PET SHOP BOYS
FULL DISCOGRAPHY DEEP DIVE

INTRO:

Despite all the irreparable damage my parents inflicted by overdosing me on musical theater as a kid, compounded by relentless classic rock - courtesy of WSHE in Miami - as a teenager, I am a child of the ‘80s and deep down I have always had a deep love for New Wave music - and the many varied acts born out of those early years of MTV.

One act didn’t start off on the best foot with me, but ended up winning me over with consistently strong output and a lengthy career that most bands could only dream of. Enter Pet Shop Boys.

Though I consider myself a big fan and felt an above-average comprehension of their output over the years, I knew there were blind spots - along with several albums that either breezed by or weren’t fully considered over the years.

In other words, a perfect candidate for a FULL DISCOGRAPHY DEEP DIVE.

This really turned out to be a great discography journey. I have always held Pet Shop Boys in high regard and I deeply enjoyed reconnecting with albums I loved, and didn’t even mind that much wading through some of their less-inspired output. 

That is, no major surprises. I still love what I’ve always loved about them and feel OK knowing that not everything they touched turned to gold. But it is damn near impossible not to recognize Neil & Chris as true synth/dance players - far from only being the “West End Girls” 80s novelty act that others who haven’t paid attention might dismiss them as.

Please

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Stephen Hauge

Recorded at: Advision (London)

Released: March 1986

Before I begin, let me state - clearly - that I love Pet Shop Boys. They have a career-long steadiness that is undeniable and they create real art most of the time - even if it is seemingly disguised as dance music. 

That said, I have never had the love affair with this album that Jorge clearly does. 

What is GREAT about the album is that it lays out an absolute first-rate blueprint that PSB will live up to and see to fruition - and it definitely even hits a bullseye with a few of the tracks right out of the gate, but as a whole work of art it has always seemed to me a bit clunky and not fully formed. 

I should add that of all of PSB’s singles, I have always found the two biggest here (“West End Girls” & “Opportunities”) to be my least favorite of theirs. 

Sure, I get that these tracks put the band on the scene and have both remained two of the top singles the band is known for, but they just have neither ever really done it for me. And that is even after giving extra points for the absolutely hilarious roadmap that “WEG” has provided as a lampooned milestone - most effectively in The Lonely Island’s “Jizz In My Pants” & Flight of the Concords “Inner City Pressure”.

Beyond those tracks, I have always found this particular album to feel the most dated of all of PSB’s releases - as in ‘it hasn’t aged very well’. The production isn’t quite worked out evenly, Neil’s “talk” singing seems a misstep to me as I truly love his singing voice, and even some of the choices Chris makes with drum machine sounds and sample usage - especially on the opener “Two Divide By Zero” - feel like early demo versions. Oh how I wish they had replaced the sample in the chorus of “TDBZ” with a sweet synth riff!

I also feel forced to fold-in that in following much more groundbreaking albums by New Order, Depeche Mode, Yaz & even Art of Noise, PSB (on this album) feel like they are doing more emulating that leading the way - something they will correct quickly. 

Now - on the very strong plus side, “Love Comes Quickly” & “Suburbia” are synth-pop singles of the highest order. It really is in these two tracks that Chris & Neil get just about everything right - and it is these songs (the brilliant keyboard washes the band will become so known for, fantastic hooks, & Neil’s earnest vocals) that they will truly use as the launching pad for their impressively long career, and not “WEG” or “Opportunities” which truly seem a bit novelty-ish in comparison to such pop perfection. 

I also feel compelled to bring up the subject of lyrics. This is one thing the band clearly took very seriously from day-one, and it remains a calling card throughout their career. Sharp, touching, biting & interesting - they alone help to lift up even the mundane. 

CONCLUSION: I just have never been fully convinced by this collection - despite the strength of “Love Comes Quickly” & “Suburbia”. As it has been sometime since I’ve listened to it in a concentrated fashion, I was curious to see if that opinion would have changed, but it simply didn’t. 

I even went as far as toying with the idea of giving it a mild thumbs down, but in light of how much I love those two lesser known singles, it just didn’t seem right. And, of course, I know where the band is headed and how this album serves as such an important first step for all the amazing output that they have in them.

In the end, I feel it is responsible to only give this a very mild Thumbs Up and a Grade of a solid-enough C.

Actually

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Stephen Hauge

Recorded at: Advision (London)

Released: September 1987

This album clearly displays the guys taking a step in the right direction. That is not to say that it is their zenith, but there is much that stands out as obvious improvements when compared to Please.

First off, it features their finest single yet in “It’s A Sin” (truly one of their best tracks period). Additionally, the overall feel of the collection is much more cohesive. It isn’t completely devoid of ‘filler’ material (and song stretches), but it lands much more gracefully as an album than their debut.

The production also takes a pronounced upgrade. The drum sounds are far better and the keyboard orchestration (great patches and plenty of nice flourishes) really helps to present a more complete understanding of the growth the band will continue to make as they build to Very - which I absolutely consider their masterpiece.

