 at the box office and went on to gross more than $240 million worldwide. Additionally, Iovine executive produced the 2009 LeBron James documentary More than a Game and 50 Cent's Get Rich or Die Tryin'. In 2008, Iovine teamed up with Dr. Dre to co-found Beats By a headphones brand; the company had captured 20 percent market share of the headphones industry by 2012. In January 2013, Iovine announced the expansion of the Beats brand into the online digital music world with Daisy, a new service slated to launch in late 2013.
Former Topspin Media executive Ian Rogers and Nine Inch Nails frontman Trent Reznor were said to be involved. On May 28, 2014, Apple Inc. announced the acquisition of Beats Electronics. Iovine was hired to assume an undisclosed position at Apple where he helped in the creation of Apple Music. In 2005, Iovine made a guest appearance as himself on "Don't Make Me Over", an episode of Seth MacFarlane's Family Guy. From 2011 to 2013, Iovine was a mentor on Fox's American Idol. Iovine's protégés—Scotty McCreery, Phillip Phillips, Jessica Sanchez, Candice Glover—release their music through Interscope. Iovine stopped working with the show in mid-2013. In July 2017, HBO ran a four-part documentary about Jimmy Iovine's relationship with Dr. Dre and other musicians titled The Defiant Ones. In May 2013, Iovine and Dr. Dre donated a $70 million endowment to the University of Southern California to create the USC Jimmy Iovine and Andre Young Academy for Arts and the Business of Innovation; the first class of the Academy began in September 2014 with 31 students.
In 2011, Iovine was honored by The Producers & Engineers Wing of the Grammy Awards. "This year we pay tribute to an industry leader, Jimmy Iovine, who has made an indelible impact as a recording engineer, founder of Interscope Records, now, entrepreneur focused on audio quality," Neil Portnow, president of the National Academy of Recording Arts and Sciences, the governing body of the Grammy Awards, said in presenting the award. On May 17, 2013, Iovine received an honorary Doctor of Music degree from the University of Southern California and gave the 2013 USC commencement address. Relationships: While producing her album Bella Donna, Iovine entered into a relationship with singer Stevie Nicks; the two split in 1982. Nicks wrote the song "Straight Back", about him. According to Nicks, Iovine was an inspiration for one of her signature songs, Edge of Seventeen. According to Nicks, Iovine's despondence from the death of his good friend John Lennon overwhelmed Nicks, led to the end of their relationship.
However, the strong emotion of the time led to the creation of "Edge of Seventeen." Iovine was married 24 years to writer and model Vicki Iovine before divorcing. In 2014 he started dating Liberty Ross, they got married in front of their Malibu bea
Be Yourself Tonight
Be Yourself Tonight is the fourth album by the British pop duo Eurythmics. It was released on 29 April 1985 by RCA Records. Recorded in Paris, with additional recording in Detroit and Los Angeles, this album saw Eurythmics move away from their previous more experimental, synthesizer-based songs, to a more commercial pop/rock sound. Combining elements of Motown and rock music, the album incorporates a more traditional band line-up/instrumentation. Nonetheless, the recordings still possessed an atmospheric and cutting edge sound, winning David A. Stewart awards for his production work on the album; the release of the album coincided with a new look for singer Annie Lennox, who ditched the androgynous look of the previous albums and became, in biographer Lucy O'Brien's words, "a bleach-blonde rock'n' roller." Be Yourself Tonight includes guest appearances by notable artists such as Aretha Franklin, Stevie Wonder, Elvis Costello. Be Yourself Tonight is Eurythmics' best-selling studio album, it reached top 10 in the US, as well as spawning several hit singles.
