Lazlo's Pet Shop Boys Discography Last Update: 6 August 2002 Copyright 1989-1999 by Ernie Longmire (Lazlo Nibble) Copyright 2000-2002 by Steffen Gärtner (TheGardner) Additions, corrections, and inquiries to thegardner@psb-discography.com See the end of this file for more detailed copyright info. The current version of this file is available from: http://www.psb-discography.com mailto:thegardner@psb-discography.com Based on the discography originally compiled by Christian Bartholdsson and long updated by Ernie Longmire (Lazlo Nibble) all the years. Thanks To: Lee M. North, Robert Elfving, Mikael Bjornfot, Richard W Rackham, Laura La Gassa, Martin Hillenbrand, Kenneth Cheung, Andrew Humphrys, Peter Fogselius, Catherine Davis, Per Ekelund, Mike Brown, Dino Uys, Richard John, Mark Dorset, Mats Bjorkman, Marty Katz, Martin Eade, Woody, John Turpin (The C.O.D.), Robert Kirkpatrick, David Malthouse, Frank Hsu, Cheng Randall Chua, Tony Langness, Colin Brodsky, Kareem Dright, Keseru Imre, Lars Kristian Aasbrenn, Andrew Trauzzi, Allen Braunsdorf, Eric Solorio, Jorgen Bosman, Josh Adams, Stephen Golden, Dave Cassidy, Lucas Taratus, Hein Baan, Mark Barron Housel, Lisa A. Devlin, Tom McClintock, Blake Heinzeroth, Folco Banfi, Mark Newman, Tomas Naeslund, Ian Grange, Stephen Nixon, Anthony Newland, Darren Rollason, John Lambert, Douglas Chaney, (another) Christian, Stefan Sell, Roger Samdal, Werner Peeters, Eric Molle, Philip Clayton Fare, BFrazer, Nikola Stojkovic, gel@head (John), Lantz, Panther, Daniel D. Huckaby, Imran Hayat, Paolo Bientinesi, Csaba Bors, Stan Lee, June Dietrich, Andreas Sikkema, Patrik Nilsson, Alan McNatty, Robin Salazar, Andreas Wiethoff, Paul Hurst, Benoit Carretier, Gelhead, Safian Szabolcs, Eric Vigoren, Paul Graham, Renton, Pierre Daram, Martin Borus, Simon Garden, Dennis Podkosov, PaulDJ, Kurt Foy Booker, Rhodri Kasperbauer, Adrian, Olivier Plichta, Carlos E Restrepo, Ricard Riera, Marcin Wichary, Guy B. Phipps, Eric Janssen, Frank Hofmann, Raigo Kirss, Phil Fare, Oyvind Norstrom, Todd Ayars, Emil Hellman, Mathias Block, Thanos Paspatis, James Everett Haydary, Maurice Powell, Caterina Azzoni, David Delgado, MilkyWay, Ray, Magnus Larsson, Mark Dynamix, Charlie Daraghy, Daniel Hoehn, Andrea Davoli, Dan Perry, Michael Adams (DJx), Sergio Gallardo, Glenn Cattanach, Bryan Nicalek, Jose Luis Garcia Yubero, Eddy J. Gurney, Ray Navarra, Frank Hotow, Maria Stalenbring, Sean, Andelko Preradovic, Rita, Radek Vasicek, Mun-Hou Lo, Andrea Mastellaro, Kevin, Ben H, Oliver Paukstadt, Konstantin A. Chelnintsev, Lakis, Adam B. Roach, Joakim Lantz, Andrea Grasso, Warren Gracey, DaRon, Tres, Mogens Nielsen, Shah Abdulwahid, Marco Hendrikse, Dead Reaper, Mark Newland, Alois Hilken, Uli Metz, Domenico Ferrise (skuitty), Enrique Cutillas, Christina Ladewig, Ralf Eul, Nicolas Seiffert (Trevis), Christophe Liégeois (Mickbo), Marko Rost, Tomas Mosler, Aleksey Kushkov (Cook), Roy Ramaker (dVTB), Jeffrey Durst, Dave Church, Martin Rossini, Morgan A. Browne, Goyo Serrano, Archie Bourtsos, Andras Marsi, Christopher Laszcz (technotranceremix), Denis Terkowski, Clark Simons, Krisztian F. Molnar and Jonathan Stephen Special Thanks To: Howard Cheng, James, Chris Jehle, Paolo Malucelli of the Italian PSB fan club, Nikola Stojkovic for remixer-index help, Etienne Mathijsen, Rorie McIntosh and (of course) Christian Bartholdsson. Extra Special Thanks To: Alistair Knight, for a neverending stream of detailed information To join the Pet Shop Boys mailing list, email