Though I’m a big fan of the inclusion of Dusty Springfield in “What Have I Done…” - and I really do, mostly, love this song, I do wish Neil had stuck with singing throughout (even if the ‘talk-singing’ doesn’t bother me as much here as it does in “WEG”). “Rent” is another subtle and low-key track that packs plenty of charms - if still not quite a milestone.

On Please you get 2 huge singles within the first three tracks. Here you have to wait seven tracks in until “It’s A Sin” and that means wading through B-tier tracks like “Shopping” & “Hit Music” (both which feel a bit like they could be leftovers from Please in their more dated sounds and ineffective hooks/construction) as well as the earnest, but not quite convincing, ballad of “It Can’t Happen…”.

None of the final three tracks are totally gems, but they are winning enough and close the album in fine fashion. I’ve especially always had a soft spot for “Hearts” & “King’s Cross” as great deep cuts - both really showing the clearest glimmers of the fully-realized mature songwriting that will be showcased on later releases.

CONCLUSION: Actually definitely gets another Thumbs Up on production/keyboard & drum improvements alone, but also because it represents true forward movement - always something that scores points for me in acts that catch my interest. These points elevate the Grade to that of a strong C+.

Introspective

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Trevor Horn

Recorded at: Advision (London)

Released: October 1988

In truth, it has probably been over 20 years since I have listened to this album in its complete, original form. As I stated, my two favorite tracks “Always” and “Domino” were best known to me in their trimmed, more-efficient ‘single’ versions - found on the Discography: The Complete Singles collection (both, oddly, left off the “Further Listening” - a remastered version with tons of extra remixes & single versions). 

Just for a point of comparison, I’d recommend checking out those shorter single mixes. 

Listening now, this album still feels like what I always categorized it in my mind, a more experimental Dance Club Mix collection. This never really bothered me - dance music is obviously a huge part of the PSB DNA, but not being a regular dance club guy myself, this only had mild attractions to me.

That said, age has apparently mellowed me some and I rather enjoyed repeated listens of the album (including just letting the ‘Further Listening’ tracks play out). The longer instrumental stretches found throughout took on a much-more cinematic feel and even the areas that were blatant ‘dance’ sections (like the Cuban zeal found towards the end of “Domino”) all worked just fine and didn’t turn me off at all. Throughout, ‘Mr. 1980s’, Trevor Horn works his magic as producer extraordinaire. His input clearly helps to define many of the strongest tracks.

I’ll give “Left To My Own Devices” a special gold star. I knew of the track, but like the long lineage of deep cuts, this is one you come across and go - “Oh shit, I love that song, I haven’t heard it in forever” . That track really jumped out and started things off on a real high-note (again, even despite the ‘talk singing” in the verses). I was especially fond of the added flourishes here - more so than any of the added stretches on the other tracks.

“I’m Not Scared” came in a close second as far as enjoyment of a lesser known/remembered track. I love the smooth flow of that one ( and especially like Neil’s vocals). That particular 7-minutes goes down so easy - and truthfully could have been twice as long and not bothered me. In a continuing commentary on lyrics - and knowing this album was purposely designed to be in this order, I like the sly add of the line “take these dogs away from me before they bite” following “I Want A Dog” earlier in the collection.

The low-point (FOR SURE!!) was the cheesy ‘rap’ and breakdown in “Always”. Wow - that was so bad that I had completely forgotten about it and blocked it from my memory. Definitely as flat as anything found throughout. The single version - thank god - wisely removed all evidence of those stretches. Though I will admit that this version’s bass-thump really drives much more effectively than the single edit, even on my Mac in-computer speakers. It doesn’t hurt that this is just such a well-written song (awesome chord structure & melody), but it adapts particularly well to PSB’s devices.

CONCLUSION: All said, this is one of those collections that you are kind of forced to just take at face-value - something, admittedly, that I don’t always do. But in this case, I surrendered with no problem and found that the songs - if not completely attention-grabbing - served quite well as a fun/upbeat background playlist. 

Nowhere the Thumbs Up I’m poised to give the next two albums, but a strong one just the same and earning a Grade of a low B-.

Behaviour

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Harold Faltermeyer

Recorded at: Abbey Road (London)

Released: October 1990

I may have misspoken or, perhaps, jumped the gun just a bit in so adamantly declaring Very as my favorite PSB album. I knew I loved Behaviour - and “Being Boring” has pretty much always held a top spot in my favorite PSB tracks (believe me when I say I could write a full review on that one single alone - pure brilliance!) - but damn if these listens didn’t just soothe in really striking & satisfying ways.

I would be perfectly happy with a 20-minute extended mix of a song when done right - and this is an album where that really makes sense to me. I was so pumped to see the 10-minute version of “Being Boring” included on the Further Listening additions, that I listened to that track several times before even properly diving into the concentrated passes through the complete album. Talk about pure bliss!! And I could have listened twice as long, easily - something I could say just about as easily for almost every track on this album. The meditative & mature grooves - and, more importantly, the feel they cultivated around those grooves - are just something to sink into like a comfy bed.

