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DISCID=5f092d09,67092e09
DTITLE=Eurythmics / 1984 (For The Love Of Big Brother)
DYEAR=1984
DGENRE=rock
TTITLE0=I Did It Just The Same
TTITLE1=Sexcrime (Nineteen Eighty-Four)
TTITLE2=For The Love Of Big Brother
TTITLE3=Winston's Diary
TTITLE4=Greetings From A Dead Man
TTITLE5=Julia
TTITLE6=Doubleplusgood
TTITLE7=Ministry Of Love
TTITLE8=Room 101
EXTD=Originally Released November 1984\nCD Edition Released April 10, 
EXTD=1989\n\nAMG EXPERT REVIEW: While it is not billed as an Original 
EXTD=Motion Picture Soundtrack, this album does contain, as a jacket n
EXTD=ote indicates, "music derived from Eurythmics." The original scor
EXTD=e of the motion picture 1984, it was treated as a side project fo
EXTD=r marketing purposes, not as Eurythmics' full-fledged fourth new 
EXTD=studio album. Fair enough. Much of the album is instrumental, and
EXTD= the closest thing to a pop song, "Sexcrime (Nineteen Eighty-Four
EXTD=)" (which was a Top Ten hit in the U.K.), like the other vocal nu
EXTD=mbers, relates to the movie's future fiction theme. As such, the 
EXTD=album is substandard if judged as an independent Eurythmics album
EXTD=, adequate if judged as a soundtrack.  -- William Ruhlmann\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nThe Best Album of All Time, June 21, 200
EXTD=2 \nBy  L. Desrochers (Nottingham, NH, USA)\nMaybe not of all tim
EXTD=e, but certainly the best Eurythmics album: to think that I was p
EXTD=ut off by savage reviews (not to mention the controversy surround
EXTD=ing the movie director's refusal to use any of the music in the f
EXTD=ilm) and the first single, "SexCrime." I didn't buy it, the first
EXTD= time I didn't buy a new Eurythmics album. Fortunately, a friend 
EXTD=of mine had better taste and let me listen to his. I was immediat
EXTD=ely awed by the haunting, beautiful music, and have branded it my
EXTD= favorite Eurythmics album ever since. "Julia" gets frequent ment
EXTD=ion, of course, as it should, but check out "For the Love of Big 
EXTD=Brother" or "Winston's Diary." Music that stands the test of time
EXTD=; elements from this album are strewn throughout most pop music t
EXTD=oday. \n\n\nAMAZON.COM CUSTOMER REVIEW\nexperimental eurythmics, 
EXTD=August 8, 2000 \nBy  "i_hate_emoticons" (Seattle, WA USA)\nI boug
EXTD=ht this cd on a whim, as part of a Gift Certificate from a friend
EXTD=. I was intrigued by the many positive reviews which placed this 
EXTD=album with early industrial music rather than the rest of the Eur
EXTD=ythmics catalogue of electronica. (Ie: "Isle of Man" era Ministry
EXTD=, Voivoid, etc.) I agree that there are elements of industrial ro
EXTD=ots here, but I really think that the album is more akin to "Dark
EXTD= Side of the Moon." When I obtained the album, I realized that on
EXTD=e track, "Julia" was one I'd been looking for for years, after se
EXTD=eing a video of several looped Annie Lennoxes singing a haunting 
EXTD=song in an eerie acapella, on Asian MTV at around three in the mo
EXTD=rning. \nThe Eurythmics abandon their normal format to venture in
EXTD=to the realm of the concept album. They concentrate on the theme 
EXTD=of Orwell's story, deviating only for an instant with "Sexcrime" 
EXTD=which was clearly designed to grab airtime. A thread of constant 
EXTD=paranoia invades the album, and it stays true to Orwell's claustr
EXTD=ophobic portrayal of a society bent upon absolute totalitarian co
EXTD=ntrol. I especially felt that "DoublePlusGood" and "Room101" acco
EXTD=mplished this very well. In fact, "DoublePlusGood's" rapid fire n
EXTD=ewscaster distillation of issues to simple "Goods, Bads, PlusGood
EXTD=s," etc, building to an almost orgasmicly cheerful ending of repe
EXTD=ated "Good, Good DoublePlusGood," was delivered with the same che
EXTD=er and artificiality as Seattle's "King 5 News", which made me wo
EXTD=nder exactly how deep the connection ran. \n\nI really enjoyed th
EXTD=e album, because I felt that the Eurythmics really pushed themsel
EXTD=ves with this. I think it is tragic that the most innovative work
EXTD= by the band is relegated to relative obscurity. More artists sho
EXTD=uld be given the freedom to innovate, then we wouldn't have so ma
EXTD=ny cookie cutter groups that all sound as if they were pressed in
EXTD= plastic on some sound stage in Burbank. \n\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW\nGeorge Orwell would approve., June 11, 2000 \nBy  Shell
EXTD=ey Shay (Denton, TX **(God Bless the USA!!)**)\nThe most "recent"
EXTD= movie based on "1984," the 20th Century classic by George Orwell
EXTD= was very true to the book and likewise, so was this incredible p
