» » Eurythmics - 1984 (For The Love Of Big Brother)
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Electronic / Pop

Eurythmics - 1984 (For The Love Of Big Brother) MP3

Eurythmics - 1984 (For The Love Of Big Brother) MP3

Performer: Eurythmics
Title: 1984 (For The Love Of Big Brother)
Country: UK
Catalog Number: CDV 1984
Label: Virgin
Style: Synth-pop
Rating: 4.9
Votes: 705


1Winston's Diary1:22
3I Did It Just The Same3:28
4Room 1013:50
5Ministry Of Love3:48
6For The Love Of Big Brother5:05
7Greetings From A Dead Man6:13
9Sexcrime (Nineteen Eighty-Four)3:59


CategoryArtistTitle (Format)LabelCategoryCountryYear
V1984Eurythmics 1984 (For The Love Of Big Brother) ‎(LP, Album)VirginV1984UK1984
50300Eurythmics 1984 (For The Love Of Big Brother) ‎(Cass, Album)Virgin50300France1984
9624Eurythmics 1984 (For The Love Of Big Brother) ‎(Cass, Album, Unofficial)7479624Saudi Arabia1984
85 1854Eurythmics 1984 (For The Love Of Big Brother) ‎(Cass, Album, Unofficial)Foot Print85 1854Malaysia1984
CDVIP 135, 0777 7 86727 2 2 Eurythmics 1984 (For The Love Of Big Brother) ‎(CD, Album, RE)Virgin, VirginCDVIP 135, 0777 7 86727 2 2 EuropeUnknown


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


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


  • Phonographic Copyright (p) – Virgin Records Ltd.
  • Copyright (c) – Virgin Records Ltd.
  • Glass Mastered At – DADC Austria



1984 For the Love of Big Brother is a soundtrack album by British musical duo Eurythmics. It was released on 12 November 1984 by Virgin Records and contains music recorded by the duo for the 1984 film Nineteen Eighty-Four, based on George Orwell's dystopian novel of the same name. Virgin Films produced the film for release in its namesake year, and commissioned Eurythmics to write a soundtrack. Узнавайте о релизах, читайте рецензии, изучайте сведения об участниках альбомов песни и прочая информация о Eurythmics - 1984 For The Love Of Big. Формируйте собственную коллекцию записей page. 1984 For The Love Of Big Brother. Eurythmics - 1984 For The Love Of Big Brother 1984. To favorites 0 Download album. Listen album. Synthpop New Wave OST. Songs in album Eurythmics - 1984 For The Love Of Big Brother 1984. Eurythmics - I Did It Just The Same Unavailable. Eurythmics - Sex Crime 1984 Unavailable. Eurythmics - For The Love Of Big Brother Unavailable. Eurythmics - Winston's Diary Unavailable. Eurythmics - Greetings From A Dead Man Unava. Listen free to Eurythmics 1984 For The Love Of Big Brother I Did It Just The Same, Sexcrime Nineteen Eighty-Four and more. 9 tracks 36:27. Lennox and Stewart worked as a duo for these r. Released November 12, 1984. 1984 For the Love of Big Brother Tracklist. I Did It Just The Same Lyrics. Sexcrime Nineteen Eighty Four Lyrics. For The Love Of Big Brother Lyrics. Winston's Diary Lyrics. 1984 For the Love of Big Brother Q&A. Producers Eurythmics. Writers Eurythmics. More Eurythmics albums. Greatest Hits. Show all albums by Eurythmics. Beautiful song from the 1984 For the Love of Big Brother soundtrack by 1984 9 Songs. The original score of the motion picture 1984, it was treated as a side project for marketing purposes, not as Eurythmics' full-fledged fourth new studio album. Fair enough. Much of the album is instrumental, and the closest thing to a pop song, Sexcrime Nineteen Eighty-Four which was a Top Ten hit in the U. like the other vocal numbers, relates to the movie's future fiction theme. This album was pulled from the shelves early due to legal disputes going on with the Movie Studio and Record Label. For the Love of Big Brother was the Eurythmics sound track attempt for the film 1984 starring John Hurt and Richard Burton. It had the UK hit Sexcrime: 1984 which never made it mainstream in the states. I believe because MTV wouldn't give the video much air time due to the word Sex in the title Silly, but it was the 80's after all. I personally LOVE every song on the album and find it to be extremely original. Selections from Passion: Music for the Last Temptation of Christ Peter Gabriel. Shameless Fashion Visage. Labour of Love II UB40. Another Place and Time Donna Summer. Bad Girls Donna Summer. Welcome to the Beautiful South The Beautiful South. Eat To The Beat Blondie. Sexcrime 1984 3:59. For the Love of Big Brother 5:05. Winston's Diary 1:22. Greetings from a Dead Man 6:13. Julia 4:12. Doubleplusgood 4:40. Ministry of Love 3:46. Room 101 3:52. Greeting's from a Dead Man. Sex Crime 1984

Reviews (3)
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.

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.

Well said. Hollywood is up there with the pharmaceuticals as an example of a money extracting institution where the corrupting influence of power is far too overwhelming. The power must severely influence potential functionality / product. If those at the top, director and producers are 'good' then the machine can work. But still this doesn't alter the warning: Beware those involved - author, actor, musicians and be prepared to be bent to shape or thrown out, all to fit a singular vision. And isn't that the theme of 1984?No doubt the music industry is subject to similar forces.

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