I was really surprised to read some of the comments from critics who took points away from the album turning to a more reflective/mature, down-tempo affair. Perhaps the danger of identifying so immediately as a ‘dance club’ act - those expectations especially heightened with the extended dance of Introspective, but to me, the steps the guys took on this album not only show (seal) their commitment to creating art through musical growth, but it also lands an absolute bullseye in creating - undoubtedly - their most complete and cohesive ‘album’ collection thus far. This is a true work of art.

The inclusion of Harold Faltermeyer (known primarily for his “Axel F” theme from Beverly Hills Cop and other soundtrack work) certainly should be noted as his production work seems to have gelled with the band in extremely positive ways - and his particular shine must have made a big impact on the craftwork that makes this album such a success.

I guess, if I had to play devil’s advocate, I could understand if one were to take issue with the blur that happens from the songs taking on a similar pacing and feel, but if that is your complaint I think you are missing the point. And yeah, sure, “How Can You Expect To Be Taken Seriously?” does sound a bit less timeless than the other tracks (and vocals could probably have been pretty easily swapped out with a Debbie Gibson or other 80s teen idol), but even that track’s charms managed to work for me as a light-natured side-step. 

On the flip-side, perfect tracks like “To Face The Truth” and “Jealousy” are just so complete in their timelessness that they could serve as a master class on the elements that make up a perfect pop single. And yes, in speaking on a track “So Hard” (and I could make this comment about quite a few PSB tracks), there is absolutely an inherent quality that is very freeing and joyful. 

To that point (and continuing the nods to lyrical content) - while also keeping in mind I was originally exposed to these albums in real-time (with all of its various era hangups and misconceptions) - Pet Shop Boys, more than any other artist I can think of that I listened to in college and my early 20s, provided an important portal in becoming aware of gay/queer culture. Joe Jackson’s brillant ‘82 album, Night & Day, (especially the single “Real Men”) was so groundbreaking in addressing gay perspective. Additionally, Boy George, Elton John & Freddie Mercury had done their thing on early MTV, but those were visual cues - not fully-formed avenues towards deeper understanding. The Pet Shop Boys were different - their music (and, more specifically, their precise lyrics) really opened me to a different level of feeling connected to an inclusiveness about the LGBTQ community. Very probably played the biggest role in that, but Behaviour was right up there - in either case, this act more than really any other up to that point in my life. 

And I should add that despite my EXTREMELY strong personal connection to Very, I was perfectly content to be carried along by the gentle and alluring flow found on Behaviour and didn’t ever find myself comparing...yet.

I did notice, maybe for the first time, that following the iconic early 80s albums by Sade, there were definitely some touches - along with the general more adult, mellow feel - that reminded me of elements first found there. On the flipside, also moments that were replicated in respectful fashion by 90s acts like Massive Attack, Air, Moby, Goldfrapp (that whole post 80s-synth/electronic genre) who clearly built their own sounds from the blueprint that PSB so clearly defined here.

I could easily go track-by-track, but I won’t. I’ll just say that I probably listened to this album more times over & over than any other album in recent memory when preparing a discography post. I was completely captivated, won-over, transported, intrigued & impressed.

THIS to me is top-tier pop. I get that most folks equate PSB with the “West End Girls” sound, but to me this is what PSB are all about - and where they really declare and settle into what I feel is truly their hallmark musical sound. Exquisite, beautifully arranged, classy at every turn, memorable without being to sticky sweet, and just so fucking perfectly balanced. 

I’ll end by saying that I was sure Very would receive my highest PSB marks, but following the raging love affair I experienced with this music, I am really curious to see where that old favorite stands in immediate comparison.

CONCLUSION: Behaviour receives an undisputed Thumbs Up and one of my rare Grades of A+. Just amazing!

Very

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Pet Shop Boys

Recorded at: Sarm West (London), Power Station (NY)

Released: September 1993

Fuck me sideways, this is such a brilliant pop album. 

To me, more than anything, the success of this complete album is its sophistication. I actually gave this quite a bit of thought and, with a few possible exceptions, I don’t know of any other artists that started as New Wave practitioners that released such a strong album beyond the 80s.

Where to begin? 

I guess I’ll start with balance. I find the flow and counter-balances of this collection just exquisite. The mid-tempo, groove based numbers pick-up (and then some - honestly elevating that already outstanding high) right where Behaviour left off. The big bonus (though the mid-tempo songs tend to get highest points from me) is that the more uptempo, disco/dance-inspired numbers work so well and provide a really layered listening experience - as opposed to some of the more obvious back-&-forth from slow to fast that perhaps felt a bit forced on earlier albums. 

I absolutely recognize and applaud the joy and freeing positivity found throughout, but listen closely and you’ll see that there is still a convincing holdover of doubt and uncertainty - both in the lyrics and the musical feel. This is one of the things I love about this collection - that interplay. And the fact that not many artists can so skillfully layer the two together in such graceful fashion makes this album standout all the more. 

We’ve been talking lyrics since Please - no reason to stop now. This is really groundbreaking stuff - especially given the fact that it so explicitly documents many aspects of the gay lifestyle. Most moving (and heartbreakingly so) is opener “Can You Forgive Her?”. I so clearly recall how I truly felt the conflict - desire, anger, trepidation - all swirled and addressed in such a personal way. 

