When you think of artists who have transcended multiple musical genres and social paradigms, Annie Lennox unquestionably comes to mind. Whether it’s her groundbreaking work with the Eurythmics or her striking solo career, Lennox’s influence permeates various facets of the music world. Remarkably, even in dance music, a genre she once described as “vacuous” in an interview with HX’s Trenton Straube.
Lennox’s opinions on dance remixes raised eyebrows, considering her extensive portfolio in the dance music realm. In a rather candid exchange, she appeared disconnected from the notion that dance mixes could extend an artist’s reach, encapsulating an audience otherwise unfamiliar with her legacy. It’s a viewpoint that seems misaligned with someone like Lennox, who’s constantly evolved throughout her career.
The irony is palpable when considering that her remixed tracks, particularly those from her time with the Eurythmics, have introduced her to new legions of fans. For someone who tossed gender norms in the air and redefined musical styles album after album, it’s surprising to hear her dismiss dance remixes. Yet, it’s exactly this unpredictability that makes Annie Lennox a fascinating character.
Take her track “A Thousand Beautiful Things,” for instance. When spun into the Peter Rauhofer Beautiful Strings Anthem, it blossoms into an emotive, pulsating experience. It’s as if Rauhofer took the poetic essence of Lennox’s music and set it to a score that’s both rhythmically compelling and deeply moving.
On the other side of the spectrum, we have “Walking On Broken Glass” metamorphosed by David Morales into a dance anthem, a prime example of how a good DJ can elevate a track into a whole new dimension. Morales maintains the melodrama of the original while injecting a heartbeat-pumping groove that makes it irresistible on the dance floor.
Perhaps most surprising are the Utah Saints’ take on “Little Bird” and Freemasons’ version of the Eurythmics classic “Here Comes The Rain Again.” These remixes are not just fan-favorites; they’ve actually extended the lifespan of the original tracks, attracting a demographic that might not even recognize Annie Lennox as part of the Eurythmics outside of “Sweet Dreams.” Speaking of which, the Steve Angello Mix of “Sweet Dreams” is nothing short of a dance floor igniter. Angello takes this timeless Eurythmics anthem and raises its energy levels to a peak-time crescendo, making it a fixture in contemporary DJ sets.
While Annie Lennox may dismiss these remixes as products of a “vacuous” culture, it’s crucial to recognize that dance mixes serve a purpose far beyond mere hedonism. They allow a different audience to appreciate the essence of an artist in a setting where the original might not necessarily fit. They’re not “void of intelligence or expression,” as some might argue; they are, in fact, an artistic continuum, an extension of a musical narrative that broadens the listener’s scope. And, as always, the transformation of her work into danceable tunes is something Clive Davis, her label boss and friend, clearly understands.
So, whether it’s the potency of her lyrics or the magic in her melodies, the dance floor adaptations of Annie Lennox’s work continue to resonate, making her an undisputed diva in every sense. Maybe one day she’ll see the magic in this artistry too.
Until the next time…ENJOY!
Album : The Diva Series: Annie Lennox
Genre : Dance, House, Pop, Diva
Year : 2009
Total Time : 1:17:43.00
1. 17 Again (Peter Rauhofer Vocal Anthem Mix) [Eurythmics]
2. Wonderful (Dave Aude Mixshow)
3. Pavement Cracks (Gabriel & Dresden Club Mix)
4. Sweet Dreams (Steve Angello Mix) [Eurythmics]
5. Sing (Moto Blanco Club Mix)
6. A Thousand Beautiful Things (Peter Rauhofer Beautiful Strings Anthem)
7. Here Comes The Rain Again (Freemasons Remix) [Eurythmics]
8. Walking On Broken Glass (David Morales Mix)
9. No More ‘I Love You’s’ (Junior Vasquez Mix)
10. Into The West 2005 (Tony Moran Private Unreleased Mix)
11. I’ve Got a Life (David Guetta & Joachim Garraud Remix) [Eurythmics]
12. Little Bird (Utah Saints Remix)