EXTD=iece of work by the Eurythmics. Penetrating lyrics, haunting soun
EXTD=ds. \nIf you're a big fan of the book like I am, you will definit
EXTD=ely appreciate what the Eurythmics have accomplished... one song 
EXTD=after another (including one creepy instrumental) that tells the 
EXTD=scary, lonely story of Winston Smith, his love for Julia and the 
EXTD=love everyone must have for Big Brother.\n\nIf you're a new Euryt
EXTD=hmics fan, this CD will hopefully inspire you to read the book. A
EXTD=nnie Lennox's piercing voice and Dave's rocking guitar riffs will
EXTD= keep you thinking about this riveting story, the characters and 
EXTD=how our society can easily turn into Orwell's horrific view of th
EXTD=e future. Songs like "Room 101" will haunt you and songs like "Ju
EXTD=lia" will remind you of the brief glimpses of peace and happiness
EXTD= in Orwell's story. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSoundtrack?
EXTD= Excuse me?, September 12, 2003 \nBy  Laszlo Uriel "laszlo-laszlo
EXTD=" (San Francisco, CA USA)\nGenerally when a piece is refered to a
EXTD=s a "soundtrack" it is assumed to contain a collection of or sele
EXTD=ctions from the background score of a the movie in question. Whet
EXTD=her it's hit songs, original music, or some combination, generall
EXTD=y that musical score or collection is put together so one can lis
EXTD=ten to it verbatim without having the dialog and visuals in the w
EXTD=ay - the "soundtrack". But this simply isn't that.\nThe CD says o
EXTD=n it "Music derived from Eurythmics' original score of the motion
EXTD= picture 1984". That is accurate. It is derived from the original
EXTD= score, but it is NOT the original score. I've seen this CD for s
EXTD=ale at several places and this "direved from" aspect is generally
EXTD= played down.\n\nIt's alright. It's Eurythmics music. Eurythmics 
EXTD=are good. But this isn't their best by any means. I was very disa
EXTD=ppointed to realize I still didn't have the actual "musical score
EXTD= from the movie 1984". A lot of the 'haunting' feeling from the 1
EXTD=984 music is just gone from this. \n\n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nA ripoff., June 26, 2000 \nBy  Gary Pedoto (America)\nAt the l
EXTD=ast minute, Dominic Muldowney's original score was pulled and rep
EXTD=laced by the Eurythmics music. I bought this anyway thinking that
EXTD= it would in some way represent the music of the film. The best s
EXTD=ong and the THEME, "Oceania" (by Muldowney) is not even on this C
EXTD=D. This CD is not even technically a soundtrack since most of thi
EXTD=s music was not in the film and the music that WAS in the film is
EXTD= not on this CD. It wasn't until years later the entire original 
EXTD=score by Muldowney was released on CD and now there is talk of re
EXTD=-releasing the movie Nineteen Eighty-Four minus the Eurythmics mu
EXTD=sic and putting Dominic Muldowney's original (and superior) music
EXTD= back where it was meant to be. It's a shame that for a quick buc
EXTD=k, the movie studio bigshots went with a pop music group who was 
EXTD=big at the time and discarded Muldowney's score. \n\n\nAMAZON.COM
EXTD= CUSTOMER REVIEW\nHaunting, melodic, inspiring..., March 25, 1999
EXTD= \nBy  Curt (toro@megsinet.net) (Kent, Ohio)\nI could not underst
EXTD=and at the time of its release why this album didn't do well. The
EXTD=n I realized that this was no ordinary "pop" album. Many people d
EXTD=id not like the cd because it challenged them. One finds the trac
EXTD=ks disturbing, nonsensical...at first. Listen more closely, open 
EXTD=your mind, and you might be able to understand Dave Stewart and A
EXTD=nnie Lennox's intrepretation of 1984. Lennox uses her voice as an
EXTD= instrument, at times as hard and cold as steel (I Did It Just Th
EXTD=e Same), and at others as soft as falling leaves (Julia). This re
EXTD=cording is exceptional. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMusical
EXTD=ly it's OK, but thematically it's heavy-handed stuff., February 1
EXTD=9, 1999 \nBy  The Sentinel (Vancouver, British Columbia Canada)\n
EXTD=\nIt's not surprising that Michael Radford, the director of that 
EXTD=great film of Orwell's novel, "Nineteen Eighty-four," was tearing
EXTD= his hair out when he heard about this proposed soundtrack. Richa
EXTD=rd Branson, the head of Virgin, the British multimedia conglomera
EXTD=te bankrolling the film, had taken it upon himself to have a cont
EXTD=emporary pop act compose some danceable, radio-friendly music for
EXTD= the movie as a means of giving it some more marketable cachet si
EXTD=nce the production was going wildly overbudget. Ultimately, what 
EXTD=they got was this truly strange New Wave novelty from Eurythmics.