Every single song found within has lyrical turns of phrase that are just simply outstanding. “To speak is a sin. And once in a while, smile if you dare.” - what a brilliant coupling of ideas (and a harkening back to “It’s A Sin” at the same time). But it totally doesn’t matter if you are gay or not - this is the human experience and it speaks to all those crazy shades of grays in such brilliant strokes. With the exception of a few of my favorite singer/songwriters, this album has always held a place with me as one of the strongest lyrical collections of songs in the entire 90s.

It’s also where the album plays such a masterful guessing game. Take a track like “A Different Point Of View” - which costumes such big questions and deep struggle in such an upbeat and positive sounding landscape. This isn’t just about juxtaposition, this is thoughtful and intentional management of emotions. 

Of course, it absolutely doesn’t hurt that the entire album is filled with such amazing songs. Everything seems to work - on all cylinders. Orchestrated arrangements, great beats, sublime synth patches, outstanding layering, and unstoppable melodies/harmonies. As a bonafide Donna Summer fan, I have always had plenty of room for good quality disco in this punk-rock heart of mine. To me, “Wouldn’t Normally”, “Young Offender” & “One In A Million” are three of the strongest disco-influenced songs since the 70s.

And Neil’s voice has never sounded better - he’s in such fine form throughout. Even the ‘talk’ sections (which you know I’ve not been a fan of previously) of “Yesterday” doesn’t bother me at all. The bullhorn/static effect helps, but how could you mind when that glorious chorus follows? 

And wow, what a great choice of a cover to dust off! Not being a deep-cut Village People fan, this song was completely unknown to me when I first bought this album back in 93, but man, does PSB do such an unbelievably precise job in expanding the realm of the original lyrical net. Going ‘west’ takes on much larger and more pronounced territory than simply the gay-friendly confines of California in the more literal meaning the VP originally intended. 

And what about all of the amazing little artistic touches? This kind of intentional, but subtle attention to detail really separates the men from the mice (so to speak) in my book. This is always something that catches my ear when listening to this collection. The haunting double-track of Neil’s voice (and then added harmony prior to each chorus) on “Dreaming of the Queen”, the thunder clap at 3:15 in “The Theatre”, the slight & powerful ‘gospel choir’ backing vocals on “One & One”, Chris’ little ‘hidden track’ (though much cooler when that isn’t announced - as it is on Apple Music. I sincerely remember listening to this CD when it came out close to a dozen times before I accidentally let the last track play out to discover this had been there the whole time! Remember those days?) - to name just a few. Taking full credit as Producers on their shoulders also speaks to the true ownership of this project - and the love & passion that was poured into it.

The thing is, none of these songs would fundamentally suffer without these additions, but the inclusion shows (to me) the kind of commitment to complete art that impresses me to no end.

Oh, and to just add to the positives, my CD case for this album was actually molded to include the lego-like bumps that you see in the cover artwork. In other words, a 3D piece of art - which definitely stood out as unique and cool.

CONCLUSION: Whatever highest Thumbs Up I could give to just about any other album), this one stands shoulder-to-shoulder. Easily. With close listening in the rearview, there is no contest - this one bests the uncompromisingly picture-perfect Behaviour. It is so obviously the wiser, elderly statesman in the relationship. 

I will admit in advance that though I have, previously, listened to every PSB release since this one, nothing stands in my memory as reaching the same heights of these past two - despite some inspiring moments. Definitely not to say there won’t be enjoyment, just not the sort of artistic master-class on display here. Thumbs Up over and over again and a Grade of an absolute perfect A++.

Bilingual

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Pet Shop Boys, Chris Porter

Recorded at: Sarm West (London)

Released: September 1996

It would almost be greedy to expect another perfect pop album following such a mighty one-two combo as is delivered with Behaviour and Very.

I always found (as I did with these recent listens) Bilingual to be a comfortable and satisfying ride - if not nearly as decked out with the bells & whistles that so elevate the two previous. There is a confidence and easy rhythm to the proceedings - as if PSB don’t have as much to prove and yet, still totally manage to win over. 

I am absolutely sure there are others who could speak more eloquently to the latin influence at work here (something we’ve only been shown glimpses of thus far from the guys), but indulge me to briefly share my perspective. 

Despite growing up in Miami, I wasn’t fully aware of, nor celebrated, Latin (specifically, Cuban) music until after I moved away. To be fair - it was probably David Byrne’s fantastic ‘89 Cuban-homage, Rei Momo, that made an important early impact on me. But it was actually Gloria Estefan’s all-Spanish/Cuban collection Mi Tierra (released in ‘93) that really got my attention. Around the same time, Byrne’s world-music label Luka Bop was releasing a true treasure box of landmark and contemporary groundbreaking Cuban and South American artists. I ate it up and was totally hooked.

By the time Bilingual came out, of course, Shakira & Ricky Martin had enjoyed worldwide success with their first all-English albums. I wasn’t a fan, but you had to live under a rock not to notice. Hell, even Paul Simon had released his killer S American-influenced Rhythm of the Saints (in fact, the PSB track “Bilingual” has much in common with Simon’s opening track “The Obvious Child”). In other words, there really wasn’t all that much that was foreign to me in the beats and influences that PSB molded into the synth-dance machine they had perfected over the years.