majordomo@tcp.com with "subscribe introspective" or "subscribe introspective-digest" in the body of the message. To join the Pet Shop Boys Forum, go http://www.petshopboys-forum.com To join the Pet Shop Boys Newsgroup, go alt.music.pet-shop-boys Pet Shop Boys Club: PO Box 102, Stanmore Middlesex HA7 2PY, UK (encl. SAE) PSB Phone Hotline: 0891 818 171 (UK only; 39p-40p/minute; proceeds to benefit London Lighthouse AIDS hospice charity; updated weekly) PSB FAQ: http://www.xs4all.nl/~ramdyne/psb/faq/index.html ------------------------------------------------------------------------------ ::: Released. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys: West End Girls (first release) [9 Apr 1984] single Chart: UK #121. 7": 1984 UK (Epic; A 4292) 4:14 West End Girls [original 7" version] 3:59 Pet Shop Boys 7": 1984 UK (Epic; A 4292) [promo; times confirmed, mixes not] 7": 1984 BE (Channel; 45/19) 4:10 West End Girls [nouvelle version] 5:10 Pet Shop Boys [extended version] 7": 1984 DE (ZYX; 1099) [orange title box on sleeve on some copies] 3:23 West End Girls [nouvelle version edit] 3:26 Pet Shop Boys [single edit] 12": 1984 UK (Epic; TA 4292) [+gold-stamped promo] 12": 1984 UK (Epic; TA 4292) [stamped promo; trifold cover w/photos] 12": 1984 UK (Epic; TA 4292) [stamped promo; blue 6" diecut slv] 12": 1984 DE (ZYX; 5154) 12": 1984 FR (Jonathan; ATO 12-27042) 12": 1984 BE (Channel; 12/19) 7:50 West End Girls (extended mix) [original extended version] 5:10 Pet Shop Boys [extended version] 12": 1986 DE (ZYX; 5154) [2nd issue, orange title box on sleeve] 5:00 West End Girls (extended mix) [original extended edit] 5:10 Pet Shop Boys [extended version] 7": 1984 FR (Jonathan; ATO 27042) [ps] 4:10 West End Girls [nouvelle version] 3:59 Pet Shop Boys 12": 1984 DE (ZYX; 5196) [green ps; times mislabeled; times below confirmed] 12": 1984 DE (ZYX; 5196) ["I Love ZYX" ps] CD3: 1988 DE (ZYX; 8-5196) [green cbd ps; with 5" adaptor; confirmed] CD3: 1988 DE (ZYX; 8-5196) [green cbd ps; with 5" adaptor; "Environment Friendly Packaging"] CD5: 1988 DE (ZYX; 8-5196) [green cbd ps] 7:32 West End - Sunglasses 4:40 One More Chance (dub mix) 7": 1986 DE (ZYX; 1192) 3:28 West End Girls (remix '86 single version) 3:56 Theme for the Pet Shop Boys (by the hurricanes) 12": 19?? GE (ZYX; 5154) [unconfirmed; green/pink/black cover] 12": 1986 DE (ZYX; 5391) 5:00 West End Girls (remix '86) 5:00 Theme For The Pet Shop Boys (remixed by tess) 12": 1988 DE (ZYX; 5995) ["ZYX Megamix"] CD5: 1988 DE (ZYX; 8-5995) ["ZYX Megamix"] CD5: 1988 DE (ZYX; 8-5995) ["ZYX Megamix"; "Environment Friendly Packaging"] 8:04 Megamix: West End-Sunglasses/One More Chance/West End Girls 3:28 West End Girls (remix '86 - single version) 3:25 One More Chance (hurricane mix by tess - single version) [Last two tracks reported reversed on some CDs; can anyone confirm?] 12": 1988 DE (ZYX; 6016) ["Ultimate Mix"] CD5: 1988 DE (ZYX; 8-6016) ["Ultimate Mix"] 5:40 Ultimate Mix: Sunglasses.../West End Girls/One More Chance 3:28 West End Girls (remix '86 - single version) 3:25 One More Chance (hurricane mix by tess - single version) 12": 1990 CA (Unidisc; SPEC-1490) ["Unidisc Dance Classics"; stickered slv] 5:00 West End Girls [original extended edit] 7:06 Thompson Twins: Hold Me Now 12": 1991 US (Hot Classics/'O' Records; 5399-31215-1 / HTO 15) 7:50 West End Girls (12" mix) ['Montreal'; mislabeled "7:14"] 5:47 Screaming Tony Baxter: Get Up Off That Thing CD5: 199? DE (ZYX/GDC; 2020-8) ["ZYX Golden Dance