One record at a time: 357. Pet Shop Boys - Relentless

"Relentless" was described by the Pet Shop Boys as a "rhythm" album and was originally released as a limited edition compact disc alongside "Very" in 1993. For many years the only way to hear these songs from vinyl was via one of 500 promo records (the one with the white sleeve that carries the cunning catalogue number DF118) but in 2023 the album was given a formal release to mark its thirtieth anniversary on both CD and yellow vinyl (black sleeve).

The story goes that these songs came about because Chris Lowe had written a series of instrumental tacks that Neil couldn't think of lyrics for. Rather than discard the music, they decided to spend a week in Sarm Studios to work the songs up and release them as an album.

Whilst "Relentless" had aspirations of appealing to the dance floor, the reality is that things don't stray too far from the traditional Pet Shop Boys formula. As much as they love dance music the boys can never shake a predilection for melody and this album retains many pop sensibilities as a result. "One Thing Leads To Another" wouldn't sound out of place on "Very" and the original version of "Forever in Love" was intended to be the b-side of "Go West". Where this record does lean more heavily towards dance music it tends incorporate a Euro-house sound which was popular in the charts, but was never likely to be played at contemporary clubs such as Cream, Fabric or Ministry of Sound. 

The one thing that does distinguish this album from some of its more mainstream pop brethren is the use of samples. Personally I find some of them very annoying with "We Came From Outer Space" almost driving me crazy with repetition. For many years I found it impossible to discern what the female vocalist was saying on "The Man Who Has Everything" and using the "Amen, Brother" break (again) seems a little lazy to twenty first century ears. Yet I loved this record in 1993. Maybe it just hasn't aged well. 3/5

One record at a time: 356. Pet Shop Boys - Very

I didn't pick up the LP of "Very" when it was released in 1993 as I only bought compact discs back then. Fast forward about ten years and the band's official website was selling off some old stock they had lying around so I decided to pick up a copy of "Very" on vinyl to fill the hole in my collection. More recently I acquired the 2018 remastered release which is pressed on 180g vinyl and sounds great.

Sometime in the late nineties I found the picture disc shown in the photo at a record shop that was closing down and got it for a bargain price. Despite being featured in the retrospective book "Catalogue", this isn't a legitimate release and like most bootlegs, it doesn't sound all that great. 

The Colombian version with the unique sleeve was an eBay purchase from about 2004 and turned into a major headache when I realised the seller only accepted payment in Colombian pesos via Western Union. Until recently I wasn't really clear on why this version had a different sleeve, but the BBC documentary "Imagine: Then and Now" helped me come up with a theory. 

When looking at the European LP of "Very" Chris says, "We don't like this. It looks like an inner sleeve doesn't it?" To which Neil replies, "You know why? It is an inner sleeve". As the inner of the final LP is the same as the photo used on the Colombian version, I think Neil and Chris simply decided to swap the designs of the inner and outer sleeve. However, the branch of EMI in Colombia either didn't get the memo or they figured they were so remote they could do whatever they wanted.

The music on these records is some of the most commercial the boys have ever released as chart hits like "Go West", "Can You Forgive Her?" and "I Wouldn't Normally Do This Kind of Thing" testify. Yet there's no album filler here and this is one of those classic albums that justifies use of the trope "every song could be a single". If you really want me to nit pick I would say that the production on "One and One Make Five" never convinced me, I'm not keen on the song "One in a million" and "Young Offender" sounds very muddled in places. We didn't know it at the time, but this was one of pop music's last great hurrahs before Britpop came along to ruin the party. 4/5

One record at a time: 355. Pet Shop Boys - Discography

"Discography" is a double album of greatest hits released in 1991. Here I have the UK version pressed at EMI in Hayes and one from EMI Uden in the Netherlands. I was content with owning one copy of this album but a second seemed determined to fall into my possession.

About ten years ago I ordered an LP of "Please" over the internet but the seller mistakenly sent me "Discography". I informed them of the error and returned the package as agreed. However, the seller failed to pick up the parcel and it was returned to me by Royal Mail. Having messaged the vendor several times without reply I gave up and kept the record. Whilst "Discography" on vinyl has always been relatively collectable, Popsike.com tells me it sold for around £20 in 2014 so I didn't feel particularly guilty about not being able to return it; even if it does fetch over £50 today.

Understandably this album misses out the original version of "West End Girls" and the early single "One More Chance" which were released when the boys were signed with Bobby Orlando. Also omitted is the first version of "Opportunities (Let's Make Lots of Money)" which was their debut on EMI records but wasn't a hit. Instead we open with the hit version of "West End Girls" and move chronologically through their singles released up to 1991. 

The only other omission from this chronology is the single version of "How Can You Expect To Be Taken Seriously?" which was initially created by dance producers Brothers in Rhythm and then overdubbed by Neil and Chris. However, the song was released as a 'double a side' and the boys felt justified in culling it to allow the album to fit on one CD.

