“Be Yourself Tonight” by Eurythmics

Flat-out one of the best pop-rock records from the 80s.

This album review examines one of the best pop-rock records from the 1980s, spearheaded by one of the era’s most recognizable voices.

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Genre: Pop, New Wave, Rock

Label: RCA

Release Date: April 29, 1985

Vibe: 👭

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👉 Click the GIF to stream the album on your favorite platform

In the mid-1980s, no genre was more omnipresent (and influential) than synth-pop. The light touch of glossy, often lush keyboards, gated drum machines that crackled with life, and futuristic visual tie-ins, along with a then-ascendant MTV, defined an entire era of music. Mainstream artists transitioned to electronic music, and the commercial payoff was astronomical. Among synth-pop's best-known acts, perhaps none cast a longer shadow stylistically than the Eurythmics. The duo, composed of Annie Lennox and Dave Stewart, skyrocketed to fame on the back of massive hits like “Sweet Dreams (Are Made of This)” and “Here Comes the Rain Again.” But, by 1985, they were ready for a change and shocked listeners and critics alike by rejecting synth-pop norms in favor of arena-sized rock and R&B. The resulting release was their fourth (and most impressive) studio album, 1985's Be Yourself Tonight.

Today, in a climate where Olivia Rodrigo can transition seamlessly from bedroom pop to Vans Warped Tour-style punk, this record would be viewed as an intriguing musical pivot. Not beloved by all, certainly, but not an offensive about-face to their fanbase. But, back in the 80s, that's what it felt like for Lennox and Stewart. Coming off international synth-driven successes, this change was seen as an unnecessary sonic overhaul, one that propelled them into uncharted musical territory. That calculated risk turned out to be a masterstroke, breathing new life into the duo’s sound by expanding their creative footprint. In the process, they delivered some of the most enduring hits of their career—songs that still resonate 40 years later

Before Be Yourself Tonight, Eurythmics' most prominent quality was their sleekness. Their chilly, atmospheric brand of synth-pop proved a powerful, memorable vehicle for Lennox in particular, framing her rich, brooding contralto with icy soundscapes. It's a compelling formula, to be sure, but a formula all the same. If I've learned nothing else from reading and writing about pop music voraciously since starting this newsletter, it's that artists will often reject templates that work for no other reason than to prove to themselves that they can embody different yet equally appealing vibes (see my U2 discography ranking for several prominent examples of this reaction as a creative driver).

Recording sessions spanned Paris, Detroit, and Los Angeles—three cities each brimming with distinctive musical heritage. In an interview reflecting on their studio process, Dave Stewart explained their desire for authenticity: "We wanted to move away from what was expected of us. We loved synthesizers, but we also wanted to feel the raw energy of real drums, guitars, and brass." By undertaking the project with those goals in mind, they knew there was a possibility of alienating loyal fans. Still, the duo trusted their instincts, much to their credit. Lennox later admitted, "We didn’t overthink it. We just knew we needed something different. Something alive." In a world where certain corners of pop music have become overly manicured and manufactured, "something alive" is a more-than-worthy target to aim for.

Few tracks embody this new musical direction more than the album opener, “Would I Lie to You?” In its opening seconds, with its driving drums and towering riff, it sounds a bit like a cut from the Cult’s Love. LP, which debuted the same year. But, all of a sudden, you have these gorgeous horns and organ accents that float in out of nowhere, changing the tenor of the track instantly. Lennox’s vocals are more expressive and soulful than on previous Eurhythmics records, a moment that would be the first of several palette-broadening singles that would make her one of the most fascinating female singers of her era. The energy is rawer, the energy more unabashedly rock and Motown-centric than it had been before. “Would I Lie to You?” was an undeniable hit, peaking at No. 5 on the Billboard Hot 100 and has endured as a rock radio staple. The accompanying music video had more than a little to do with its success, featuring Lennox in full glam-rock kiss-off mode as she embodies a protagonist gleefully strutting away from a toxic relationship.

