Literally complete

Between July 1989 and December 2014, the Pet Shop Boys ran a club. Not a conventional fan club with a flimsy newsletter limping through your letterbox twice a year, but a fully fledged, band sanctioned operation. Members received gifts, photographs, Christmas cards, posters and regular opportunities to buy exclusive merchandise. There was even a free CD at one point, which felt like winning the lottery, if the lottery paid out in shiny plastic.

For most of us, though, the real reason to join was the club magazine, Literally. Packed with news, interviews, letters and features, and written by professional journalist and long term collaborator Chris Heath, it felt substantial and thoughtfully put together. Better still, you could tell the band were properly involved, which gave it that rare fan club quality: it didn’t feel like it had been assembled at 2am next to a photocopier with a staple gun and a prayer.

I didn’t join when the club first launched, because at the time the cost felt a bit, shall we say, aspirational. By summer 1991, though, I’d somehow scraped the funds together and my membership began with issue six of Literally. Early editions were usually about twenty pages, although depending on how often they came out, some ballooned to fifty or even sixty pages, which is the fan club equivalent of being served a Sunday roast when you only ordered chips.

At the outset, membership promised three issues of the magazine over a twelve month period. In practice, Literally always ran to its own mysterious timetable, and memberships often lasted far longer than a single year. Join in October 2003, for example, and it would be more than two years before your three magazines arrived. By issue 36 in December 2010, the stated aim quietly shifted to two issues a year, which was an equally optimistic target that was not really met either. In theory, there should have been around seventy one magazines released over the lifetime of the club. The fact it only reached issue forty one tells its own story, mostly involving calendars being treated as decorative rather than practical.

Another long running quirk was timing. Issues were rarely delivered in the month printed on the cover, a tradition that carried on right to the end. The final club exclusive edition, dated October 2014, did not arrive until two months later, judging by the postmark on my copy. After the club closed, Literally became an annual publication available through the band’s website, but this only extended to one edition before it was replaced by the hardback book Annually.

Over my twenty three years as a member of the Pet Shop Boys Club, I somehow ended up with a few irritating gaps in my Literally collection. Early on, back issues were occasionally offered for sale, but availability was patchy and I could never get issues 2, 3 or 5. Fast forward thirty years and those gaps had started to nag at me. Because I owned most of the magazines, I had never really clocked which ones were rare. That changed when I realised my missing three were, of course, the notoriously hard to find ones. This is how collecting works. The universe sees your shelf and immediately chooses pain.

For several years I tracked their sale prices on eBay, only to watch them creep steadily upwards. Issue 3 typically went for anywhere between £80 and £125, while issue 5 would frequently fetch an eye watering £200. Issue 2 seemed the most attainable at around £50 to £60, but even that felt like a lot of money for a thirty year old magazine that barely runs to twenty pages. At that price you want at least a pull out poster, a signed apology, or Neil Tennant popping round to read it to you.

In December 2025 I finally took the plunge and bought a copy of issue 2. Almost immediately I felt I’d overpaid, and my optimism about ever completing the collection began to wilt. I even stopped checking auctions for a while, because I was not prepared to spend more than £300 on two magazines just to fill a gap on the shelf. Then a little miracle happened.

One Sunday evening my phone pinged with alerts for new listings of issues 3 and 5. At first, I barely paid them any attention. Auctions usually run for seven days, so there is rarely any urgency unless you enjoy panic as a hobby. But for reasons I still can’t quite explain, call it luck, intuition, or pure boredom, I checked again a minute or two later. That’s when I noticed something different. Both listings had a “Buy It Now” price that was very reasonable. After a few minutes of deliberation, I bought both magazines and I now have a complete collection. So never give up on your collecting ambitions. You never know when they might be fulfilled. Literally.

One ecord at a time: 504. Tim Bowness - Butterfly Mind

It dawned on me, somewhat alarmingly, that this record came out four years ago, which means I have been blogging about my collection for at least that long. Time clearly flies when you are busy collecting limited edition vinyl with the enthusiasm of a slightly unhinged magpie. 

This particular specimen arrives on 180 gram transparent green wax, tucked inside a die cut sleeve, and is hand numbered to just six hundred copies. Pressed by Optimal in Germany, it sounds lovely, and the package even includes a CD, a signed postcard and a fridge magnet. Obviously. Because what self respecting limited edition would dare show its face without a fridge magnet these days.