It’s funny - over the last few years, when I’ve listened to many of the pop artists my daughter has played - SO many of them (from Ariana Grande to Justin Bieber) all now employ those same salsa/Brazilian/S American dance beats. It almost becomes a prerequisite - too predictable and limiting. Back then, of course, there was still plenty of mystique.

I have always thought Bilingual starts strong enough - I especially like the flow from the first song to the second and the charming sing-a-long of “Se a Vida e” - even though“Metamorphosis” (which reads as a little lazy considering the strides the band made on their last few albums) and “Electricity” (which is an even more flagrant throw-away) are definite weak links and start to throw things off track.

But to me, it is the second half where things really take things up a gear or two. “Red Letter Day” is easily my favorite - and immediately earned a spot side-by-side my favorite PSB singles. This is made even stronger when sandwiched by the next two strongest songs (“Comes As A Surprise” and “Up Against It”). From there, the album just hits a really nice current and the wind seems to do the rest. “Before”, “To Step Aside” (I actually quite like the little ‘Deep Forest’-ish chants as a hook), & “Saturday Night Forever” do nothing to harm the duo’s reputation for recreating classic disco in absolutely perfect form. I find all three tracks well-above average and feel they cap the collection on a high note.

CONCLUSION: This album just doesn’t feel as artistically ambitious as their last two (but that would be tough to keep up for just about anyone) - and who says there is anything wrong with easing back a bit and taking it all in stride? We are still given a fun and breezy collection with enough sweet spots to easily earn the duo another Thumbs Up and a Grade of a solid B.

Nightlife

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Pet Shop Boys, Craig Armstrong

Recorded at: Air (London)

Released: October 1999

This was the last Pet Shop Boys physical CD that I bought/owned (all streaming from this point on - thus not quite the same level of commitment). I probably should have stopped with Bilingual. This album always felt, mostly, like second rate PSB to me. That opinion didn't change with these recent listens.

I get that the duo was working on a musical piece and so were probably very intentionally looking to expand here & there - and so I can offer a little forgiveness, but only a little. What I feel I’m left with is an ill-fitting and disjointed collection. It’s still the PSB, so it isn’t a complete waste, but after the run they have been on, this felt like it just wasn’t fueled by the same ingredients that made their last few albums so magical.

It’s not to say this album sucks and is completely devoid of anything winning. The ballad “The Only One” is quite touching & lovely (definitely my favorite from the collection). “Closer To Heaven” & “Footsteps” manage to rise above the fray. There are also several notable production & musical moments that are interesting (the keyboard work in the opener, for instance, offers some hope to an otherwise C- number), but as an album and a complete artistic statement, it all just ends up falling short. 

And, of course, there are some real misses. “Happiness Is An Option” may be one of my least favorite songs from the guys. “Radiophonic”, “Boy Strange”, “NY City Boy” (the ‘featured vocal’ chorus hook really sinks what might have otherwise been a salvageable track), & “In Denial” (though I get that this was obviously a duet for the musical) all seem lackluster and weak. 

And remember how I said I felt a Sade connection earlier on? Well “Vampires” completely morphs the groove and melody phrasing of Sade’s ‘92 track “Feel No Pain”. An homage? Maybe, but they should have left it alone as their track comes across as uninspired. 

CONCLUSION: Put it this way, despite ponying up to originally buy this album, and regardless of having a true affinity for PSB, this album is one that I haven’t returned to in over 20 years for a reason - and, unfortunately, it pulls my first PSB Thumbs Down rating and only manages a Grade of a disappointing C- as a complete collection.

Release

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards), Johnny Marr (guitar)

Produced by: Pet Shop Boys

Recorded at: Sony (London), Chillout (Berlin)

Released: April 2002

Being that this was the first PSB album I didn’t physically buy, I often kind of forget about it. This is especially strange considering what a huge Smiths fan I am and Johnny Marr’s heavy involvement (playing on 7 of the 10 tracks). 

Gone are the more layered and orchestrated synth arrangements - leaving what ends up feeling like a much-more intimate, stripped down affair. Of course, this provides plenty of ammunition in making a case for what solid and well-constructed pop songs the duo is so adept at creating, as the bones of sharp songs clearly remain.  

I love the group’s bigger sounds, but really enjoy this side of their sound equally. 

This particular collection starts stronger than it ends - with the best songs certainly filling up the first half. The first three tracks (“Home & Dry”, “I Get Along”, & “Birthday Boy”) are just fantastic. Even if the album doesn’t necessarily enthrall me past those openers, it nevers disappoints - and I really enjoyed replaying this album multiple times. As a whole, the collection provides a very pleasant listening experience and I also give the guys points for bouncing back and presenting a much-more consistent collection in the wake of the disjointed Nightlife. 

Truthfully, it isn’t that the songs later in the album aren’t good - I find “Love In Autumn” and “Love Is A Catastrophe” to be quite excellent - it’s just more that the subdued feel of the song’s flow kind of lulls you into a comfortable (somewhat complacent?) place. It becomes more about that flow than any individual song, and so maybe the songs later in the collection sweep by to a degree.