Next up on the tracklist is “There Must Be an Angel (Playing with My Heart),” a lighter, joyously spacey counterpoint to its immediate predecessor. Here, the duo reveals yet another side to their sound, seamlessly blending dreamy synthesizer patterns and stuttering snares to create a pillowy bed for Lennox’s sumptuous vocals, especially when you get those layered harmonies during the chorus. That lush orchestration is supported by the one and only Stevie Wonder, who adds a harmonica solo to the ethereal atmosphere. His is just one of several standout celebrity cameos, including Elvis Costello’s crooning on “Adrian,” giving Lennox’s contralto a wonderful counterpart to play off of. Elswhere, you have the new wave-y “I Love You Like a Ball and Chain,” the oddball rocker “Here Comes That Sinking Feeling,” which features Lennox overdubs that sound like she’s trying to sing through the drive-thru speaker, and “It’s Alright (Baby’s Coming Back)” which reaffirms the Eurythmics’ mastery at crafting catchy melodies that, at the same time, sound so much more sophisiticated than other pop-rock fare of its day.

But, even amid all those highlights, the best song off Be Yourself Tonight is “Sisters Are Doin’ It For Themselves,” an unforgettable feminist stomper that pairs Lennox with the incomparable Aretha Franklin. The Queen of Soul was in the midst of her own pop comeback, one that would culminate in Who’s Zoomin’ Who? later that summer (side bar: how good was music in 1985? Like, seriously. We’ve covered so many bangers from that year in this newsletter. What was in the water?), and you could argue this duet captures the two icons at the peak of their considerable powers. Lennox proves herself more than capable of hanging with Franklin in a gospel-tinged setting, letting oppressors of women know that they’re “coming out of the kitchen” and giving “the 'inferior sex' got a new exterior.” Lennox and Stewart originally wanted Tina Turner on the track, but, when she became unavailable, Franklin stepped into the batter’s box and hit it out of the park.

The song was a groundbreaking moment in the conversation around women’s empowerment and still has the power to bowl you over today. Honestly, we need more songs like it, in my opinion. I’ve had multiple exchanges in various Substack comment sections about a lack of visibility for women in rock and pop, with too few of our most important creatives getting shut out of GOAT conversations online. In a decade where we’ve had trad wife movements shift the discourse around what empowering women actually means in some conservative circles, it’s more critical than ever to spotlight contributions like this one from Lennox and Franklin. Their chemistry is off the charts, and I don’t think it’s hyperbole to say it’s one of the best-sounding vocal performances of the decade. Maybe ever. I mean, can you imagine being in the control room while this one was being laid down? How chill-inducing would that have been?

That seismic cultural touchstone is emblematic of the quality that makes Be Yourself Tonight so successful: defiance. It’s a powerhouse of an album because the duo didn’t stay in their lane, despite urging from their corporate overlords. You can understand why, to a degree. The Eurhythmics had cornered the market when it came to a distinctive brand of synth-pop—why stop that lucrative supply chain in its tracks? Why not just give the audience what they want? To quote Steve Jobs, "People don't know what they want until you show it to them.” With this LP, Lennox and Stewart demonstrated how far they were willing to go to satisfy their artistic appetites and, in the process, made their sound even more vital than it was before. The old Eurhythmics formula would have eventually grown stale. This album proved they had far more in the tank than many may have given them credit for.

The bold move paid off for them, both commercially and critically. Be Yourself Tonight ranks among their highest-charting releases, reaching No. 3 on the UK Albums Chart and cracking the Top 10 on the Billboard 200. It also achieved Platinum status on both sides of the Atlantic, underscoring how appealing their sound had become internationally. The record also earned two Grammy nominations, including Best Rock Performance for “Would I Lie to You?” and Best R&B Performance for “Sisters Are Doin’ It for Themselves.” The cultural legacy of Be Yourself Tonight endures to this day, with artists like Florence Welch, St. Vincent, and Lady Gaga all citing it and Lennox as a key influence. Her visual and stylistic shift during this period set a new standard for persona creation among women in pop music, moving away from her famously androgynous appearance in earlier performances and leaning towards a more vibrant, rock-inspired aesthetic. Her influence alone extends into the fashion and art worlds, amplifying those themes of empowerment and, as a sum of its parts, delivering a cohesive statement on female strength and individuality.

In short, it’s an exceptional record, but it’s also so much more than an exceptional record.

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What’s your favorite Eurythmics track? Sound off in the comments.