The album includes the duo's first UK number-one "There Must Be an Angel" and the American Top 5 and Australian number-one hit "Would I Lie to You?". No tour followed the album's release, due to Lennox's recuperation from vocal fold nodules. On 14 November 2005, Sony BMG repackaged and released Eurythmics' back catalogue as "2005 Deluxe Edition Reissues"; each of their eight studio albums' original track listings were supplemented with bonus tracks and remixes. All tracks written except where noted. Annie Lennox – vocals, sequencer on "It's Alright" David A. Stewart – guitar, sequencer on "Would I Lie to You?", programming on "I Love You Like a Ball and Chain" Dean Garcia – bass guitar, wood stomping on "I Love You Like a Ball and Chain" Olle Romo – drums, wood stomping on "I Love You Like a Ball and Chain" Nathan East – bass guitar on "Would I Lie to You?" and "Sisters Are Doin' It for Themselves" Stan Lynch – drums on "Sisters Are Doin' It for Themselves" Mike Campbell – lead guitar on "Sisters Are Doin' It for Themselves" and "Adrian" Benmont Tench – Hammond organ on "Would I Lie to You?" and "Sisters Are Doin' It for Themselves" Stevie Wonder – harmonica on "There Must Be an Angel" Dave Plews – trumpet on "Would I Lie to You?" and "It's Alright" Martin Dobson – saxophone on "Would I Lie to You?" and "It's Alright" Sadie – gravel stomping on "I Love You Like a Ball and Chain" Adam Williams – programming on "I Love You Like a Ball and Chain" Michael Kamen – strings on "There Must Be an Angel" and "Better to Have Lost in Love", celeste on "Adrian", keyboards and string parts on "Here Comes That Sinking Feeling" Aretha Franklin – guest vocals on "Sisters Are Doin' It for Themselves" Richard Cross – backing vocals on "There Must Be an Angel" The Charles Williams Singers – backing vocals on "I Love You Like a Ball and Chain", gospel choir on "Sisters Are Doin' It for Themselves" Elvis Costello – harmony vocals on "Adrian" Producer: Dave Stewart Engineers: Don Smith, Adam Williams Assistant engineer: Jay Willis Mixing: Don Smith, Dave Stewart, Adam Williams Mastering: Stephen Marcussen Sequencing: Dave Stewart Recorder: Shelly Yakus Keyboard programming: Annie Lennox Drum programming: Dave Stewart Art direction: Laurence Stevens Design: Laurence Stevens Photography: Paul Fortune Elliot Murphy.
Eurythmics – Be Yourself Tonight. Spin. p. 30. Retrieved 22 August 2010
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Ann Lennox OBE is a Scottish singer-songwriter, political activist and philanthropist. After achieving moderate success in the late 1970s as part of the new wave band The Tourists and fellow musician David A. Stewart went on to achieve major international success in the 1980s as Eurythmics. With a total of eight Brit Awards, which includes being named Best British Female Artist a record six times, Lennox has been named the "Brits Champion of Champions". Lennox embarked on a solo career in 1992 with her debut album, which produced several hit singles including "Why" and "Walking on Broken Glass". To date, she has released six solo studio albums and a compilation album, The Annie Lennox Collection. Aside from her eight Brit Awards, she has collected four Grammy Awards and an MTV Video Music Award. In 2002, Lennox received a Billboard Century Award. In 2004, she won both the Golden Globe and the Academy Award for Best Original Song for "Into the West", written for the soundtrack to the feature film The Lord of the Rings: The Return of the King.
In addition to her career as a musician, Lennox is a political and social activist, notable for raising money and awareness for HIV/ AIDS as it affects women and children in Africa. In 2011, Lennox was appointed an Officer of the Order of the British Empire by Queen Elizabeth II for her "tireless charity campaigns and championing of humanitarian causes". On 4 June 2012 she performed at the Queen's Diamond Jubilee Concert in front of Buckingham Palace. Lennox performed the song "Little Bird" during the 2012 Summer Olympics closing ceremony in London on 12 August 2012. Lennox has been named "The Greatest White Soul Singer Alive" by VH1 and one of The 100 Greatest Singers of All Time by Rolling Stone. In 2012, she was rated No. 22 on VH1's 100 Greatest Women in Music. She has earned the distinction of "most successful female British artist in UK music history" due to her commercial success since the early 1980s; as of June 2008, including her work within Eurythmics, Lennox had sold over 80 million records worldwide.
