1984 (For The Love Of Big Brother/Original Soundtrack) - Eurythmics

When I first bought this album as a kid, it was purely as a Eurythmics fan, rather than because I had watched the film or read the book "1984". Probably true of most people, I would think. Now, having read (and re-read several times!) the Orwell classic, the music here takes on deeper meanings and reveals itself in a new light. It follows the grim journey of Winston Smith, the protagonist of Orwell's dystopia.

I've now also ...
...heavily, relying largely instead on the classical compositions of Dominic Muldowney. With a new version of the film available featuring the Eurythmics soundtrack, this seems a good time to review the album.

"I Did It Just The Same", sees Winston furtively approaching a prostitute. It's grinding rhythm, whooping demented vocals and disco rhythm evoke a picture of eroticism, sordidness, fear and guilt.

"Sex ... more

When I first bought this album as a kid, it was purely as a Eurythmics fan, rather than because I had watched the film or read the book "1984". Probably true of most people, I would think. Now, having read (and re-read several times!) the Orwell classic, the music here takes on deeper meanings and reveals itself in a new light. It follows the grim journey of Winston Smith, the protagonist of Orwell's dystopia.

I've now also seen Michael Radford's film, and the Eurythmics music doesn't feature heavily, relying largely instead on the classical compositions of Dominic Muldowney. With a new version of the film available featuring the Eurythmics soundtrack, this seems a good time to review the album.

"I Did It Just The Same", sees Winston furtively approaching a prostitute. It's grinding rhythm, whooping demented vocals and disco rhythm evoke a picture of eroticism, sordidness, fear and guilt.

"Sex Crime (1984)" will be recalled by fans of the band as one of their pop classics - perhaps the only track here that would fit in a "Greatest Hits" collection, and certainly the most upbeat of this entire album. It begins with one of the old eighties tricks of re-repeating bits of words (S-S-Sex Crime!) and whips up into a strong cheerful number, uncharacteristic of the rest of the album.

"For The Love of Big Brother" captures an atmosphere of enforced loneliness, the terrifying world in which everyone must live, as Big Brother's insane relativism devours the mind and individuality. It is a sinister affair with pulsating snyths and soft, haunting vocals, delivered in a goosebump-inducing Lennox style. Similar to many cold electro-ballads of the early eighties, it forces its way, infectiously but chillingly, into the consciousness.

The next track, "Winston's Diary" actually features in the oroginal version of the film (Hoorah!). It's a short and very sombre synthesiser piece, entirely without vocals, consisting of only a few short chords, sunk in its own compelling gloom.

Junkanoo Drums, brought in to add a thumping resonance, feature heavily in "Greetings From a Dead Man". Aswell as being an effective and atmospheric addition to the soundtrack, it's also a persuasive electronic Eurythmics track in its own right. There are no lyrics, just a mad, demanding and frightening "ba, ba, ba, ba"; redolent of the "duckspeak" of Orwellian literature. Cold, merciless and offering no remorse, it tells the unspoken tale of Big Brother's eternal dominion.

"Julia" brings in shades of wonderful gentleness - also a heavy feature of Orwell's classic - tinged also with tragedy and the ever-present fear that Winston and his forbidden lover would soon be swallowed by the monstrous totalitarian Party forever. Annie's voice whispers, distorted, and the most gorgeous, swirling melody circles down and enthralls the listener. It's a song as delicate as iced diamonds, but never offering, even for a moment, the slightest hope that the lovers would escape. Yet the dream was lovely.

In complete contrast, a wild whoop rings out, tribal drums and ringing clashes. A harsh military voice rasps out officiously: bringing the "Doubleplusgood" news of Big Brother. There is a triumphant but mad resonation throughout - the propaganda lies of the Party. And babbling, mindless inane babbling. "10, 9, 8, 10! 10, 9,8,7,10, 10!" Big Brother can change his mind whenever he wishes - his version of reality is the only one that counts, regardless of external reality. This needs to be played at high volume to feel the awesome power coming through.

"Ministry of Love" tells of the terrifying regime that all dissidents must face - the terror and torture of State interrogation. Annie is at her most harsh and cold. Dave Stewart's cold electronic structures come fully into play, and there are terrifying noises shrieking out in crazed agony. The most horrific piece on the album.

The crashing finale, "Room 101" rises to a mad, thumping gallop. (I'm actually playing the CD as I write, and it's hard not to get swept along with it.) Annie's voice ascends to a shriek, and Dave booms out in a grim monstrous voice that "the thing in Room 101 is the worst thing in the world." There's a huge crash, and then silence, leaving the listener thrilled.

This is, overall, Eurythmics most offbeat work. You can rarely - if ever - escape the Orwellian terror, or just relax and listen to a pop album. The weighty theme is so overriding that it is impossible to ignore. Definitely a masterwork, although heavy-going and oppressive at times.

For those who love Annie and Dave, particularly their raw, cutting- edge early work, this album is a "must". Probably their least publicized (and certainly their least commercial) album, it achieves a greatness that the band would not, in my view, achieve again. Their evolution would take them onto a softer, more accessible sound. This, the swansong of "experimental" Eurythmics, is well worth the effort!

 

...less