Also produced by Brothers In Rhythm were two new tracks titled "DJ Culture" and "Was It Worth It?". The former single was released prior to the album and, despite it not being particularly anthemic or tuneful, I like it very much. "Was It Worth It?" however is a limp effort that just doesn't sound like a Pet Shop Boys song. I can't put my finger on what is wrong with this track but it doesn't succeed for me. The only joy in buying this single was the b-side "Miserablism", but I don't think its release will have moved the needle on "Discography" sales one bit. Still, this is a highly revered collection of singles from when the band were in their imperial phase and is essential if you have any appreciation for the band. 5/5

One record at a time: 354. Pet Shop Boys - Behaviour

When I bought the compact disc of "Behaviour" from the supermarket back in 1990, I was expecting another album full of dance pop tunes in the vein of "Please" and "Actually". What I got was a collection of melancholy songs with shuffle rhythms and plaintive lyrics. Whilst I can't pretend that "Behaviour" was anything other than a disappointment when I first heard it, I have come to love it over the last thirty four years.

At one time Neil Tennant described this album as "mellow" and explained that developments in his personal life coloured its production. Compared to previous efforts "Behaviour" sold poorly and Chris Lowe flippantly commented that, "We should write another good dance album, write Behaviour off as a tax loss". So I know I wasn't alone in my initial disappointment.

Proceedings commence with "Being Boring" which was originally an attempt to write in the style of Stock, Aitken and Waterman. However, the track that emerged from the production process was a brooding autobiography and not a frothy hi-nrg pop song. Whilst "Being Boring" has gone on to become something of a cult classic, it would be revisionist to say it has always been revered. I like the song very much, but its wistful nature and brittle production mean it isn't amongst my favourites. 

There are quite a few tracks in a similar vein with "Nervously", "To Face The Truth", "Jealousy" and "Only The Wind" all eschewing dance rhythms and settling on a doleful style. When I finally got over myself and began to appreciate that not every Pet Shop Boys track needed a dance rhythm to be good, I realised these tracks were actually amazing. The only song I still fail to warm to is "My October Symphony" which I don't skip when listening to the record, but I don't look forward to it much either.

One of few dance rhythms are heard on "How Can You Expect To Be Taken Seriously?" which is a sort of new jack swing pastiche that doesn't succeed lyrically or musically. Pet Shop Boys have never recorded anything like this before or since and to be frank, it sticks out like a turd in a fruit bowl. The lead single "So Hard" is a fantastic song but it's TR-909 beats and throbbing sequencer lines completely misled me on the content of the final album. I have always loved the song "The End of the World" which remains a hidden gem and is neglected by the band and overlooked by fans.

Eventually I sold my original CD (to my brother's geography teacher weirdly enough) in anticipation of buying the two CD Japanese version in a plush velvet box, but I didn't consider buying an LP until about ten years ago. I don't own anything special here just two copies of the original UK release and two copies of the 2018 remastered version. I am torn on how to score this album as it has much I enjoy, but I still feel a sting of disappointment all these years later and the scars of "Seriously" and "My October Symphony" mean I can't give it full marks. 4/5

One record at a time: 353. Pet Shop Boys - Introspective

Having created perfect electronic pop records for their first two albums, Pet Shop Boys decided to change tack for "Introspective". 

In 1988 house music was beginning to make its presence felt and its influence seemed to pour directly into the veins of Neil and Chris. This album starts with an operatic soprano singing the word "House" and finishes up with a cover version of Sterling Void's "It's Alright" (which was originally produced by house royalty Marshall Jefferson). Legendary DJ Frankie Knuckles throws in a piano house remix of a former b-side "I Want a Dog" and the hit single "Always on my mind" segues into a new piece titled "In My House". 

There was even a limited edition of the album that was pressed onto three 12" singles and a promotional version containing "club mixes" distributed to DJs in the USA. Short of recording in Chicago and releasing the album in Trax records this album couldn't get much more house. 

Yet this isn't true house. This is a stylised, pop version of house that was easily digested by housewives watching TV in Milton Keynes or teenagers listening to Radio 1 in Manchester. "Left To My Own Devices" is one of my favourite songs as it is a perfect blend of melody, bouncy bassline and clever lyrics all topped off by the most flamboyant orchestral arrangement you're likely to hear on a pop record. 

Elsewhere there's a it of Latin flair courtesy of "Domino Dancing" and the reworked "I'm Not Scared" is simply perfect. Personally I regard "Always On My Mind/In M House" as superior to the single version and the remix of "I Want A Dog" has true house credentials. The only real weakness here is the afore mentioned cover of "It's Alright" which is overly long and a bit limp. Otherwise this is a perfect hybrid of pop and house that demands attention thirty five years after it was released. 5/5

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P.S. For those who are curious, the different versions I own are: x2 Original UK, x2 Limited edition 3x12", x2 2018 remastered, x1 Original European pressed in Germany, x1 USA promo "club mixes"  and x1 Original Japanese.

