The 1981 Listening Post - Eurythmics - In the Garden

 Eurythmics - In the Garden

#488

By Chris Roberts

October 16 1981

Eurythmics

In The Garden

Genre: Neu Wave

Allen’s Rating: 3 out of 5

Chris’ rating: 3 of 5

Highlights:

Belinda

English Summer

Take Me To Your Heart

She’s Invisible Now

I didn’t give a shit about The Eurythmics in the 1980s. I didn’t hate them, but the Eurythmics were unavoidable due to Top 40 radio and Friday Night Videos. I’d heard “Sweet Dreams (Are Made of This),” “Love Is A Stranger,” “Who’s That Girl” and “Here Comes The Rain Again” again and again. The Eurythmics put out TWO FULL ALBUMS in 1983, so my regard deteriorated at the nexus of overexposure and being fourteen. I would have cared more if you’d told me Annie Lennox would sing in a Lord of The Rings movie. And I would have called you a wizard, since you’re from the future!

Hey, I’m from the future too. I still don’t care about The Eurythmics, but I respect Annie Lennox’s talent. Also, it’s December 2020 and I’m stuck inside listening to In The Garden, the Eurythmics unexpectedly modern debut. Surprise! It’s not an Annie Lennox showcase. Surprise! It’s New Wave—but reminds me more of 90s records. I expect that’s the producer’s influence, because, speaking of bona-fide wizards, In The Garden was produced by Conny Plank. Surprise! Plank was behind records from Neu!, Kraftwerk, Guster*, and others.

Most of Side A is good. Per the title, “English Summer” sets an overcast mood so you should grab a sweater and head for the beach to look for gray rocks with Liz Frazer or Tracey Thorn. My favorite track is the second single, “Belinda,” where Lennox vocals soar like a VW Cabriolet speeding through a cumulous cloud. Next lurks “Take Me To The Heart,” with it’s tinkling horror film vibe, and “She’s Invisible Now,” which evokes Stereolab comparisons. 

So far, Plank’s bleeps and buzzes work with Lennox icy smooth delivery to create a unique mood and texture. But the album is problematic the longer it goes on. We know Lennox has impressive gifts, but on In The Garden, her vocals are restrained and dispassionate, like she’s Nancy Drew, whispering to avoid getting caught. And Plank’s bleeps and buzzes get overly familiar. On Side B there are some experimental flourishes—you can really taste the kraut on “Caveman Head” and “Sing-Sing”—but there aren’t enough pop hooks to keep me interested. I’m tired of “Never Gonna Cry Again” before the song ends—a bad sign for the first single. “All The Young (People of Today)” is just Lennox singing over a Kraftwerk record.

“Belinda” is great. I listed three other highlights, though you could pick your own, just avoid prolonged exposure. In The Garden would work as an EP. In longer doses, Plank’s sound becomes monotonous rather than inventive. Maybe it’s my expectations.

I kept waiting for Lennox to let loose, but here, she’s one-dimensional. I guess I give a shit after all. 

*Misspelling left in for Jim Coursey. For everyone else, you know I mean Cluster.

https://open.spotify.com/album/1tpBcNFC8Wxy4Ci3woWwTx?si=q1bbEg-eThqiqCLD2AmQIQ