Classics"] CD5: 199? DE (ZYX/GDC; 2020-8) [white/red label; "ZYX Golden Dance Classics"; reissued] 2xCD5: 199? DE (Baktabak; CBAK 24021) [this CD5+Bak's PSB interview CD] 5:00 West End Girls (extended mix) 5:00 West End Girls (remix '86) 3:23 West End Girls (single version) [nouvelle version edit] CD5: 1992 DE (ZYX 20227-2) ["West End Girls - The Mixes"] 7:08 West End Girls (acid house mix) 6:15 West End Girls (james brown) 7:46 West End Girls (original "epic" mix) 8:17 West End Girls (montreal 12") 5:33 West End Girls (montreal instrumental) 6:49 West End Girls (montreal dub) 4:09 West End Girls (montreal 7") 7": 1984 CA (Power; PX 7004) [2xA promo] 4:14 West End Girls 12": 1984 CA (Power; PXD 023) [2xA promo; plain sleeve] 7:50 West End Girls (extended mix) 4xCD5: 1991 DE (ZYX; 3301-2) [picture discs w/black style photos; red print, biography] 4xCD5: 1991 DE (ZYX; 3301-2) [picture discs w/black style photos; white print, biography] 4xCD5: 1991 DE (ZYX; 3301-2) [picture discs w/black style photos; pink print, biography] 4xCD5: 1991 DE (ZYX; 3301-2) [picture discs w/violet style photos; black print, biography] 4xCD5: 1991 DE (ZYX; 3301-2) [silver discs with red print; biography] CS: 1991 PL (MG; MG-1327) [bootleg, horribly mislabeled] [West End Girls] 7:52 West End Girls (extended mix) 5:16 Pet Shop Boys [West End - Sunglasses] 7:32 West End-Sunglasses 4:44 One More Chance (dub mix) [One More Chance (hurricanes)] 4:57 One More Chance (hurricane remix '88) 4:59 Theme For The Pet Shop Boys (part 2/remix '88) [Megamix] 8:04 Megamix: West End-Sunglasses/One More Chance/West End Girls 3:28 West End Girls (remix '86 - single version) 3:25 One More Chance (hurricane mix by tess - single version) [These are the correct times; times printed on the labels are largely incorrect, as follows: 5:00/5:10//7:20/3:57//5:00/5:03// 8:04/3:28/3:25.] [Remixers: West End Girls] [???] 7:08 West End Girls (acid house mix) 6:15 West End Girls (james brown) 7:46 West End Girls (original "epic" mix) 8:17 West End Girls (montreal 12") 5:33 West End Girls (montreal instrumental) 6:49 West End Girls (montreal dub) 4:09 West End Girls (montreal 7") [???] 3:28 West End Girls (remix '86 - single version) 5:00 West End Girls (remix '86) ------------------------------------------------------------------------------ Pet Shop Boys: One More Chance [1984] single 7": 1984 GR (??; RP7Y-164) [promo] 7": 1984 SE (Planet; MOP 131) ["rolling dice" sleeve] 12": 1984 BE (Channel; 12/36) [blue/red ps (chris on floor, neil on spkrs)] 12": 1984 DE (ZYX; 5163) [times as below confirmed] 12": 1986 NL (ARS; 3681 {CHANNEL 12-36}) [times as below confirmed] 12": 1986 NL (ARS; 3681) [die cut; blue/white promo ps; large ARS sticker] 12": 1984 US (Bobcat; 4Z9-05019 {-3}/{-5}) [promo; times confirmed] 3:26 One More Chance (kordak mix) 5:33 One More Chance (bobby o remix) [Most of these are mislabeled, some with the sides reversed, most with times listed as 3:57/6:18. The tracklisting above is the real one; the times listed above have been confirmed on all listed releases.] 12": 1984 US (Bobcat; 4Z9-05019 {-3}/{-4}) 3:26 One More Chance (kordak remix) [unlabeled] 7:50 West End Girls [mislabeled 5:18 mix @ 33rpm] [For the time being, I am considering this a "One More Chance" single because of the matrix numbers. There is no side labeling.] 