1 	Would I Lie To You? 	4:25
2 	There Must Be An Angel (Playing With My Heart) Harmonica – Stevie Wonder	5:22
3 	I Love You Like A Ball And Chain 	4:04
4 	Sisters Are Doin' It For Themselves  Featuring [Duet With] – Aretha Franklin	5:54
5 	Conditioned Soul 	4:30
6 	Adrian    Vocals [Harmony Vocal] – Elvis Costello	4:29
7 	It's Alright - (Baby's Coming Back) 	3:45
8 	Here Comes That Sinking Feeling 	5:40
9 	Better To Have Lost In Love (Than Never To Have Loved At All) 	5:06

Mike Campbell - Guitar
Elvis Costello - Vocals
Angel Cross - Vocals, Vocals (Background)
Martin Dobson - Saxophone
Nathan East - Bass
Aretha Franklin - Vocals
Dean Garcia - Bass, Stomping
Michael Kamen - Celeste, Strings
Annie Lennox - Composer, Flute, Keyboard Programming, Keyboards, Percussion, Vocals
Stan Lynch - Drums
Dave Plews - Trumpet
Olle Romo - Drums, Stomping
Sadie - Stomping
Dave Stewart - Bass, Drum Programming, Drums, Guitars, Keyboards, Sequencing, Vocals
Benmont Tench - Keyboards
Adam Williams - Engineer, Mixing, 
Charles Williams - Vocals
Stevie Wonder - Harmonica 

meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This disc scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This disc is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic. ---Jose F. Promis, AllMusic Review

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1 	English Summer 	4:00
2 	Belinda 	3:58
3 	Take Me To Your Heart 	3:32
4 	She's Invisible Now 	3:27
5 	Your Time Will Come 	4:30
6 	Caveman Head 	3:56
7 	Never Gonna Cry Again 	3:02
8 	All The Young (People Of Today) 	4:11
9 	Sing - Sing 	4:03
10 	Revenge 	4:31
	Bonus Tracks:
11 	Le Sinestre 	2:44
12 	Heartbeat Heartbeat 	2:02
13 	Never Gonna Cry Again (Live) 	4:36
14 	4/4 In Leather (Live) 	3:05
15 	Take Me To Your Heart (Live) 	4:57

Clem Burke - Drums
Krista Fast - Laughs
Jackie Leibzeit - Brass, Drums
Annette "Queenie" Lennox - 	Flute, Keyboards, Percussion, Synthesizer, Vocals
Annie Lennox - Various Instruments, Vocals
Roger Pomphrey - Guitar, Shouts
Dave Stewart - Guitar, Guitar (Bass), Keyboards, Synthesizer, Various Instruments, Vocals, Vocals (Background)
Markus Stockhausen - Brass
Sir Timothy Wheater - Saxophone 

Eurythmics' debut album, In the Garden, is the missing link between the work of the Tourists, who included both Dave Stewart and Annie Lennox, and 1983's commercial breakthrough, Sweet Dreams (Are Made of This). Co-produced by Kraftwerk producer Conny Plank at his studio in Cologne, Germany, it has some of the distant, mechanistic feel of the European electronic music movement, but less of the pop sensibility of later Eurythmics. The chief difference is in Lennox's singing; even when the musical bed is appealing, Lennox floats ethereally over it, and the listener doesn't focus on her. As a result, In the Garden wasn't much of a success, though when Eurythmics streamlined their sound and emphasized Lennox's dominating voice on subsequent releases, they found mass popularity. ---William Ruhlmann, AllMusic Review

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1 	Love Is A Stranger 	3:40
2 	Sweet Dreams (Are Made Of This) 	4:50
3 	Who's That Girl? 	3:44
4 	Right By Your Side 	3:49
5 	Here Comes The Rain Again 	4:54
6 	There Must Be An Angel (Playing With My Heart) 	4:41
7 	Sisters Are Doin' It For Themselves 	5:51
8 	It's Alright (Baby's Coming Back) 	3:43
9 	When Tomorrow Comes 	4:15
10 	You Have Placed A Chill In My Heart 	3:46
11 	Miracle Of Love 	4:35
12 	Sex Crime (1984) 	3:52
13 	Thorn In My Side 	4:11
14 	Don't Ask Me Why 	4:13
15 	Angel 	4:47
16 	Would I Lie To You? 	4:22
17 	Missionary Man 	3:45
18 	I Need A Man 	4:21

It may have taken them a little while to get going, but when the Eurythmics hit their stride with their second album Sweet Dreams (Are Made of This), they began a hit streak that defined them as one of the most commercially successful and musically satisfying new wave bands of the '80s. For six years, the group was reliable, turning out at least one great single on each album, none of which sounded identical, yet all were recognizable as the work of Dave Stewart and Annie Lennox. Greatest Hits summarizes those glorious years and while it misses a couple of hits -- a bad thing when the sublime "Right by Your Side" is concerned, but not when "Sexcrime (Nineteen Eighty-Four)" is -- it remains an excellent collection. It might not follow a strict chronological order, but it flows nicely, revealing that the band that produced such chilly synth-pop classics as "Sweet Dreams," "Here Comes the Rain Again," "Love Is a Stranger," and "Who's That Girl?" were capable of delivering equally captivating light pop and ballads ("There Must Be an Angel (Playing With My Heart)," "Don't Ask Me Why," "Thorn in My Side"), ersatz soul ("Sisters Are Doin' It for Themselves"), and hard-driving rock & roll ("Missionary Man," "I Need a Man"). Few of their contemporaries were capable of such range and Greatest Hits proves that the best of the Eurythmics' work were undeniable pop classics. ---Stephen Thomas Erlewine, AllMusic Review

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