At the 2015 Ivor Novello Awards, Lennox was made a fellow of the British Academy of Songwriters and Authors, the first female to receive the honour. In 2017, Lennox was appointed Glasgow Caledonian University's first female chancellor, taking over the role from Nobel Peace Prize laureate Muhammad Yunus. Lennox's vocal range is contralto. Annie Lennox was born on Christmas Day 1954 in Summerfield Maternity Hospital, the daughter of Dorothy Farquharson and Thomas Allison Lennox. In the 1970s, Lennox won a place at the Royal Academy of Music in London, where she studied the flute and harpsichord for three years, she worked at part-time jobs for extra money. Lennox was unhappy during her time at the Royal Academy and spent her time wondering what other direction she could take. Lennox's flute teacher's final report stated: "Ann has not always been sure of where to direct her efforts, though she has been more committed, she is very able, however." Two years Lennox reported to the Academy: "I have had to work as a waitress and shop assistant to keep me when not in musical work."
She played and sang with a few bands, such as Windsong, during the period of her course. In 2006, the academy made her an honorary Fellow. Lennox was made a Fellow of the Royal Scottish Academy of Music and Drama that year. In 1976, Lennox was a flute player with a band called Dragon's Playground, leaving before they appeared on TV's New Faces. Between 1977 and 1980, she was the lead singer of The Tourists, a British pop band and her first collaboration with Dave Stewart. Lennox and Stewart's second collaboration, the 1980s synthpop duo Eurythmics, resulted in her most notable fame, as the duo's alto, soul-tinged lead singer. Early in Eurythmics' career, Lennox was known for her androgyny, wearing suits and once impersonating Elvis Presley. Eurythmics released a long line of singles in the 1980s, including "Sweet Dreams", "There Must Be an Angel", "Love Is A Stranger", "Here Comes the Rain Again", "Sisters Are Doin' It for Themselves", "Who's That Girl?", "Would I Lie to You?", "Missionary Man", "You Have Placed a Chill in My Heart", "Thorn in My Side", "The Miracle of Love" and "Don't Ask Me Why".
Although the Eurythmics never disbanded, Lennox made a clear break from Stewart in 1990. Thereafter, she began her solo career. Lennox and Stewart reconvened Eurythmics in the late 1990s with the album Peace, their first album of new material in ten years. A subsequent concert tour was completed, with profits going to Amnesty International. Lennox has received eight Brit Awards, including being named Best British Female Artist a record six times. Four of the awards were given during her time with Eurythmics, another was given to the duo for Outstanding Contribution to Music in 1999; the 1988 single, "Put a Little Love in Your Heart", was a duet with Al Green recorded for the soundtrack of the movie Scrooged. Though it was produced by Dave Stewart, it was credited to Green; this one-off single peaked at No. 2 on the U. S. Adult Contemporary chart, No. 9 on the U. S. Billboard Hot 100 and was a top 40 hit in the UK. Lennox performed the song "Ev'ry Time We Say Goodbye", a Cole Porter song, that same year for a cameo appearance in the Derek Jarman film Edward II.
She appeared with David Bowie and the surviving members of Queen at 1992's Freddie Mercury Tribute Concert at London's Wembley Stadium, performing "Under Pressure". Lennox began working with former Trevor Horn protégé Stephen Lipson, beginning with her 1
Sweet Dreams (Are Made of This)
"Sweet Dreams" is a song written and performed by the British new wave music duo Eurythmics. The song is the title track of their album of the same name and was released as the fourth and final single from the album in early 1983; the song became their breakthrough hit. Its music video helped to propel the song to number 2 on the UK Singles Chart and number 1 on the US Billboard Hot 100, it was the first single released by Eurythmics in the US. "Sweet Dreams" is arguably Eurythmics' signature song. Following its success, their previous single, "Love Is a Stranger", was re-released and became a worldwide hit. On Rolling Stone's The 500 Greatest Songs of All Time issue in 2003, "Sweet Dreams" was ranked number 356. Eurythmics have performed the song in all their live sets since 1982, it is performed by Lennox on her solo tours. In 1991, the song was reissued to promote Eurythmics' Greatest Hits album, it re-charted in the UK, reaching number 48, was a moderate hit in dance clubs. Another remix by Steve Angello was released in France in 2006, along with the track "I've Got a Life".