Interestingly the 3x12" was pretty worthless about twenty years ago and I picked up a couple of copies quite cheaply. Today they sell for around £30-40 and if they are in excellent condition and complete with their belly band they can fetch a good deal more. As you might expect the Japanese version is a great pressing and has little extras such as an obi strip and lyric insert that aren't present with any of the others. The USA promo carries some unique remixes and is a numbered edition, but the 2018 remastered version on 180g vinyl can be sourced easily and is a great sounding record.

One record at a time: 352. Pet Shop Boys - Actually

"Actually" was released in 1987 and is one of the Pet Shop Boys finest albums. Today I will be listening to the remastered heavyweight vinyl from 2018 (of which I own two copies). I also have two of the original UK release, the American version that includes a 12" single of "Always On My Mind", a clear limited edition version released in Asia, the Japanese release and a curious Hungarian LP that uses the artwork of the original inner sleeve as the cover.

The opening track is an extended version of the song "One More Chance" (the original shorter mix can be found on the second CD of the "Further Listening" version of the album). A different version of this song had been released as a single some three years before when the band were signed with Bobby Orlando. However, this new version is much more accomplished and carries a production sheen Trevor Horn would have been proud of. The fact that the song was recorded at Sarm West studios and is produced by Julian Mendelsohn (who mixed "Relax" by Frankie Goes to Hollywood) suggests this was exactly the sound Neil and Chris were looking for. 

The hit single "What Have I Done to Deserve This?" comes next and Dusty Springfield's distinctive vocals add a touch of class to proceedings. I have always marvelled at the distinctive intro to "Shopping" and the bassline that goes on to play throughout the song. I suspect they created the sound using a number of different synthesizers and then sampled it into the Fairlight so it could be sequenced using Page R. It certainly sounds like a Fairlight sample but I have no evidence to back up my theory. Another single "Rent" comes next with its thinly veiled double entendre and electro styled blips. Lots of people like to dismiss "Hit Music" as album filler but I have always enjoyed it and regard it as the perfect way to end side one.

In my youth I found "It Couldn't Happen Here" immensely disappointing but I have grown to enjoy it over the years. "It's a Sin" was another smash hit single that remains entertaining, but it has lost some of its thrill factor due to overfamiliarity. However, "I Want to Wake Up" is probably my favourite track on the album and I never tire of hearing it.

The single version of "Heart" is often referred to as having been remixed, but the reality is that it is the album version that was a remix. For some reason the boys decided the original version they made with producer Andy Richards wasn't to their taste and they asked Julian Mendelsohn to remix it for the album. In typical Pet Shop Boys fashion they then reversed their preference and released the discarded original as the single the following year. Whilst both mixes are good, I don't like the fact that Mendelsohn completely removed J.J Bell's excellent guitar and the disco syn drums of the original. All the fun of the single mix is lost and the rather plain album version lacks a spark for me. The final track "King's Cross" is suitably subdued and is regarded by many fans as a classic. 5/5

One record at a time: 351. Pet Shop Boys - Disco

"Disco" was the first album I owned on compact disc. I saved hard for my first CD player back in 1988 and once I had bought it, I didn't have much money left over to buy a disc. Happily, this album was sold at a 'special price' meaning my shiny new Sony CDP-M35 had something to play when I got it home. 

In addition to that old CD, I now own three copies of the album on vinyl. There are a two of the standard UK release in my collection, along with the German version with a sticker on the sleeve. All copies carry the same music and artwork and all are in very good condition. 

I have always loved this album as not only is the source material brilliant, but the mixes themselves are sublime. The opening track "In The Night" will be familiar to many as it was used as the theme tune for a TV programme here in the UK. The song itself was the b-side to the first release of "Opportunities (Let's Make Lots of Money)" and this remix was created by Arthur Baker. As none of the mix titles are included on the sleeve their actual name can be hard to discern, but consensus seems to be that that this is the "Extended Mix". Most of the source material is retained and there are embellishments and creative edits that carry an early eighties New York electro vibe.

The epic nine minute version of "Suburbia" titled "The Full Horror" comes next. As amazing as this track is, I have to admit, the Emulator sourced dog barks are over used and do begin to grate just a little bit. There are fantastic versions of "Opportunities" (a unique edit of the Version Latina mix) and "Paninaro" (an extended mix by the boys themselves) that are enough to cast almost all contemporary remix albums into the shade, but the outstanding pieces here are the Shep Pettibone remixes of "Love Comes Quickly" and "West End Girls".

The "Love Comes Quickly" mix is subtle and adds enough unique touches to lift this song to the next level. This mix builds atmosphere perfectly and the additional synth refrain on the intro is worth the entrance fee alone. To my mind, this is the best version of "Love Comes Quickly" created. Similarly, Shep's take on "West End Girls" is truly a thing of genius. The additional electric piano and percussion on the intro sets up a unique take on the song that has never been bettered. The version on "Disco" differs from the remix 12" of the original single as it fuses the intro of the "West End Dub" onto the "Mastermix" to create a unique edit. The best remix album there is. 5/5