EXTD= The director had already agreed on a more appropriate orchestral
EXTD= score by Dominic Muldowney and he vociferously denounced Virgin'
EXTD=s behest to use the Eurythmics' music as both a professional betr
EXTD=ayal and an infringement on his artistic freedom. As a result, on
EXTD=ly fragmentary bits and pieces of the pop duo's "soundtrack" were
EXTD= actually used in the film, and Mr. Radford said some none too ki
EXTD=nd words about Eurythmics and the whole debacle on a televised aw
EXTD=ards show. \nThe music that appears on this album (faithfully plu
EXTD=gged in the movie's closing credits), is, as the liner notes info
EXTD=rm us, merely "derived from Eurythmics' original score for the fi
EXTD=lm, 1984" (go figure). Suffice to say, "1984: For the Love of Big
EXTD= Brother" is not really a soundtrack per se but, more accurately,
EXTD= a collection of contemporary pop songs conceptually BASED on "Ni
EXTD=neteen Eighty-four" (think of something along the lines of Madonn
EXTD=a's "I'm Breathless" album for the movie "Dick Tracy" and you'll 
EXTD=know what I mean), and as such, it doesn't entirely work. \n\nMus
EXTD=ically, this album has a certain appeal--it's all doomy, gloomy T
EXTD=eutonic synth mantras and martial electro-beats: if you like New 
EXTD=Order or Kraftwerk or the late 70's Bowie-Eno collaborations you 
EXTD=might go for this CD. Thematically though, this album is a bit ha
EXTD=rd to take, especially on two particular songs. The lyrics for "S
EXTD=excrime" and "Doubleplusgood" are preposterously silly in their n
EXTD=aive, corny literal-mindedness. "Sexcrime" has a self-consciously
EXTD= Top-of-the-Pops-"hit-single"-circa- 1984 quality stamped all ove
EXTD=r it (the dreadful music video will make you cringe) and Annie Le
EXTD=nnox's histrionic vocal obbligato just sounds crudely intrusive i
EXTD=n this context. "Doubleplusgood," on the other hand, is even more
EXTD= egregious: it's a very thin, rather stupid, and bludgeoningly re
EXTD=petitive joke based on a trivial bit of background dialogue serio
EXTD=usly intended in the film. Mercifully, neither track is featured 
EXTD=in the film. \n\nThe one track that actually IS used--as a matter
EXTD= of fact, it serves consistently as the movie's romantic lietmoti
EXTD=v--is the gorgeous, haunting accoustic ballad, "Julia." It's a he
EXTD=art-breakingly lovely song that, miraculously, manages to ENHANCE
EXTD= the film's tremendous emotional impact in spades. But for no oth
EXTD=er reason, Eurythmics' otherwise dubious participation in the mov
EXTD=ie was worthwhile--this one stand-out six-and-a-half-minute track
EXTD= is the only compelling reason for owning this CD. I give "Julia"
EXTD= five stars, the rest of the songs, one or two, three at best. So
EXTD=, as you can see, I've split the difference in my overall rating.