Before you drop the needle, a word of advice. If your ears have recently been exposed to anything resembling pop or rock, take a moment to reset. Maybe breathe deeply. Maybe stare thoughtfully into the middle distance because, aside from a couple of tracks, the album is a drifting, laid back, prog tinged wander through soft laments and gentle instrumentation. Nick Beggs pops in to provide some bass, Ian Anderson contributes woodwind, and Steven Wilson, who presumably pops round for tea often enough to count as family, handles the mix. At times it is so reminiscent of No-Man that I half expected the packaging to apologise for the confusion.

The opening track, "Say Your Goodbyes Part 1", sets the tone nicely with a delicate start that eventually firms up into something a little crunchier. "It’s Easier to Love" is pleasant but overstays its welcome by several minutes. "Lost Player" floats along in a wistful, elegiac haze and boasts a melody I genuinely adore. This dreamy spell is abruptly shattered by the synth bass stomp and monosynths of "Only a Fool", propelled by drumming that appears to be fuelled by three coffees and several cans of energy drink. 

"Glitter Fades" perks things up with some catchy drum programming that helps break the overall spell of drifting sameness, but many of the other tracks struggle to make such a distinct impression. There is no faulting the performances and plenty of the songs are undeniably pretty, yet the whole experience drifts into a slightly bland, monochrome haze. Dare I say it, by the end I found myself growing a little weary of those endlessly soft and gentle vocal tones.

A beautiful record, thoughtfully assembled, and unquestionably atmospheric. Just be prepared to float for quite a while. And do not forget your fridge magnet. 2.5/5

One record at a time: 503. Beloved - Conscience

Back in 1993, when CDs ruled the world and vinyl was taking an extended tea break, "Conscience" slipped out with only a handful of LP pressings. Naturally, this meant that the original vinyl soon became the sort of item collectors stalked.

Fast forward to recent years, and with demand still bubbling away and the rights having returned to Jon Marsh, electronic specialists NewState clearly spotted a chance to make a lot of fans very happy. On paper, the reissue sounded downright irresistible: remastered audio spread across two slabs of heavyweight white vinyl, limited edition, full colour sleeve and wraparound artwork. All very fancy. All very take‑my‑money. Then you actually play it.

This is where the warm glow of nostalgia smacks straight into the cold wall of reality. Some tracks are different mixes that do not match the originals. There is added noise on almost everything. The sibilance is, quite honestly, among the worst I have ever heard. I would love to tell you that the sheer brilliance of the music rises triumphantly above the overbearing compression and the extra noise. I really would. But I can't.

And that is such a shame, because the album itself remains wonderful. "Conscience" felt like a natural step on from their debut "Happiness", with the new husband‑and‑wife duo of Jon and Helena working beautifully together. There is just enough pop threaded through the dance elements to keep things interesting, long before their next album "X" would wander a little too far into clubland and lose some charm in the process.

One of my favourite memories is hearing someone play an advance copy of this album in an HMV before the album was released. The moment Jon sang the opening lines of "Spirit": "So welcome back again, On the right track again" I saw a couple of people drift towards the B section of the CD racks, only to be met with crushing disappointment when they found nothing there.

The singles "Sweet Harmony", "Outerspace Girl" and "You Have Got Me Thinking" deserved far better chart positions than the public gave them. They are still great songs. Even better is the killer trio of "Celebrate Your Life", "Rock to the Rhythm of Love" and "Let the Music Take You", a run of tracks I always looked forward to. The only stumble for me has always been the closer, "Dream On", which drifts a bit.

So yes, a great album, but this vinyl pressing does it no favours whatsoever. Whether the problems are down to this disastrous white vinyl edition or whether the universe is simply refusing to let "Conscience" sound good on wax, I cannot say. What I can say is that the regular black vinyl version, which is supposedly on the way, has had its release delayed at least three times. It does make you wonder if the poor thing is proving too difficult to get onto vinyl in a form that does not make you wince. Until then, my advice is simple: adore the album, avoid the pressing. 3/5

One record at a time: 502. B.E.F. - Music For Stowaways

Some albums are made for the charts, some are made for record executives, and one was made for a very specific little plastic box clipped to someone’s belt in 1981. The Stowaway (soon to be known to the world as the Walkman) was the new futuristic toy of the time, and British Electric Foundation clearly thought: “Why not make something specifically for people wandering around with headphones on, pretending they’re in Blade Runner?”

The result is a fascinating electronic experiment from Ian Craig Marsh and Martyn Ware, freshly departed from the original Human League and brimming with ideas. I’ll admit I bought my copy before ever hearing it, which is always a high‑risk hobby. But in this case, the gamble paid off. The album has a raw, exploratory charm: you can practically hear two musicians revelling in their newfound creative freedom. It’s part time capsule, part art project, part "let’s see what this button does".

