Prior to its release, there was a suggestion that this record would not be attributed to Eurythmics as the music had been commissioned for a feature film. As the film was produced by the Virgin Group, the soundtrack was released on Virgin Records outside of Eurythmics' exiting deal with RCA.
However, the resulting score was so despised by the director of the film that he used it begrudgingly and even went as far as creating a 'directors cut' using an orchestral score that excised Dave and Annie's contribution.
So should "1984 (For the love of Big Brother)" be considered oeuvre? Given the finished product carries the Eurythmics moniker and the fact that lead single "1984 (Sex Crime)" is featured on the band's official greatest hits compilation suggests Dave and Annie accept it as canon. To me this is Eurythmics' fourth album.
Whilst a large portion of the music is instrumental, it is imaginative and oozes a suitably malevolent atmosphere. Dave described it as: "The kind of record you put on when you're in a weird mood." Here I will be playing a copy of the original UK vinyl that I acquired from eBay in 2015 - but I'm not feeling any more weird than usual.
"I did it just the same" provides the perfect introduction with its funky bassline, Oberheim DMX drum sounds and Annie's amazing ad libs. "Sex Crime (1984)" is a bit of an anomaly because it is a fully formed pop song that doesn't really conform to the expected soundtrack mould. As a result of this discordance, the title track was cut from the film and was only featured in the trailer. Here I can have some sympathy with the director as I imagine it would be hard to incorporate an uptempo song into scenes dominated by bleak dystopian landscapes and unkempt protagonists.
When I first heard the CD of this album, "For the love of Big Brother" was definitely my favourite song. Initially I thought the sitar must be a sample but it transpires that Dave took to using an electric sitar in 1984 so I assume he used it here. This track is somehow otherworldly and in a genre of its own making - it is a thing of dark brooding beauty.
"Winston's Diary" is a short ambient piece with some Yamaha DX7 harmonica noodling over the top and is fairly inconsequential. The next rack is the more substantial "Greetings From a Dead Man" which features Annie's much sampled backing vocals. Here Dave allows himself to use his guitar and some percussion to help frame the Sequential Circuits Six-Trak patches. "Julia" is a sparse ballad that sees Annie's vocal doubled on a vocoder with passages of punctuation from a piano. This is a nice song but was a very strange choice for a single and it proved to be unpopular with the record buying public. I may be wrong, but I think this song is the last time Annie played flute on an Eurythmics record.
The rhythmical "Doubleplusgood" makes from some welcome relief but Annie's faux English accent in the verses is a little disconcerting. Personally I find the repetitive samples at the end of the song very irritating - but this sort of nonsense seemed to happen regularly when artists first discovered samplers (see Yazoo "I Before E Except After C", Paul Hardcastle "19" etc.).
The (wholly justified) misery returns with "Ministry of Love" which trundles along with atmospheric bleeps, discordant stabs and some amazing vocals. The horror of "Room 101" is depicted by Dave's wailing guitar and some twinkling synths before a storming DMX beat kicks in and the door is slammed shut. 3/5
