Eurythmics ‎– 1984 (For The Love Of Big Brother)

Virgin ‎– CDV 1984
CD, Album, Reissue

Companies, etc.


Music derived from Eurythmics' original score of the motion picture 1984.

Barcode and Other Identifiers

  • Barcode (Text): 5 012981 198428
  • Matrix / Runout: CDV-1984 13 B3 MASTERED BY DADC AUSTRIA
  • SPARS Code: AAD

Other Versions (5 of 74) View All

Cat# Artist Title (Format) Label Cat# Country Year
V1984 Eurythmics 1984 (For The Love Of Big Brother)(LP, Album) Virgin V1984 UK 1984 Sell This Version
50300 Eurythmics 1984 (For The Love Of Big Brother)(Cass, Album) Virgin 50300 France 1984 Sell This Version
SFK1 0119 Eurythmics 1984 (For The Love Of Big Brother)(Cass, Album) Starcall Records, RCA SFK1 0119 Australia & New Zealand 1984 Sell This Version
85 1854 Eurythmics 1984 (For The Love Of Big Brother)(Cass, Album, Unofficial) Foot Print 85 1854 Malaysia 1984 Sell This Version
CDVIP 135, 0777 7 86727 2 2 Eurythmics 1984 (For The Love Of Big Brother)(CD, Album, RE) Virgin, Virgin CDVIP 135, 0777 7 86727 2 2 Europe Unknown Sell This Version


Reviews Show All 3 Reviews

Add Review



July 30, 2007
edited over 3 years ago
Reading about all the conflicts between Eurythmics and film director Michael Radford regarding their soundtrack for his rather good film-adaptation of George Orwell's novel, it is truly criminal Radford chose to condemn the idea and further exclude the duo's excellent bits from any future editions (thus he issued a director's cut version featuring only the music by Dominic Muldowney - despite the film's credits continue to state both, Eurythmics and Muldowney for the contribution).

While Muldoney's score does stand on its own two feet respectively, it is actually the Eurythmics' part of the soundtrack that reflects the story's narrative side, shining in all of its frigid, electronic beauty. One thing is of note though - this official album release we're reviewing is NOT the actual soundtrack to the film. The pieces that are (or were once) audible in the very film, differ radically. The only example that stands identical on both these occasions is "Julia" (which remains featured in the film's closing credits to date). The remaining part of what was supposed to be the duo's original soundtrack was then re-arranged and put out as sort-of a "regular" album as we know it, "derived from Eurythmics' original score of the motion picture '1984'".

Too bad in itself, Eurythmics themselves didn't save (or perhaps they did?) these initial ideas. While they were heading more towards the pop-territory, at the same time Lennox and Stewart were not afraid to wander about between the two extremes, the mainstream and the avantgarde, experimenting and getting away with it on their own, and to great effect.

Referring directly to the scenes or phrases from Orwell's scary and hopeless world of tomorrow, Eurythmics created a powerful and frightening statement. The opening title 'I Did It Just the Same' may be the most baffling, unless you read the book and know the story behind it, offering one sole moment of "entertainment". The rest - even deserved, polar-opposite hits 'Sexcrime (1984)' and 'Julia' - mercilessly capture the listeners' attention either by a choice of brainwashing Newspeak phrases or reflecting the ultimate picture of sadness. Predominantly instrumental, with Lennox's vocals converted to an instrument that effectively slides and twists from emotional to frigid, "1984" is without doubt Eurythmics' most avangarde offering. Considering the circumstances surrounding this particular release, it is understandable Dave and Annie never really reconsidered the idea of recording another film score this unique. But then again, considering the potential and the outcome of what this derivative "1984" is, it is also too bad. Expecting a standard Eurythmics album from it, definitely isn't the ideal viewpoint here and may leave many disappointed or at best, confused - although, it can very easily stand next to the duo's first three studio albums. In the wake of a certain cross-link however, "1984" is kept left in its own grey area ever since - a collection of songs that from a time distance of its thirty years still carries a stigma of a non-descript album which in the end, is neither a soundtrack nor a proper studio offering.

Among the pieces that do hit the nerve like a bag of bricks are 'For the Love of Big Brother', the ultimate tale of hopelesness, continuing with a short harmonica delivery that is 'Winston's Diary', reflecting the fright of isolation in a world amassed by the presence of telescreens. The Party propaganda-driven 'Doubleplusgood' features excellent vocal cut-up effects, juxtaposed to a sinister combination of tribal, reggae and rap, while 'Ministry of Love' reflects the sheer horror of the most notorious wing from Orwell's book. 'Greetings From a Dead Man' is also a fascinatingly cold yet emotionally charged instrumental (Lennox's vocals rise and shine through in the form of protest), with tribal drumming (delivered in similar fashion as "Doubleplusgood"). 'Room 101' rounds the whole as its precise finale - the melody is at times deceptively 'optimistic' (think of the light at the end of the tunnel, except there is none) while between these surges of "hope", distorted, disturbing spoken phrases from the film appear against a tide of Lennox's vocal tunings that characterise one last human scream against the madness, before the ending sequence embarks with a brutal iron shutting.

Considering the book, the film and the very idea, it is truly bizarre how societies today perceive 'Big Brother' as something of a certain entertainment. The 'fun aspect' of today's version, where everyone enjoys to be seen however, proves it is no less different but transferred into a perverse state of play where people corrupt their own dignity for money.


November 18, 2005
edited over 12 years ago

When Michael Redford set out to make a film adaptation of George Orwell's well-known dystopia Nineteen Eighty-Four, Sir Richard Branson (Virgin was producing the film) wanted to have a pop act to contribute to the soundtrack. And so he brought onboard Eurythmics (still signed to RCA at the time). Although only a few of the cues were actually use in the theatrical cut and subsequently for laserdisc and DVD they were all but absent from the film (Eurythmics have become "unpersons" =] ), this is a fine alternative soundtrack to the work, both the novel and the film.

If Eurythmics were known solely for their pop sensibilities, this album would demonstrate their creative talents. The thing that makes this album stand out is the way it's able to capture the mood and spirit of the world of Oceania. The sound is very modern and accessible to today but there's a unsettling trait running through the album that compliments a future run by the principles of Ingsoc. Perhaps the best example in this album is "Greetings from a Dead Man." The percussion makes it very dance-like yet the organ/synth sounds and Anne Lennox's vocalizing give it a dark quality. This could very well be the first cyberpunk soundtrack =].

This is perhaps why Michael Redford disliked it so much. He was much in favor with Dominic Muldowney's orchestral score. While Muldowney's score is a good traditional film score and points to Orwell's inspiration (the music is very "social realist" and would fit well with a socialist/communist band's repertoire), it does very little to really explore and solidify the dark mood of the film. For an example, "I Did It Just the Same" was used (albeit in a slightly different form on the film) when Winston was recounting his encounter with prole prostitute. The rhythm track, the striptease-like synth bass and the other electronic oddities (Anne's vocalizations were not on the film cue) help to amplify the sexuality in the scene, a verboten idea in the world of "1984." Muldowney's score just doesn't cut it (pun intended).

While most Eurythmics fans would consider this a curiosity, I think it helps them to be seen as artists in their own right rather than just a pop group who happened to be at the right place at the right time. As for its failed use in the film, all I can say that I'm sorry that Michael Redford failed to see what this soundtrack could have done for the film.