The opener, "The Opium Chant", is a strangely hypnotic swirl of repetitive refrains and dub influenced delays. It is the sort of track that makes you stare into the middle distance and forget what you were meant to be doing. Perfect if what you were meant to be doing was not very important in the first place.

"Uptown Apocalypse" drags in members of Clock DVA and the results are exactly what you might expect and yet somehow more listenable than they have any right to be. There are more melodic moments too on the record. "Wipe The Board Clean" is surprisingly tuneful, while the instrumental version of "We Don't Need This Fascist Groove Thing" is perfectly fine, but we've heard it before.

The standout is "The Old At Rest". This track is ambient perfection, created on a handful of synthesisers that leave enough space between the layers for the music to breathe. Put it on with a good pair of headphones and feel your everyday stress melt away in a gentle wash of electronic calm. 

The rest of the record offers up serious, early electronic explorations packed with interesting ideas. In fact, I would go as far as to say I prefer this to the early Human League material. Controversial perhaps, but I have said it now and there is no turning back. 

Cold Spring Records resurrected the album in 2023 and released two coloured vinyl versions and a standard black one. My copy is one of the 500 yellow editions but the wax itself isn't as vibrant as the cover. Whilst the sleeve proudly sits on my shelf glowing like a radioactive banana, the record inside is more of a sickly mustard colour. 

"Music for Stowaways" remains a quirky, innovative snapshot of early‑80s synth culture, and the yellow vinyl reissue turns it into a collector’s gem. It may no longer fit into a Stowaway, but it plays beautifully on a turntable — and that’s probably for the best as all of the rubber belts in my Walkman have long since perished. 4/5

One record at a time: 501. Rick Astley - Whenever You Need Somebody

Every now and then, I spot a record in a charity shop that looks far too pristine to ignore. That’s exactly how I ended up walking out with Rick Astley’s "Whenever You Need Somebody" tucked under my arm. In a moment of impulsive optimism, I forgot one tiny detail: I didn’t like Stock Aitken Waterman in the 80s, and nothing in my life since has suggested my opinion should change.

But here’s the thing. Despite the manufactured pop beginnings, I’ve got a real soft spot for Rick himself. He’s a genuinely talented multi‑instrumentalist and songwriter (you might guffaw but have you listened to songs like "Angels By My Side"? - I'll take your apology when you come back). The poor bloke just fell in with the wrong crowd that's all.

Naturally, "Never Gonna Give You Up" kicks off the album. If you don’t know this track, you’re probably legally classified as deceased, so I won’t insult either of us by describing it. It's pop perfection whether we like to admit it or not, and SAW knew it.

The title track was also a hit, though it has that unmistakable SAW "we made this in an afternoon" energy. It’s catchy enough, but let’s not pretend it has the sheer gravitational pull of Rick’s signature hit. It’s fine — which is exactly the problem. Fine is rarely memorable, and SAW had a habit of aiming squarely for "good enough to sell, not good enough to last".

A few cuts were produced by Phil Harding, which lifts things slightly, and there’s one track handled by Daize Washbourn, but it is all fairly standard eighties pop fare. The back cover proudly reels out the classic SAW gag “Drums by A Linn” and Fairlight programming is credited to Ian Curnow.

There’s a rumour that EMI deliberately sabotaged Rick Astley’s chances of hitting number one with his version of "When I Fall in Love" by sneakily reissuing the original Nat King Cole recording to dilute his sales. According to the theory, this cleared the path for EMI act Pet Shop Boys to glide straight into the top spot instead.

Of course, this overlooks a couple of awkward details — namely that "When I Fall in Love" had already stalled at number two for weeks, and the Pet Shop Boys were actually battling "Fairytale of New York". Still, why let facts spoil a perfectly good conspiracy theory? Besides, Rick’s version of "When I Fall in Love" is pretty dire, so perhaps everyone involved was simply doing a public service.

This record is an oddly charming time capsule. Yes, the production occasionally sounds like it was knocked together with one eye on the clock, but there’s something undeniably likeable here — not just because the songs are catchy, but because Rick Astley is clearly capable of far more than the tightly controlled pop machine allowed him to show. It’s the sound of an artist who hadn’t yet escaped the conveyor belt.

As far as charity‑shop gambles go, this one’s a mild win. Maybe not a jackpot, but definitely better than multiple copies of "The Best of James Last" that were lurking beside it. 2/5

One record at a time: 500. Art of Noise - Impressions Of For+ever And The Making Of Moments In Love

Nobody makes their back catalogue work harder than ZTT and the Art of Noise. If there is a tape, a demo, a studio sneeze, or someone once accidentally brushed a synth with their elbow in 1984, you can bet it will eventually be pressed, given a catalogue number, and fired into the shops as a “limited edition archival release”.