7": 1986 DE (ZYX; 1193) 7": 1986 DE (ZYX; 1193) [states "NEW REMIX 86" on ps] 3:25 One More Chance (hurricane mix by tess - single version) [early fade; not single mix!] 3:40 Theme For The Pet Shop Boys Pt II [early fade; not single mix!; (Elvine/Tess)] 12": 1988 DE (ZYX; 5401) CD3: 1988 DE (ZYX; 8-5401) CD5: 19?? DE (ZYX; 8-5401) [later issues; sleeve still says "3-inch"] 5:00 One More Chance (hurricane mix by tess - new remix '88) 5:03 Theme For The Pet Shop Boys Pt II (new remix '88) [Elvine/Tess] [Do some copies of this label the tracks "new remix '86"?] 12": 1986 CA (Unidisc; 12BOB07) [tracks unknown] [Remixers: One More Chance] [Bobby Orlando] 3:26 One More Chance (kordak mix) 5:33 One More Chance (bobby o remix) 4:40 One More Chance (dub mix) [Manfred Alois (Fancy)] 3:25 One More Chance (hurricane mix by tess - single version) 5:00 One More Chance (hurricane mix by tess - new remix '88) [Remixers: Theme For The Pet Shop Boys] [Manfred Alois (Fancy)] 5:00 Theme For The Pet Shop Boys (remixed by tess) ------------------------------------------------------------------------------ Pet Shop Boys: Opportunities (first release) [1 Jul 1985] single Chart: UK #116. 7": 1985 UK (Parlophone; R 6097 {-1U-1-1-1}) [+stickered promo] 7": 1985 DE (EMI; 006-200733-7) 7": 1985 AU (EMI; A.1637) 7": 1985 AU (EMI; A.1637) [promo] 7": 1985 US (Parlophone; B-8321) 3:45 Opportunities (Let's Make Lots Of Money) 4:50 In The Night 7": 1985 UK (Factory; ??) [white-label test pressing] 7": 1985 UK (Parlophone; ??) [w/l test pressing {4-3-1-1- / 3-1U-1-1-0}] 7": 1985 UK (Parlophone; R 6097 {-3-1-2}) 7": 1985 ZA (EMI; EMIJ 4523) 3:19 Opportunities (matrix remix) [different mix] 4:50 In The Night 12": 1985 UK (Parlophone; 12R 6097 {B-1-1-1-}) [promo; "low-res" ps] 12": 1985 UK (Parlophone; 12R 6097 {B-1-1-1-}) 12": 1985 NL (Parlophone; 1CK 060-200734-6) 12": 1985 GR (EMI; 052-200734-6) [Greece] 12": 1985 ZA (EMI; 12EMIL(C) 4523) 6:44 Opportunities (Let's Make Lots Of Money) (dance mix) 4:50 In The Night [mislabeled "extended" on ps] 12": 1985 UK (Parlophone; 12R 6097) [mispressing; see note below] 6:44 Opportunities (Let's Make Lots Of Money) (dance mix) 4:54 Opportunities (dub for money) [Identical to standard 12R 6097 but with wrong B-side, as noted. B-side matrix is {12 RA 6097 B-1-1-1-}.] 12": 1985 UK (Parlophone; 12RA 6097) [6" picture labels; black diecut slv] 5:30 Opportunities (Let's Make Lots Of Money) (version latina) 4:54 Opportunities (dub for money) 4:50 In The Night [mislabeled "extended"] 12": 1985 UK (Parlophone; 12RA 6097) [6" picture labels] 5:30 Opportunities (Let's Make Lots Of Money) (version latina) 4:54 Opportunities (dub for money) 4:50 In The Night [unlabeled] 12": 1985 CA (Capitol; V-75108) 6:44 Opportunities (Let's Make Lots Of Money) (dance mix) ["double your money mix"] 4:50 In The Night 3:45 Opportunities (Let's Make Lots Of Money) ["short version"] 7": 1986 US (EMI; P-B-8321) [2xA promo] 3:45 Opportunities (Let's Make Lots Of Money) 12": 1985 AU (Parlophone; ED-156) [Mark Dynamix: pressing #1; red EMI slv] 5:30 Opportunities (Let's Make Lots Of Money) (version latina) ["double your money mix"] 4:54 Opportunities (dub for money) ["In The Night (extended)"] 12": 1985 AU (Parlophone; ED-156) [Mark Dynamix: pressing #2; standard ps] 12": 1985 AU (Parlophone; ED-156) [Mark Dynamix: pressing #3; red EMI slv]] 5:30 Opportunities (Let's Make Lots Of Money) (version latina) ["double your money mix"] 4:50 In The Night ["extended"] 12": 1985 AU (Parlophone; ED-156) 12": 1985 AU (Parlophone; ED-156) [promo] Opportunities (Let's Make Lots Of Money) (double your money mix) Opportunities (dance mix) [Does