"1984 (For the Love of Big Brother)" is a soundtrack album by the British pop duo Eurythmics, released on November 12, 1984, by Virgin Records. The album features music composed by Eurythmics for the film adaptation of George Orwell's dystopian novel Nineteen Eighty-Four. This was the duo's fourth studio album overall, following the success of their previous release, Touch (1983), and represents a shift in both their musical approach and thematic content.
In 1984, Virgin Films, which was a subsidiary of the band's label Virgin Records, produced a film adaptation of Orwell's novel. The filmmakers approached Eurythmics to compose the soundtrack. This collaboration was rooted in the band’s growing success with electronic music, which they had perfected on their previous albums, especially Sweet Dreams (Are Made of This) (1983). The duo, consisting of Annie Lennox and Dave Stewart, composed an album that was highly electronic, experimental, and thematically tied to Orwell’s vision of a totalitarian society.
However, tensions arose between the filmmakers and Eurythmics. Director Michael Radford had originally commissioned his own orchestral score for the film and was reportedly displeased with Eurythmics’ electronic compositions, feeling that the band's music did not align with his vision for the film. Consequently, two versions of the film were released: one with Eurythmics’ music and another, known as the "director’s cut," which replaced much of their work with an orchestral score. Radford publicly voiced his dissatisfaction, which led to some public back-and-forth between him and the band. Eurythmics later issued a statement saying they had been unaware of Radford's objections, and had agreed to the project in good faith, without knowing that the director would not approve of their approach.
The music on 1984 (For the Love of Big Brother) continues the electronic style that had been successful for Eurythmics, but it takes a more experimental turn compared to their previous work. Many tracks on the album are instrumental, with some incorporating complex samples and electronic textures. Dave Stewart described the music as a blend of Kraftwerk-like electronic elements, African tribal rhythms, and influences of Booker T. & the MG's. The album also includes several tracks with direct references to Orwell's Nineteen Eighty-Four, using lyrics and titles derived from the novel's themes of surveillance, oppression, and dystopian control.
Some key tracks and their connections to Orwell’s work include "Sexcrime (Nineteen Eighty-Four)" – This track was one of the album’s major hits and is a reference to the concept of "sexcrime" in Orwell's novel, where sexual activity is heavily regulated by the Party. The song’s electronic beat and controversial themes made it a standout track. "Julia" – This track references Julia, Winston Smith’s lover in Nineteen Eighty-Four. It is a largely a capella piece with Lennox’s haunting vocal performance, but it did not achieve significant commercial success. "Doubleplusgood" – A reference to the Party's language, Newspeak, in Orwell's novel, where "doubleplusgood" is a term used to express extreme approval. The track features the voice of an announcer reading Party memos from the novel's Ministry of Truth. "Ministry of Love" – Named after the brutal government department responsible for torturing and brainwashing citizens, this track reflects the chilling, oppressive atmosphere of the novel.
The album’s lyrical content draws heavily from Orwell’s Nineteen Eighty-Four. Themes of surveillance, authoritarian control, and the loss of personal freedom are explored, with tracks like “Sexcrime” and “Doubleplusgood” referencing the novel's bleak depiction of the totalitarian regime. Some of the tracks are instrumental, which allows for an atmospheric, ambient tone, underscoring the oppressive nature of the world Orwell created. "I Did It Just the Same" and "Julia" are examples of songs that directly reference the novel’s characters and their emotions under the regime.
The track titles themselves draw from Orwell's invented terminology, such as "sexcrime" and "doubleplusgood," terms used in the novel to illustrate the manipulation and control of language and thought by the Party. The album’s conceptual connection to the novel was ambitious, with Eurythmics capturing the dark and claustrophobic atmosphere of Orwell’s world through their electronic soundscapes.
The album was released by Virgin Records in the UK and RCA Records in the US. The first single, "Sexcrime (Nineteen Eighty-Four)," became a major hit, reaching the top 10 in several countries. Its provocative themes and electronic production helped make it one of Eurythmics' most well-known songs. The second single, "Julia," was a much more experimental, a capella track that did not achieve the same commercial success, peaking at number 44 on the UK charts and breaking the duo's streak of top 10 hits.
The album itself did not chart as high as their previous releases, but it gained a cult following, particularly among fans of the novel and those interested in Eurythmics' more experimental phase. The music video for "Sexcrime" was similarly iconic, reflecting the dystopian themes of the song and drawing inspiration from Orwell's vision of surveillance and control.
Though 1984 (For the Love of Big Brother) did not achieve the same level of commercial success as Eurythmics' previous albums, it remains an important part of their discography, especially for its experimental approach and its unique connection to Nineteen Eighty-Four. The album also stands as one of the duo's most conceptual works, demonstrating their ability to blend political and literary themes with electronic music. The soundtrack has since been appreciated by fans of both Eurythmics and George Orwell, and it remains an interesting footnote in the history of film soundtracks. Despite the tension between the filmmakers and the band, the album is a fascinating exploration of dystopian ideas through electronic music and was ahead of its time in terms of its use of sampling and other experimental techniques.
In retrospect, 1984 (For the Love of Big Brother) showcases Eurythmics at their most innovative and unrestrained, mixing electronic experimentation with the sharp political themes of Orwell's novel, creating a soundtrack that reflects both the anxieties of its time and the timeless concerns of Orwell's dystopia.