EXTD=\n\nI just wish that a proper soundtrack including the little son
EXTD=ic snippets of the used Eurythmics music and the whole of "Julia,
EXTD=" as well as all of Dominic Muldowney's great, stirring score, wa
EXTD=s released instead of this generally self-indulgent and sometimes
EXTD= embarassing hodgepodge. What a pity it was not to be. At least t
EXTD=hey could come out with a CD single of "Julia."\n\nUnless, you're
EXTD= a serious Eurythmics fan or completist, my advice would be to sk
EXTD=ip this CD--but by all means, for the love of Big Brother AND gre
EXTD=at art, buy, BUY the video of Radford's wonderful, stunning, pass
EXTD=ionate film. (You'll hear enough of "Julia" in the movie, and if 
EXTD=you have any kind of aesthetic or emotional sensitivity at all, y
EXTD=ou won't be able to get it out of your head, believe me.) \n\n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nClearing up the confusion, August 5, 
EXTD=2005 \nBy  Jehannum (England)\nThis CD contains music that was pa
EXTD=rtially used in the original cinema and VHS release of the 1984 f
EXTD=ilm 1984. \n\nThe film's director was, it seems, put under pressu
EXTD=re to include The Eurythmics' music because the film was released
EXTD= on the Virgin label, who wanted to promote their band. \n\nThe c
EXTD=urrent DVD release of the film includes only the Dominic Muldowne
EXTD=y orchestral and choral score, compliant to the wishes of the dir
EXTD=ector. I believe that the Eurythmics' score is presented as an ex
EXTD=tra alternative soundtrack in this DVD. \n\nWhen I first watched 
EXTD=the film I noticed the disparity of musical styles and, I must sa
EXTD=y, I thought that the synthesised sound of the Eurythmics' materi
EXTD=al spoiled the soundtrack. \n\nI obtained Dominic Muldowney's sco
EXTD=re (which has had a recent CD release) and found, to my surprise,
EXTD= that I missed the sound of the Eurythmics' music. The synth text
EXTD=ures, after more than 20 years, no longer sound incongruously mod
EXTD=ern, and their haunting effect is much enhanced. \n\nI was deligh
EXTD=ted to be able to buy this CD of the music, and was even more del
EXTD=ighted by its excellent quality. \n\nIf you really want the music
EXTD= from the film you will need to get both this and the Dominic Mul
EXTD=downey soundtrack. \n\n\nAMAZON.COM CUSTOMER REVIEW\nLesser known
EXTD= facts, February 21, 2004 \nBy  J. Brady (PAWLEYS ISLAND, SC Unit
EXTD=ed States)\nAfter Eurythmics blew up internationally with the Swe
EXTD=et Dreams and Touch albums, this was quietly released originally 
EXTD=back in 1984. The director of the film 1984 is said to have rejec
EXTD=ted the soundtrack Eurythmics recorded as "too modern sounding" i
EXTD=n favor of a mostly orchestral and traditional sounding score, wh
EXTD=ich was written by someone else entirely. Although it wasn't a co
EXTD=mmercial ( or critical ) sucess, it is probably my favorite Euryt
EXTD=hmics cd, along with the first three ( In the Garden, Sweet Dream
EXTD=s, and Touch ). The mix of the synthetic music, which is sometime
EXTD=s cold and mechanical, with the always incredible vocals of Annie
EXTD= Lennox, might seem on the surface like to oil and water - they j
EXTD=ust wouldn't seem to go together. It is that juxstaposition that 
EXTD=I find the most intriguing. I personally never cared for this duo
EXTD='s output when they began flirting with American styled R and B a
EXTD=nd giving their music a fuller "band" sound, with real drums, sax
EXTD=, etc. I much prefer the clinical, synthetic sounds of their earl
EXTD=ier work, and I find 1984 to be the apex of this approach. This d
EXTD=isc was SO ahead of it's time. It sounds in places much like the 
EXTD=ambient house music and world-beat music which became popular alm
EXTD=ost ten years after this album's release. The instrumentals are o
EXTD=ften spare in arrangement, but feature very distintive sounds. It
EXTD= doesn't sound like Dave Stewart hit any factory pre-sets on his 
EXTD=syths, in other words, and took the easy way out, as so many synt
EXTD=h-based groups of that era did. There are many highlights on this
EXTD= disc, from the stunningly beautiful ballad "Julia" to the menaci
EXTD=ng "Room 101" to the tribal sounding percussive attack of "Double
EXTD=plusgood." There's just so much variety here, which is especially
EXTD= refreshing coming from a duo who could have easily fallen into t
EXTD=he cracks of the limitations set upon them from being a so-called
EXTD= "synth pop" act. I got this as a cassette back when it was relea
EXTD=sed originally and was very pleasantly surprised to find it in a 
EXTD=used cd store in Seattle, Washington. It was never released in th
EXTD=e US on cd and you might have to pay a little more for it as an i
EXTD=mport, but if you like the first few Eurythmics releases, I highl
EXTD=y recommend it. Five stars, absolutely. \n\n\nHalf.com Album Note
EXTD=s\nUnderheralded original soundtrack to the 1984 film of the same
EXTD= name based on the famous George Orwell allegory. Features dark, 
EXTD=brooding, mostly experimental and instrumental tracks by the inco
EXTD=mparable duo of Dave Stewart and Annie Lennox. Includes 'Sexcrime
EXTD= (1984)', 'Doubleplusgood', 'Julia' and six others.
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