I did spend a listen or two focusing solely on Marr’s guitar work, and though I like the added instrumentation and dig the way it melds seamlessly into the PSB sound, it really would have been cool to get a little more of that pronounced Marr magic. I appreciate Marr not wanting to just do The Smiths thing over and over, but most of the guitar work is pretty elementary. In fact, Wikipedia goes out of the way to specifically mention that sampled guitar is also played on synth and so it isn’t always completely obvious if we are hearing Marr or keys. I guess it doesn’t totally matter - it’s cool they worked together and as I said, I like the tracks - but I do kind of wonder what might have been...

The only odd choice to be found are the lyrics of “The Night I Fell In Love”, which shares the first-person story of a teenage fan having a homosexual fling with Eminem. Though I definitely admire the majority of the group’s lyrics, this track loses a few points  - not for subject matter, but for what I hear as a little sophomoric. I understand Eminem responded by including a clip of him and Dr Dre running over the boys on his next album. Some people have no sense of humor!!

CONCLUSION: Even taking a step back and appreciating the added guitars and low-key vibe, the fundamentals at work are all PSB regulars - that smooth sound that is particular to them remains completely effective.

This isn’t a big fireworks sort of album, but after what I perceive to be a bit of a misstep with Nightlife, I find Release charming and solid enough to jump the guys back into the Thumbs Up column and a Grade of C+.

Fundamental

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Trevor Horn, Pet Shop Boys

Recorded at: Sarm West (London)

Released: May 2006

Well, that foray into a stripped down, more intimate sound didn't last long, did it?

What’s even more interesting is that it took the return of Trevor Horn as  producer - a guy deeply rooted in 80s pop - to help the guys make their truly first modern-sounding collection. Don’t get me wrong, PSB haven’t survived in a silo of 80s synth-pop all this time, but even within their very unique (and almost sort of singular) sound niche, they have generally felt pretty timeless and not necessarily stuck in a rut - nor necessarily prone to exploring/cultivating anything that sounds especially ‘new’.

The good news is that their partnership with Horn has resulted in an interesting balance of sound and techniques they all melded together. That is, you still hear PSB, but you also absolutely hear Horn’s influence. In the end, they really compliment each other quite nicely. Horn definitely brings along plenty of the dramatic flourishes that made Frankie’s Welcome To The Pleasure Dome such a fun album (“The Sodom and Gomorrah Show” being a prime example).

The more modern layer jumps out at you right away with “Psychological”. Was I the only one that picked-up on some strong Goldfrapp musical similarities? Weird to say a founding 80s synth-act can sound retro, but after their last few albums, this one totally does to me - especially on the first few tracks. That pulsing synth hook is just great, but its biggest strength is the edge it brings to the proceedings. 

As with “The Night I Fell In Love” from Release, I found the lyrics of “I’m With Stupid” and “Casanova In Hell” both a bit lacking. The tracks were fine, but I just found myself slightly distracted - something that never fully recovered each time I listened to them.

Interestingly, “The Sodom and Gomorrah Show” didn’t bother me - even if they might technically fall into that same lyrical territory. Perhaps the bigger production of the latter track helped that one stay afloat.

I should add that many of the demos in the Further Listening collection are really pretty spectacular. “One Way Street”, “Dancing In The Dusk”, & “The Performance of My Life” are absolutely first rate - and I really wish they had been selected over “I’m With Stupid” and “Casanova”. Would have made this a strong A album.

CONCLUSION: This album was completely unknown to me previously - totally slipped by somehow - and what a shame. This is a really strong and thoughtfully constructed collection. The huge orchestrations are impossible to miss - and I was reminded many times over of the more sophisticated concept of Very. 

I started pretty strongly with my first listen and my affection only grew from there - to the point that, even with the weaker lyrics in the two mentioned tracks,  I think this might now be right up there with my favorite PSB albums. Another easy Thumbs Up and a Grade of a convincing B+.

Yes

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Brian Higgins

Recorded at: Abbey Road (London)

Released: March 2009

I listened to this album quite a bit - wanting to get a real feel of the material - before committing any thoughts down.

This is another release of theirs that I was not super familiar with - and that, ultimately, returned a fairly even appreciation of.

The thing is, and this , obviously, a personal preference issue, but PSB have such a locked-in sound approach that no matter what minute changes (style flourish decisions, different producers, etc) they fold-in, they still pretty much sound like PSB. 

Therefore, much of it in my opinion of their individual albums comes down to the quality of the material. More importantly, whether or not I feel the guys were truly inspired in the creation of the collection. 

In the case of Very or, more recently, Fundamental, it’s a huge yes. On this one, not so much.

Even though I gave the album very concentrated listens multiple times, there aren’t many things that stand out. This works in regard to nothing grating my last nerve, but it also doesn’t do much to inspire future casual listening - and definitely doesn’t provide any true stand-out moments. 