not exist accounding to Mark Dynamix] 7": 19?? ?? (Abbey Road Studios; n/a) [one-sided acetate] 3:28 Opportunities (new remix edit version) 3:45 Opportunities (Let's Make Lots Of Money) ["short version"] 7": 1985 UK (Abbey Road Studios; n/a) [one-sided acetate; "01.286 1161"] 3:53 Opportunities (version latina - edit) ["ron dean miller mix"] VHS: 1985 UK (??; ??) [promo; 1-trk; pic slv] Opportunities [Remixers: In The Night] [Arthur Baker] 6:26 In The Night (extended mix) 4:23 In The Night (arthur baker remix) 3:38 In The Night (arthur baker remix/edit) [Promotional Items: Opportunities (1st version)] Notepad; ~100 fake oversize "banknotes" with Neil & Chris' pictures (UK) Sweatshirt; grey, hooded, embroidered, front: white "PET SHOP BOYS" (UK) /black "OPPORTUNITIES [LET'S MAKE LOTS OF MONEY]", back: b&w caricature of Chris in BOY cap+shades Press pack: white/black A/4 folder Neil on front Chris on back, incl. 7", 2 pages press release + 8"x10" press foto (UK) Video; June 1985; Neil in a manhole with a limo behind him. (D: Eric Watson/Andy Morahan) ------------------------------------------------------------------------------ Pet Shop Boys: West End Girls (second release) [28 Oct 1985] single Chart: UK/US #1, NL #3. 7": 1985 UK (Parlophone; R 6115) 7"PD: 1985 UK (Parlophone; RPD 6115) [Dec 85; very very scarce(?)] 7": 1985 DE (EMI; 1C 006-200922-7) [some in 'Formel Eins' (tv show) ps] 7": 1985 US (EMI; B-8307) CSS: 1989 US (EMI; 4JM-50260) 7": 1988 JP (EMI; PRP-1162) [promo; ps; lyrics] 7": 1985 IT (EMI; 200922-7) 7": 1985 FR (EMI; 200922-7) 7": 1985 FR (EMI; 200922-7) [stickered jukebox promo; "nouvelle" mix] 7": 1985 NL (EMI; 006-200922-7) 7": 1985 ES (EMI; 200922-7) [slv overprinted with "No 1 en Inglaterra"] 7": 1985 ZA (EMI; EMIJ 200922-7) 7": 198? PT (??; ??) [Portugal; diff rear slv to UK issue] 7": 1985 AU (EMI; A1655) 7": 198? NZ (??; A1655) 7": 1985 PH (EMI; PAL61196) [Phillippines] 3:55 West End Girls 4:50 A Man Could Get Arrested (7" mix) 10": 1985 UK (Parlophone; 10R 6115) [Dec 85; round fold-out sleeve] 7:05 West End Girls (10" mix) [mix unlabeled] 4:09 A Man Could Get Arrested (12" mix) [mix unlabeled] [Sold sealed with large yellow "WEST END GIRLS / COLLECTORS EDITION" sticker featuring N+C pic, with stock UK 7" inside.] 12": 1985 UK (Parlophone; 12R 6115) 12": 1985 UK (Parlophone; 12R 6115) [die-cut ps/4" picture label] 12": 1985 UK (Parlophone; 12R 6115) [die-cut ps/6" picture label] 12": 1985 DE (EMI; 060-200923-6) [6" picture labels printed on sleeve] 12": 1985 PH (EMI; EP-PAL-x-007) [6" thames picture on slv; Phillippines] 12": 1986 IT (EMI; 200923-6) 12": 1986 ES (EMI; 052-200923-6) [only 12" w/same ps as 7" version] 12": 198? FR (EMI; 1565286) 12": 1986 JP (EMI; S14-133) [with lyrics] 12": 1985 AU (Parlophone/EMI; ED 164) [promo; stickered slv and "sample" stamped labels] 12": 1985 AU (Parlophone/EMI; ED.164) 12": 1986 NZ (EMI; GOOD 97) [6" picture labels on sleeve w/black border on rear] 12": 1986 PE (EMI; JE-02-0002) [Peru; Spanish titles; ps as US 12"] 6:31 West End Girls (dance mix) 4:09 A Man Could Get Arrested (12" mix) 3:55 West End Girls (7" mix) 12": 1985 UK (Parlophone; 12RA 6115) [black and gold label promo] 12": 1985 UK (Parlophone; 12RA 6115) [black label promo; purple font] 12": 1986 UK (Parlophone; 12RA 6115) [Jan 86; black/blue/red ps] 12": 1986 UK (Parlophone; 12RA 6115) [Jan 86; black/blue/red ps w/yellow ctr] 12": 1986 UK (Parlophone; 12RA 6115) [Jan 86; die-cut ps w/6" labels] 12": 1986 DE (EMI; 