Annie Lennox and Dave Stewart wrote the song after the Tourists had broken up and they formed Eurythmics. Although the two of them broke up as a couple, they continued to work together, they bought new synthesisers to play around with. According to Stewart, he managed to produce the beat and riff of the song on one of their new synthesisers, Lennox, on hearing it, said: "What the hell is that?" and started playing on another synthesiser, beginnings of the song came out of the two duelling synths. According to Lennox, the lyrics reflected the unhappy time after the break up of the Tourists, when she felt that they were "in a dream world", that whatever they were chasing was never going to happen, she described the song as saying: "Look at the state of us. How can it get worse?", adding "I was feeling vulnerable. The song was an expression of how I felt: hopeless and nihilistic." Stewart however thought the lyrics too depressing, added the "hold your head up, moving on" line to make it more uplifting.
Commenting on the line "Some of them want to use you … some of them want to be abused", Lennox said that "people think it’s about sex or S&M, it’s not about that at all". "Sweet Dreams" was created and recorded in two places, first in the Eurythmics' tiny project studio in the Chalk Farm district of London, above a picture framing shop in a small room at The Church Studios in North London. The home studio was equipped with a Tascam 8-track half-inch tape recorder, a Soundcraft mixer, a Roland Space Echo, a Klark Teknik DN50 spring reverb, a B. E. L. Electronics noise reduction unit, a single Beyerdynamic M 201 TG microphone; the gear was purchased second-hand after Lennox and Stewart obtained a bank loan for £5000. Purchased with the bank loan was a £2000 Movement Systems Drum Computer, one of only about 30 built, with the Eurythmics having to sleep for a few days at the Bridgwater apartment of the manufacturer while their early prototype unit was being assembled; the MCS Drum Computer provided drum sounds, triggered sequences on a Roland SH-101 synthesizer, used for the synth bass line.
To fill out the complement of instruments, Lennox played a borrowed Oberheim OB-X for sustained string sounds. Their only microphone, a utilitarian model used for hi-hat, performed all the acoustic duties, including tracking Lennox's vocals. Stewart recalls. Stewart was upbeat because he had just survived surgery on a punctured lung, felt like he had been given a new lease on life. Lennox was feeling low because of the poor results from past musical work, she perked up. She "leapt off the floor" and started to fill in the song with the Oberheim synth. According to Stewart, the record company did not think the song was suitable as a single as it lacked a chorus. However, when a radio DJ in Cleveland kept playing the song from the album, it generated a strong local response, the label decided to release it. "Sweet Dreams" was all over the world. The single entered the UK chart at number 63 in February 1983 and reached number two the following month."Sweet Dreams" was the first single release by Eurythmics in the United States when it was released in May 1983.
The single debuted at number 90 and eased up the chart. By August, the single had reached number two and stayed there for four weeks, kept from the top by the Police's "Every Breath You Take" before "Sweet Dreams" took the number one spot; the music video for "Sweet Dreams" was directed by Chris Ashbrook and filmed in January 1983, shortly before the single and the album was released. The video received heavy airplay on the then-fledgling MTV channel and is considered a classic clip from the early-MTV era; the music video begins with a fist pounding on a table, with the camera panning up to reveal Lennox in a boardroom, with images of a Saturn V launch projected on a screen behind her, which are replaced by a shot of a crowd walking down a street. Stewart is shown typing on a computer; the camera cuts to Stewart meditating on the table. Stewart is next shown playing a cello in a field; the scene returns to the boardroom, with Lennox and Stewart lying down on the table, a cow walking around them.
Stewart is shown again typing with the cow chewing something right next to him. The scene cuts to the duo in a field, with a herd of cows, Stewar