CONCLUSION: On a scale that would include, thus far, Very at the top and Nightlife at the bottom, this one would now have a home in the bottom three. Not offensively so - things work in a sort of PSB machine kind-of-way - but I'm ultimately left very lukewarm in my experience. 

Knowing that PSB can do MUCH better than lukewarm, Yes will receive the very slightest of Thumbs Down and a Grade of a lackluster C-. Pure gut reaction response. 

Elysium 

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Andrew Dawson, Pet Shop Boys

Recorded at: Capital (Hollywood)

Released: September 2012

Once again it looks like I’ll play the role of Randy Hackson to Manuel’s Simon & Jorge’s Paula Abdul. 

I guess I’ll start by addressing what I thought, initially, it was that gave Manuel such a negative reaction. 

To my ear, the first two tracks of this album are clearly - thus far - where PBS sound least like themselves. Other than Neil’sun unmistakable vocal work - and maybe a general affinity to the sort of mellowed-out sophisticated pop that they have always presented, it is absolutely clear they made some very targeted decisions to go after what I call a hipster lounge sound.

A drummer from a former band now works as a part-time DJ - spinning for more intimate clubs. Picture 20 and 30 somethings hanging out with classic cocktails in a cool, very appointed setting. Not dancing, but talking and socializing. The first two tracks here are the kind of music that he would have going on in the background. 

There are actually a bunch of artists that focus in on this particular sound (though most are probably single or dual producers/instrumentalists) - usually the tracks are pure instrumentals, with any vocals being of the ‘featuring’ sort and employing a range of singers, known and unknown.

In fact, Apple Music seems to have a high number of categorized playlists that all work in the word “Chill” into the playlist title.

So, in the end, if this isn’t your cup of tea , you’re just not gonna fit into the pocket of this one.

I have already mentioned Sade a few times thus far in this particular artist thread, and I feel compelled to do so once again. Sade’s sound was formed initially on a much more jazzy approach. But on the fourth album in ‘92, they made a very conscious decision to step away from that and fold-in more of a Massive Attack-inspired (and even slightly hip-hop influenced) layering of textures into their sound. Like Neil, you’re never going to mistake the power of Sade’s voice, but there was no getting around that they had changed the setting. Sounds like that’s what the guys were after on this album.

Personally, I’ve always been a fan of this particular sound and so the two opening tracks land a bullseye for me. That they are followed by the best single (in “Winner” - was I the only one that picked up a HUGE Enya vibe with the instrumental approach and overall sound?) since Bilingual’s “Red Letter Day”. Really excellent.

Unfortunately, things start to go off track for me from there. “Your Early Stuff” & “Your Ego” just don’t work very well and completely throw-off the balance of what started so strongly. 

The remainder of the tracks aren’t trainwrecks, but they do (mostly) fall into the category that many of the songs on Yes did - lacking in the sort of inspiration & magic PSB are clearly capable of. “Breathing Space” & “Memory” round out my top five best tracks on the album, while “Hold On” & “Give It A Go” just sink straight to the bottom.

I will add, now that I’ve listened to it, this was another album that apparently didn’t make much of an impression on me the first time and maybe even squeaked by without me hearing much of it at all. That is, I really felt like I was listening with fresh ears the entire time.

CONCLUSION: Not brilliant, but also not their worst album. However, I feel compelled to rate it a Thumbs Down and a Grade of a disappointing C-, but only because the excellent start of the first three tracks just can’t quite keep things afloat. 

Electric

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Stuart Price

Recorded at: Sarm West (London)

Released: July 2013

When you start your album with what sounds like a psychotic computer’s mashup of Big Ben’s hour strike and the theme from Close Encounters - climaxing with the thunderclap from “It’s a Sin” (adding to the mix the fact that Neil doesn’t even sing on the track), you know PSB were clearly intending to set folks up for something a little bit different.

I give the guys total points for striking out with such a targeted focus and aligning with a producer that they knew would help them deliver the goods. Price has, of course, produced an array of hitmakers - from Madonna & Missy Elliot to The Killers & Seal.

I was torn with this album. Though nothing on this album really turns me off, I know that for my own personal listening this definitely wouldn’t be the PSB album I’d reach for again. 

However, like many music fans open to explore outside of their ‘favorite’ niches, I like some dance music and even went through a pretty focused (albeit short) electronic phase - Crystal Method, Chemical Brothers, Underworld & Orbital being a few of my favs - and so nothing here is completely foreign. 

I think my favorite thing about this album - more than any individual song - is the overall texture created. This is definitely the most ‘retro’ synth album the boys have put together. “Axis” would fit nicely shoulder-to-shoulder on my curated SYNTH soundtrack playlist filled with the instrumental likes of Giorgio Moroder & John Carpenter. Same for the fantastic intro to “Fluorescent”. 

And while they obviously employ more “traditional” tracks (meaning Neil actually sings and the structure features the verses/chorus template), there is still a vibe to everything that reminds me of an 80s video game or the Neverending Story soundtrack or what I’d want a sleek European disco to be playing just as I throw back a vodka shot and hit the dance floor. Agaian, all of that is perfectly fine with me - so not a criticism, just an observation. 

