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| Be Yourself Tonight | |
|---|---|
| Name | Be Yourself Tonight |
| Type | studio |
| Artist | Eurythmics |
| Released | 29 April 1985 |
| Recorded | 1984–1985 |
| Studio | The Church, Château d'Hérouville, Air Studios |
| Genre | Pop music, Rock music, New wave music, Blue-eyed soul |
| Length | 45:24 |
| Label | RCA Records, BMG |
| Producer | Dave Stewart, Annie Lennox |
| Prev title | Touch |
| Prev year | 1983 |
| Next title | Revenge |
| Next year | 1986 |
Be Yourself Tonight
Be Yourself Tonight is the fourth studio album by the British duo Eurythmics, released in 1985. The record marked a stylistic shift from the duo's earlier electronic sound toward a more organic rock music and soul music-influenced pop, showcasing collaborations with prominent session musicians and producers. It features hit singles that charted internationally and contributed to the wider 1980s pop landscape alongside contemporaries like Madonna, Prince, and Phil Collins.
The album was conceived after the commercial success of Sweet Dreams (Are Made of This), following extensive touring with acts including David Bowie and sessions at studios used by artists such as Pink Floyd and Jeff Beck. Recorded between 1984 and 1985 at Château d'Hérouville and Air Studios, the sessions recruited session players associated with Stax Records-styled soul and contemporary rock, including members linked to Stevie Wonder, Aretha Franklin, and Al Green. Production was led by Dave Stewart with creative input from Annie Lennox and engineering teams who had worked with Brian Eno, Trevor Horn, and Giorgio Moroder. The band incorporated influences from Motown Records, Atlantic Records, and classic Stax Records arrangers while exploring arrangements reminiscent of The Rolling Stones, The Beatles, and Led Zeppelin.
Musically the album blends pop music, rock music, blue-eyed soul, and R&B idioms with lyrical themes touching on love, identity, and resilience, drawing comparisons to vocal stylings of Dusty Springfield and Sam Cooke. Tracks employ horn arrangements associated with Tower of Power-style sections and rhythm work evocative of Sly and the Family Stone and James Brown. Lyrics reference interpersonal dynamics found in songs by Stevie Nicks and emotional directness akin to Joni Mitchell and Patti Smith. The duet on the album channels collaborative histories similar to pairings like Tina Turner with Bryan Adams or Phil Collins with Genesis-era collaborators.
Released by RCA Records and distributed by BMG, the album's rollout included singles serviced to radio formats influenced by MTV rotation policies that had boosted careers of artists such as Duran Duran and Peter Gabriel. Promotional appearances included performances on televised platforms alongside musicians from The Tonight Show and curated festival dates sharing bills with acts like U2 and R.E.M.. Singles were pushed to markets dominated by labels such as Columbia Records and Warner Bros. Records, engaging press outlets that covered Rolling Stone, NME, and Billboard.
Contemporary reviews compared the album favorably to works by Prince, Madonna, and Paul McCartney for its crossover appeal. Critics from publications aligned with The Guardian and The New York Times highlighted the vocal performances reminiscent of Aretha Franklin and production touches echoing Eurythmics peers Depeche Mode and New Order. Some reviewers invoked the legacies of The Supremes and The Temptations when assessing the soul-inflected tracks, while others critiqued the band for moving away from the synth-oriented sound that followed in the wake of Gary Numan and Kraftwerk.
The album yielded international chart success, reaching high positions in the United Kingdom, United States, and markets such as Canada, Australia, and several European territories alongside strong single showings on Billboard Hot 100 and UK Singles Chart. Sales milestones placed the record among other 1985 sellers like Bruce Springsteen's releases and records from Phil Collins and Madonna; certifications were awarded by bodies including the British Phonographic Industry and the Recording Industry Association of America.
1. "Would I Lie to You?" — anthemic single with rock rhythm section and horn stabs comparable to The Rolling Stones' horn arrangements 2. "There Must Be an Angel (Playing with My Heart)" — gospel-tinged ballad invoking Aretha Franklin-style delivery 3. "Sisters Are Doin' It for Themselves" (with Aretha Franklin) — duet celebrating feminist themes akin to works by Helen Reddy and Joan Baez 4. "Here Comes That Sinking Feeling" — uptempo track with influences traceable to Sly and the Family Stone 5. "When Tomorrow Comes" — cinematic pop number reminiscent of Phil Collins production 6. Remaining tracks include midtempo soul songs and ballads reflecting the influence of Dusty Springfield, Sam Cooke, and Al Green.
Primary artists: Annie Lennox (vocals) and Dave Stewart (guitars, production). Guest musicians and contributors included studio players connected to Aretha Franklin, horn sections associated with Tower of Power, backing vocalists with credits alongside Stevie Wonder and Chaka Khan, and engineers who had worked with Brian Eno and Trevor Horn. Production and mixing involved personnel experienced with Air Studios sessions and who later collaborated with artists like U2, The Police, and Peter Gabriel.
The album influenced subsequent pop and soul-pop fusions by artists such as George Michael, Annie Lennox solo career, Sade, and helped shape radio-friendly arrangements used by Wham! and Pet Shop Boys. Its crossover approach informed production choices on mid- to late-1980s albums by Madonna, Prince, Bruce Springsteen, and Paul Simon, and its singles continue to appear in retrospective compilations alongside works by Michael Jackson and Elton John. The record is cited in discussions of 1980s pop evolution alongside milestones like Thriller and Purple Rain.
Category:1985 albums