060-200998-6) [different sleeve; some "Formel Eins"] 12": 1986 NZ (EMI; GOOD 107) 8:09 West End Girls (shep pettibone mastermix) 9:31 West End Dub 4:09 A Man Could Get Arrested (12" mix) [mix unlabeled] 12": 1985 US (EMI; V-19206) [6" picture labels printed on ps] 12": 198? US (EMI; V-19206) [black die-cut sleeve] 12": 1985 CA (EMI; S-75131) CSS: 1985 CA (EMI; 4S-75131) 6:31 West End Girls (extended dance mix) 4:50 A Man Could Get Arrested (7" mix) [mix unlabeled] 9:31 West End Girls (dub version) 12": 19?? DE (??; ??) [picture disc] 12": 1985 ZA (EMI; 12EMIL(C) 200922-6) [mislabeled; 2nd release] 8:09 West End Girls (shep pettibone mastermix) 4:18 A Man Could Get Arrested (remix) ["4:24"] 4:00 West End Girls 7": 1985 US (EMI; P-B-8307) [2xA promo] 7": 1986 MX (EMI; SEC-353) [2xA promo; plastic EMI slv; "Chicas Vagabundas"] 7": 1985 IT (EMI; 179308-7) [jukebox promo; b/w Baltimora track] 7": 1985 RU (??; ??) [russian 1-sided white square 7” flexi disc] 10": 1985 US (Audiodisc; n/a) [acetate] 12": 1986 BR (EMI; 9951 995) [Brazilian promo + 3 other artists] 12": 1985 US (EMI; SPRO-9609) [2xA promo] 3:55 West End Girls 7": 1985 IT (EMI; ??) [white-label promo; tracks unknown] 7": 1985 AR (EMI; DIF 395) [Argentine promo] 4:41 West End Girls 4:18 Love Comes Quickly [Remixers: West End Girls] [Shep Pettibone] 8:09 West End Girls (shep pettibone mastermix) 9:04 West End Girls (disco mix) [Stephen Hague] 9:31 West End girls (dub) [Alexander Coe (Sasha)] 7:45 West End Girls (sasha remix) 8:16 West End Girls (sasha dub) [Remixers: A Man Could Get Arrested] [Pet Shop Boys and Frank Roszak] 4:09 A Man Could Get Arrested (12" mix) [Steven Spiro] 4:50 A Man Could Get Arrested (7" mix) [Promotional Items: West End Girls] 12" display flat; circular (UK) 16"x12" poster (US) Polo shirt; red with black embroidered "Pet Shop Boys" logo (UK) Video (D: Eric Watson/Andy Morahan). Video (scratch version); audio from 7" version; video as normal but with mirror effect down center screen at some points; second of video has picture from first "Opportunities" video. ------------------------------------------------------------------------------ Pet Shop Boys: Love Comes Quickly [24 Feb 1986] single Chart: UK #19, US #62. 7": 1986 UK (Parlophone; R 6116) 7": 1986 UK (Parlophone; R 6116) [b side white label only] 7": 1986 US (EMI; B-8338) 7": 1986 NL (EMI; 006-201105-7) 7": 1986 NL (W/L test press; 006-201105-7) [title stickered sleeve] 7": 1986 DE (EMI; IC 016-201105-7) 7": 1986 IT (EMI; 201105-7) 7": 1986 PT (EMI; 2011057) [portugese 7" with PSB logo on p/s] 7": 1986 NZ (EMI; NZP 3603) 7": 1986 AU (Parlophone/EMI; A1712) ["boy" p/s with printed title] 7": 1986 ZA (EMI; EMIJ 201105-7) 7": 1986 ES (EMI; 006-201105-7) [promo; textured ps; Spanish titles] 7": 1986 PH (EMI; PAL61198) [Philippines] 7": 1986 JP (EMI; EMS-17661) [w/lyricsheet] 7": 1986 JP (EMI; EMS-17661) [white-label/promo insert] 4:18 Love Comes Quickly 4:45 That's My Impression 10": 1986 UK (Parlophone; 10R 6116) ["Collectors Editions"; custom pvc slv; w/34"x34"poster] 12": 1986 UK (Abbey Road Studios; ??) [acetate in studio sleeve; "Reference #dels23192"] 12": 1986 UK (Parlophone; 12R 6116) [regular labels; standard ps] 12": 1986 UK (Parlophone; 12R 6116) [6" picture labels/different ps] 12": 1986 DE (EMI; 060-201106-6) 12": 1986 IT (EMI; 201106-6) 12": 1986 ZA (EMI; 12EMIL(C)2011066) 12": 1986 PH (EMI; EP-PAL-84-x-010) [philippine vinyl; with extra title graphics on p/s] 12": 1986 ES (EMI; 201106-6) 12": 