The copy we are selling is similar to the one pictured above.
Side One: Mint Minus to Mint Minus Minus
Side Two: Mint Minus to Mint Minus Minus
- The Eurythmics' third studio album was their breakthrough, and here it is with excellent Double Plus (A++) sound or close to it throughout - exceptionally quiet vinyl too
- Side two of this copy is surprisingly rich, smooth and analog-sounding, with an especially nice weighty quality to Lennox's alluring vocals, and side one isn't far behind in all those areas
- Forget the domestic pressings; forget whatever lame reissues have come or will come down the pike - if you want to hear this album right, a Hot Stamper British pressing is the only way to go
- Includes some of the most memorable synth-pop anthems of the era - "Here Comes The Rain Again," "Who's That Girl?" and more
- 4 1/2 stars: "The cool, sophisticated musical experimentalism all over Touch cemented Eurythmics' reputation as one of the most innovative duos of their time... Touch is a testament to what Eurythmics were at the height of their electronic-techno phase and, without doubt, is a milestone in 1980s pop music."
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Vintage covers for this album are hard to find in exceptionally clean shape. Most of the will have at least some amount of ringwear, seam wear and edge wear. We guarantee that the cover we supply with this Hot Stamper is at least VG
We've tried a fair number of this band's albums and, to be honest, every one but this one has been horribly bright and over processed, with inexcusably distorted sound -- even on import vinyl.
Until we run across something a lot better than what we've been auditioning, this will be the only title we can offer as a Hot Stamper from Eurythmics.
This vintage RCA import pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn't showing signs of coming back. If you love hearing INTO a recording, actually being able to "see" the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It's what vintage all analog recordings are known for -- this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it -- not often, and certainly not always -- but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Touch Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes even as late as 1983
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
For Big Production Synth-Pop '80s Classics such as this killer Eurythmics album, there are some obvious problem areas that are common to the record.
With so many heavily-produced instruments crammed into the soundfield, if the presentation is at all veiled, recessed or smeared -- problems common to 90+% of the records we play in our shootouts -- the mix quickly becomes opaque, forcing the listener to work too hard to separate out the elements of greater interest.
Transparency, clarity and presence are key. Note that none of the British copies we played were thin and anemic. (The domestic copies are made from dubs and can't begin to compete.) Almost all had some Tubey Magic and bottom end, so thankfully that was almost never a problem. They did however tend to lack top-end extension and transparency, and many were overly compressed.
The sides that had sound that was bigger, clearer and really jumped out of the speakers, with driving rhythmic energy, worked the best for us. They brought this complex music to life and allowed us to make sense of it. This is yet another definition of a Hot Stamper -- it's the copy that lets the music work as music.
What We're Listening For on Touch
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- Here Comes The Rain Again
- Right By Your Side
- Cool Blue
- Who's That Girl?
- The First Cut
- No Fear, No Hate, No Pain (No Broken Hearts)
- Paint A Rumour
AMG 4 1/2 Star Review
Eurythmics followed their 1982 breakthrough album Sweet Dreams with the superior Touch, which yielded three hit singles and kept the innovative duo at the forefront of the 1980s British new wave explosion and MTV phenomenon. Mixing cold, hard, synthesized riffs with warm, luscious vocals, the duo crafted some of the most unique and trendsetting music the 1980s had to offer. Subsequent albums found the duo leaning heavier toward straightforward rock -- this album found them at the height of their electronic incarnation.
... The cool, sophisticated musical experimentalism all over Touch cemented Eurythmics' reputation as one of the most innovative duos of their time; the hit singles solidified their reputation as dependable 1980s hitmakers and MTV mainstays. Touch is a testament to what Eurythmics were at the height of their electronic-techno phase and, without doubt, is a milestone in 1980s pop music.