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 Good,def. experimental! Apr 19, 2009
I heard some negative reviews about this cd, so I was initally turned off by it, but decided to give it a chance. I thought it was good, but compared to Annie Lennox/Eurythmics other work. This cd seems to fall alittle flat. It's def. an expermental album for them(you can kind of tell by the 1st track, Bethoveen). I wasn't a huge fan of that one. Although, i did love the Japanese lover track. That song had a nice hook, and great beats to it. Classic Eurythmics style! Very good! There were a few other tracks that seemed to incorparate the whole rockabilly sound(which is something i love!) into their music. Overall, i'd most of the tracks were strong,but there were different. This is def. a different direction for them. If anybody loves 80's music or the eurythmics then def. check this album out!
 Love Song Psychosis Dec 24, 2008
Working primarily with synthesizers, Eurythmics was always an edgy band, with dark lyrics and Annie Lennox's rich vocals playing off against David Stewart's danceable beats and slick and glittering instrumentals. Although their 1981 IN THE GARDEN was not a success, the 1983 SWEET DREAMS ARE MADE OF THIS exploded the duo to both critical acclaim and international stardom, and they would remain among the best known and most original musical artists of the 1980s.
For the 1987 SAVAGE, Lennox and Stewart--always experimenters--built their songs from percussion loops, and the resulting sound was even edgier than usual. When combined with some of the darkest lyrics and musical attitudes imaginable, SAVAGE proved too extreme for most Eurthymics fans and general listeners; it was only mildly successful in England and Europe and even less successful in the United States. It was not Eurythmic's last release, but it did mark a distinct turn in the band's fortunes. Lennox and Stewart would release only one more album before separating for a decade.
In a certain sense, SAVAGE could be called a concept album, for it offers a series of songs that can be read as a portrait of a woman's disintegration in the wake of a sour love affair. Opening with "I Love To Listen To Beethoven," an acid sampling of predatory cocktail conversation, the line up continues with the fantasy-like "I've Got A Lover (Back In Japan)" and then suddenly detonates with "Do You Want to Break Up?" Each of the subsequent songs ravels the thread of frustration, anger, and fury of love and sex gone wrong to the point of insanity.
The most famous song in the collection is "I Need A Man" in which Lennox adopts the persona of man-hungry tease who screams and howls like an animal in heat--and then at the last moment rejects the man she has presumably attracted. But perhaps the most telling song of the set is "I Need You," which (unlike the other cuts) is performed to a simple guitar accompaniment with the sounds of party-chatter in the background: the hunger for love is openly, sharply self-destructive to the point of psychosis. It is frightening stuff, and although the albums ends with the considerably brighter "Brand New Day," the aura of darkness is never quite overcome.
Many music critics have described SAVAGE as feministic. Well, perhaps; I tend to interpret it as a series of meditations on stereotypes of emotional hysteria--and a supremely effective one at that, poisonous, venomous, desperate, and both hypnotic and hypnotically chilling. SAVAGE is all that the title implies. It will also be as difficult for casual listeners to take today as it was in 1987, for time has not diminished the sense of disquiet it creates.
SAVAGE has recently been released in a remastered edition which includes several bonus cuts: an extended instrumental remix of "Beethoven (I Love To Listen To)," remixes of "Shame" and "I Need A Man," a previously live performance of "I Need You," and a previously unreleased cover of The Beatles' "Come Together." They all have their attractions, and fans will enjoy them, but SAVAGE easily stands on its own, so you shouldn't think of them as part of the package per se. With or without bonuses, this is one recording that really does live up to its reputation. Strongly recommended.
GFT, Amazon Reviewer
As Good Today as the Day it was Released Nov 30, 2008
I was blown away by this album when I first bought it back in 1987. I felt it was an artist pushing the limits of what they do best, being experimental and arty, without sacrificing good music. After listening to it now, over twenty years later, it retains all of the brilliance it had on the day of its release and shows that true musical greatness is timeless. This album goes from moody electronics (Beethoven, Heaven, Shame) to in your face tongue-in-cheek rock (I Need A Man, Do You Want to Break Up, Wide Eyed Girl), to joyously beautiful sparse and acoustic tracks (I Need You, Brand New Day.) This CD is a truly vital addition to any music lovers collection. Don't hesitate...buy it now and give it repeated listens. The remastering on this re-released edition is superb and it adds five tracks not available on the original release, including an interesting version of the Beatles' "Come Together". Highly recommended.
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Another classic Jul 29, 2008
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Bleak & beautiful Jul 30, 2007
The 1987 album Savage saw Eurythmics return to their electronic/experimental roots after the soul/R&B excursion Be Yourself Tonight (1985) and the full-bodied pop-rock of Revenge (1986). It has been substantially enhanced with the addition of 5 bonus tracks and deluxe packaging that includes a booklet with historical notes.
Whilst Beethoven (I Love To Listen To) is experimental yet catchy and I've Got A Lover (Back In Japan) tuneful and pleasant enough, it's with the buoyant Do You Want To Break Up? that the album really gathers momentum. The next 3 songs are true classics, each reflecting a different side of Eurythmics at their most creative. The deceptively breezy You Have Placed A Chill In My Heart is a strange mix of cynicism and hope, despair and elation.
Shame is perfect 60s nostalgia at its most evocative and hypnotically tuneful, while the eerie title track creates a beautifully bleak landscape of alienation and despair, like Love Is A Stranger stripped of romanticism. Atypical of the album, I Need You has prominent acoustic guitars and a live feel. Brand New Day starts out as a moving morning-after ballad and develops into an atmospheric uptempo number.
Amongst the bonus tracks, my favourites are the extended philharmonic version of Beethoven and the dance mix of Shame. There is also a powerful live version of I Need You, and the album concludes with the Lennon/McCartney song Come Together. The bonus tracks and the de luxe packaging has improved an already classic album by these masters of innovative synth-pop. Savage is a must-have for Eurythmics fans and all those who love timeless pop music.
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