There is absolute validity in saying this is not a “hum-along” set of songs, but I will almost always side with an all-in commitment to concept over a collection that has a few worthy singles surrounded by what sounds like dialed-in filler. As a “dance” album, I find this different, but equally as entertaining as Introspective - and perhaps, more thoughtfully constructed from start to finish. 

The cover of a Springsteen song (“The Last To Die”) was an interesting touch. And because of the inherent strength of the lyrics & structure, it ends up being the most pronounced ‘song’ on the album. I like their interpretation quite a bit. 

Even “Shouting in the Evening”, which is clearly the ‘why not’ track, feels comfortable in its own shoes - and I kind of dig that this is exactly how they wanted the track to sound - as opposed to a post-production dance remix. It is what it is - with no excuses made. And none needed. 

I didn’t even mind the ‘guest’ rap breakdown in “Thursday” - much better than Neil’s white-boy rapping - and maybe the catchiest chorus of the collection. 

One slight criticism is the overly flat/thin production. I get that this must have been intentional and part of the overall concept, but Price delivered a more pronounced bottom-end on the Madonna album and I don’t know that this would’ve taken anything away from the collection. 

CONCLUSION: This will get an easy Thumbs Up and a Grade of a well-earned B-. And even if it won’t make my PSB Top Five, I was totally charmed by the fun the guys were obviously having and it was nice to see them surrender so completely to their muse. 

Super

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Stuart Price

Recorded at: Sarm West (London)

Released: April 2016

I’ve talked about it a ton of times before, but there are just some albums out there, that while they don’t necessarily swing for the fences on an artistic front, you just can’t help liking the pure joy and relatively engaging nature of the project. 

Super hits that target dead-on for me. There really isn’t anything all that groundbreaking, earth-shattering, or career making to be found within, but just the same - over 30 years into their career - Pet Shop Boys are killing it. They sound like WAY MORE than the nostalgia 80s act that they could be so easily pigeonholed as. 

And while, like Electric, some of these ‘dance’ tracks - music that definitely has its place in the club - wouldn’t necessarily be the normal music I’d personally reach for, they still offer the same elevated and sophisticated take on this particular genre. 

A perfect example of this happens with the back-to-back of “Undertow” into “Sad Robot World”. The first offers club dance at its most pristine. Pure exuberance and uplifting thrust - catchy, well-crafted, & charming on any front. Then comes the reminder that PSB are still the kings of taking a simple tune & intimate arrangement to create a classic down-tempo track that could stand shoulder-to-shoulder with any track from their finest albums. 30 years, almost to the day, that they put “Suburbia” into the world. 

Continuing their partnership with Price's production work, this collection feels like a seamless transition from Electric - very much an Act II of the same play - albeit a more straightforward and traditional take on dance mastery. I also appreciate that the slight low-end complaint I had about the previous album seems to be cleared-up here. There is creative drive, fantastic synth flourishes and all of the care & thought in arrangements that I’ve come to expect of the duo. 

CONCLUSION: If pressed, I’d say this Electric speaks to me a bit more than Super, but they work very efficiently as bookends and I’m very happy to be giving PSB such an enthusiastic Thumbs Up and a Grade of a C+ at this point in their run. 

I have not listened ahead, but I did see that Price is back in the Producer seat for a three-peat on their most recent collection, 2020’s Hotspot. Let’s see if it turns out to be a three act play. 

Hotspot

Personnel: Chris Lowe (keyboards, sequencers, drum programming) and Neil Tennant (vocals, keyboards)

Produced by: Stuart Price

Recorded at: Record Plant (LA), Hansa (Berlin)

Released: January 2020

I hate to end a musical journey that I so thoroughly enjoyed on a negative note, but despite my multiple attempts to give this collection room to grow on me, I just couldn’t get there.

I won’t belabor my comments, but in a nutshell, it just felt like the majority of this album was out of step. Whereas other PSB albums have shined either because they worked so well in being unique or because they did a great job melding their own original sound with modern approaches to create a slick retro feel, this album feels to me as a lost 90s collection.

“Will-o-the-Wisp”, “Happy People” (and the unfortunate return of Neil’s white-boy rapping), “I Don’t Wanna” & “Wedding In Berlin” being the biggest offenders. “Will” (though it does have a catchy synth hook) totally reminded me of a track that could have been part of the soundtrack for the Will Ferrell film Night At The Roxbury - HAHA!!

To make matters worse, “Monkey Business” should never have been put to tape and “Dreamland” doesn’t even sound like a PSB track. I had to look up Years & Years (who is featured on the track), but can only find the fact that their leader has become a younger LGBT spokesperson for UK youth as a connection or reason why they might have collaborated. In any case, the song seems below PSB.

A complaint could be that there are too many slower/mid-tempo tracks, but as is often the case with the guys, these end up being my only saving grace. I especially liked “You Are The One” & “Only The Dark”. 

CONCLUSION: Unfortunately, they don’t deliver quite enough to elevate things overall. Their time with Price should have ended after two albums. Feels like they would have benefitted from shaking things up a bit more on this album. The latest PSB offering will receive a disappointed Thumbs Down and a Grade of a flatline C- from me.