I honestly thought the well was dry after the 2006 four‑CD monolith "And What Have You Done With My Body, God?" — a title which now feels more like a plea from the archive itself. But no. This latest instalment appeared last year, suggesting there are still mysterious boxes in Trevor Horn's loft labelled "Do Not Use – Really, We Mean It This Time".

And yet, a quick peek at Discogs reveals that ten of the thirteen tracks on this record have already been put out before. So it’s not so much "previously unreleased gems" as "you’ve probably heard these already, but here they are again… surprise!?" Then comes the double whammy: this record combines two of my absolute least favourite vinyl tropes — Record Store Day and a poor GZ Media pressing. 

So, archival release or shameless cash‑grab? Honestly, it’s a bit of both. You can call it "preserving musical history" if you squint, but there’s also a definite sense of someone shaking the vaults to see if any loose coins fall out. And let’s be realistic: there’s a reason most of this material stayed unreleased for so long. Listening to some of these mixes feels a bit like watching deleted scenes from a film you love — there’s a reason they didn’t make the final cut, and no amount of historical curiosity can disguise the fact that they were deleted for a reason.

Now, let me be clear: I adore the track "Moments in Love". It’s a masterpiece. It’s serene, iconic and hypnotic — but do I need thirteen versions of it in a row? Absolutely not. Nobody needs that. Even the most devoted Art of Noise completist would probably step outside for fresh air around track six just to remember what silence feels like. It’s the vinyl equivalent of ordering a three‑course meal and getting three plates of slightly different mashed potato. Impressive commitment, questionable decision‑making.

And yet, buried within the repetition are still those unmistakable flickers of beauty. The original DNA of the song remains magical, even when wrapped in variations that range from "pleasant enough" to "did someone lean on the Fairlight?" But the truth is simple: the unreleased tracks aren’t particularly vital, and the previously released ones aren’t different enough to justify their presence here — unless you're the sort of person who owns more than one copy of "Tubular Bells".

I still love "Moments in Love". I probably always will. But even I have limits, and thirteen iterations of the same track is a stretch worthy of Olympic classification. This one’s for hardcore fans, completists, and people who feel physically uncomfortable leaving a hole in their Art of Noise collection. Everyone else can stream a couple of tracks and call it a day. 2/5

One record at a time: 499.Adamski - Doctor Adamski's Musical Pharmacy

Sometime in 2025, I picked up the CD single of "Flashback Jack" by Adamski from a charity shop for 50p. I enjoyed it, and when I stumbled across the LP of the parent album, "Doctor Adamski’s Musical Pharmacy", in my usual emporium not long after, I couldn’t resist.

Recorded on his trusty Ensoniq SQ80 keyboard, with drums from a Roland TR-909 and a Yamaha RX120, the album captures one of the stars of the embryonic rave scene being pushed into the limelight by a major label. After scoring a huge number-one single six months earlier, Adamski’s second album was always likely to do reasonably well—but its Top 10 chart placing proved that dance music really did have commercial potential.

The massive hit single was, of course, “Killer”, and it felt revolutionary to me back in 1990—I hadn’t really heard anything quite like it before. Seal’s vocal was obviously a big part of the song’s success, but the bassline and drum programming were streets ahead of anything else around at the time. Sadly, I couldn’t afford the CD single when it came out, but my admiration for the track must have been well known as one of the Christmas cards I received that year featured a choirboy doctored to represent Adamski, complete with keyboard rig and an ADAMSKI number plate.

Beyond “Killer”, the album drew some criticism on release for being inconsistent and lacking cohesion. I can’t say I’m surprised: Adamski emerged from a frantic rave scene that was never going to be easily packaged as a neat, conventional pop product.  

So whilst there aren't many other conventional songs on this album, there are plenty of rave tunes to keep you moving. The crusty bass samples on "Eighth House" sound throaty and deep enough to rattle the bass cabinets of any nightclub and the wobbly synth lines of "Future Freak" are irresistible (Adamski must have thought so too as the song is on the album twice). 

Other highlights include the single "Space Jungle" in which Adam channels his inner Elvis. Whilst his vocals are never going to trouble Pavarotti, Adam is more than capable of carrying a melody and their naivety is really endearing. Personally I like this album and think it features some really great ideas. Whilst everything might sound a bit lo-fi and home-made today, it possesses a charm that endures. 3.5/5