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In 1983, a new, almost entirely electronic sound, dominated the charts as Annie Lennox and David Steward’s Eurythmics broke into mainstream success with their experimental, and now iconic, hit track “Sweet Dreams (Are Made of These).” With a never-ending hook, and their experiments with the emerging availability of home-recording equipment, they proved that it didn’t have to take a lot of money or complication to make an unforgettable hit record.  

Sweet Dreams is a remarkable track for many reasons, not the least of which is the structure. It is basically one big, repeating chorus, with two other smaller interludes...we can call them a pre chorus and a bridge.  There are no complex verses to bring out lyrical meaning and contrast the hookiness of the chorus - the entire song is complete hook. 

The song was released on January 21, 1983, as the fourth and final release from their album of the same name, which had been released a few weeks earlier. Steward has explained that the label didn’t quite understand the song:  “To us it was a major breakthrough, but I remember later some quite famous publishers coming to hear it and they didn’t get it at all. They just kept saying, “I don’t understand this song. It doesn’t have a chorus.” But the thing is, it just goes from beginning to end and the whole song is a chorus, there is not one note that is not a hook.” So while the label was hesitant to release it, once audiences picked up on it, it proved to be not only a massive hit of its own time, but an iconic song, filling dance halls for decades to come.  

In its initial release, it hit the top 10 throughout Europe and North America, including the number one spot in the US, Canada and France. It hit number two in the UK, blocked from the top spot by Bonnie Tyler’s “Total Eclipse of the Heart.”  To this day, it remains a staple of dance halls and even radio play...an iconic track which seems to continually capture the attention of new generations of listeners.  The song also inspired the use of home studio recording, as other aspiring musicians learned just what was possible with the new technology that was becoming increasingly available to them.  

Written by Caitlin Vaughn Carlos

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