1986 NZ (EMI; GOOD 108) [blue vinyl; 6" pic labels (A:Chris); ltd] 12": 1986 AU (Parlophone/EMI; ED 180) 6:50 Love Comes Quickly (dance mix) 5:18 That's My Impression (disco mix) 12": 1986 UK (Parlophone; 12RA 6116) [existance unconfirmed] Love Comes Quickly (shep pettibone mix) That's My Impression (shep pettibone mix) 12": 1986 US (EMI; V-19218) [+gold-stamped promo] 12": 1986 CA (EMI; S-75161) [sleeve is mislabeled; actual tracks below] 7:34 Love Comes Quickly (shep pettibone mastermix) 6:55 Love Comes Quickly (dub mix) 6:50 Love Comes Quickly (dance mix) 5:18 That's My Impression (disco mix) 7": 1986 UK (Parlophone; R 6116 DJ) [one-sided promo; "Reference #dels24778"] 7": 1986 US (EMI; PB-8338) [2xA promo] 4:18 Love Comes Quickly CSS: 1985 US (EMI; ??) [promo/no-dolby] Love Comes Quickly [+tracks?] [Remixers: Love Comes Quickly] [Shep Pettibone] 7:34 Love Comes Quickly (shep pettibone mastermix) 6:55 Love Comes Quickly (dub mix) [Promotional Items: Love Comes Quickly] Video (D: Eric Watson/Andy Morahan) ------------------------------------------------------------------------------ Pet Shop Boys: Opportunities (second release) [19 May 1986] single Chart: UK #11, US #10, NL #23. 7": 1986 UK (Parlophone; R 6129) [silver ps] 7": 1986 US (EMI; B-8330) [silver ps] 7": 1986 DE (EMI; IC 006 200733-7 [correct cat #?] 7": 1986 ES (EMI; 200733-7) [silver ps; correct cat #?] 7": 1986 ES (EMI; F-200733) [promo; correct cat #?] 7": 1986 ES (EMI; 201260-7) [silver ps; promo labels] 7": 1986 NL (EMI; 006-201260-7) 7": 1986 IT (EMI; 201260-7) [silver ps] 7": 1986 NZ (EMI; NZP 3607) [promo; w/sticker] 3:36 Opportunities (Let's Make Lots Of Money) (edit) 5:14 Was That What It Was? 12": 1986 UK (Parlophone; 12R 6129) [black-label promo] 12": 1986 UK (Parlophone; 12R 6129) [promo; mispressing; black a-lbl/std b] 12": 1986 UK (Parlophone; 12R 6129) [many with gold sleeve sticker] 12": 1986 US (EMI; V-19215) [silver ps; sticker] CSS: 1986 US (EMI; ??) [tracks unconfirmed] 12": 1986 CA (EMI; S-75146) [possible mastering prob ~4:00 in "Was That..."] CSS: 1986 CA (EMI; 4S-75146) [black+gold ps] 12": 1986 DE (EMI; 201261-6) 12": 1986 FR (EMI; 156756-6) 12": 1986 NL (EMI; 201261-6) 12": 1986 IT (EMI; 201261-6) 12": 1986 NZ (EMI; GOOD 121) [sliver p/s; black vinyl] 12": 1986 NZ (EMI; GOOD 122) [clear vinyl; 6" picture labels (A:N+C); x400] 12": 1986 JP (EMI; S14-145) [w/lyrics] 12": 1986 JP (EMI; S14-145) [white-label promo; silver ps w/obi+lyricsheet] 12": 1986 AU (EMI; ED-214) ["new mix"; black ps w/orange titles] 7:18 Opportunities (shep pettibone mastermix) 4:27 Opportunities (reprise) 6:45 Opportunities (original dance mix) 5:18 Was That What It Was? 12"PD: 1986 UK (Parlophone; 12RPD 6129) [withdrawn] [entry from Vox Record Guide] CSS: 1986 NZ (EMI; TC-GOOD 121) [same tracks both sides] Opportunities (Let's Make Lots Of Money) [mix unknown] 4:27 Opportunities (reprise) 6:45 Opportunities (original dance mix) 5:18 Was That What It Was? 12": 1986 DE (EMI; 060-201269-6) 3:44 Opportunities (Let's Make Lots Of Money) 4:27 Opportunities (reprise) 5:14 Was That What It Was? 12": 1986 FR (EMI; 156756-6) [tracks unknown] 7": 1986 JP (EMI; EMS-17641) [with lyric sheet] 3:44 Opportunities (Let's Make Lots Of Money) 3:59 West End Girls [labeled "4:45"] 12": 1986 US (EMI; SPRO-9669) [2xA promo] 3:44 Opportunities (Let's Make Lots Of Money) 7": 1986 AR (EMI; DIF 423) [promo; generic slv] 3:44 Opportunities ["Oportunidades (Hagamos un montn de dinero)"] 5:07 Suburbia ["Suburbios"; album version] 12": 1986 BR (EMI; 9951 018) [Brazilian promo] Opportunities Love Comes Quickly [+5 other tracks by other artists] [Remixers: Opportunities] [Shep Pettibone] 6:45 Opportunities (original dance mix) 7:18 Opportunities (shep pettibone mastermix) [Promotional Items: Opportunities (2nd version)] Video; May 1986; filmed over three days in New York City. (D: Zbigniew Rybczynski) ------------------------------------------------------------------------------ Pet Shop Boys: Please [24 Mar 1986] album CS: 1986 UK (Abbey Road Studios; n/a) [studio tape; custom slv; "PET SHOP BOYS LP"] LP: 1986 UK (Parlophone; PSB 1) LP: 1986 UK (Parlophone; PSB 1) [promo w/wraparound sleeve+printed bio+8"x10" press foto] CS: 1986 UK (Parlophone; PCS 7303 / TCPSB 1) CD: 1986 UK (Parlophone; CD PCS 7303) CD: 1986 UK (EMI; CDP 746271-2) LP: 1986 US (EMI; PW-17193/B 460643) [promo/gold print front cover] CS: 1986 US (EMI; 4PW-17193) CD: 1986 US (EMI-America; CDP 746271-2) CD: 1986 US (EMI-America; CDP 746271-2) [in 14x31x2cm box] CS: 19?? US (EMI; E4-46271) [reissue] LP: 198? CA (??; PW-17193) CD: 1986 DE (EMI; CDP 746271-2) CD: 1995 DE (EMI; CDP 746271-2) [mfd. HO; "Alternative" promo sticker] LP: 1986 FR (EMI; 240520-1) [different ps] LP: 1986 ES (EMI; 074-240520-1) [different ps w/spanish text; snap-shots on inner sleeve] CS: 1986 ES (EMI; 240520-4) [different inlay & ps] LP: 1986 NL (EMI; 064-240520-1) [original ps] LP: 1986 NL (EMI; 064-240520-1) [DMM reissue; big picture slv in printed sticker; beage label; enlarged graphics] CS: 1986 NL (EMI; 264-240520-4) CD: 1986 NL (EMI; CDP 746271-2) CS: 19?? PL (TACT; 379) [Polish bootleg; red ps] LP: 1986 IT (EMI; 240520-1) CD: 1986 IT (EMI; 746271-2) LP: 1986 AU (EMI; 240520-1) LP: 1986 JP (EMI; EMS 81759) [+numbered promo sticker; lyric booklet] CD: 1986 JP (EMI; CP32-5131) CD: 19?? JP (EMI; ??) [promo box w/bonus CD3 -- does this exist?] CD: 1996 JP (EMI; TOCP-8176) [reissue; poster/lyric sheet w/98 photos] CD: 1997 JP (EMI; TOCP-3297) ["cool price" reissue; called "West End Girls"?] LP: 1986 HK (Parlophone; PCS 7303) LP: 1986 TW (??; ??) [Taiwan/green vinyl/ltd edn] LP: 1986 TW (EMI; RE-2053) [EMI logo on label; 78 small pics on slv.] LP: 1986 AR (EMI; ??) [Argentina/all text in Spanish / "Por Favor"] LP: 1986 GR (EMI; 062 240520-1) [Greece/different ps; Greek labels; x200-300] LP: 1986 GR (EMI; 062 240520-1) [Greece/different ps; English labels] CS: 1986 GR (EMI; 062 240520-4) [Greece/different ps; Greek labels] LP: 1986 ZA (EMI; EMICJ(D) 240520-1) LP: 1986 IN (The Gramophone Co. of India Ltd.; PCS 7303) [India] LP: 1994 RU (SBA Records; 0294 01) [Russia] LP: 1986 YU (EMI; LSPAR 73172) [Yugoslavia] CS: 1986 YU (EMI; CAPAR 9193) [Yugoslavia] LP: 1986 BR (Parlophone; 31C 064 240520) [Brazil] LP: 1986 MX (EMI; SLEM 1379) [Mexico; titles in Spanish] LP: 1986 SK (??; ST-152) [South Korea; green ps] 3:32 Two Divided By Zero 4:41 West End Girls 3:43 Opportunities (Let's Make Lots Of Money) 4:18 Love Comes Quickly 5:07 Suburbia 0:32 Opportunities (reprise) [unlisted on LP/CS] 4:30 Tonight Is Forever 4:27 Violence 4:04 I Want A Lover 2:44 Later Tonight 4:44 Why Don't We Live Together [Abbey Road studio tape lists "Opportunities (reprise)" as "The Track That Wasn't"] CS: 1987 PL (Mag Magic; MM-0042) [bootleg; enlarged ps] Suburbia Two Divided By Zero Opportunities Love Comes Quickly I Want A Lover West End Girls Tonight Is Forever Violence Why Don't We Live Together Later Tonight CS: 198? ?? (??; AM 6E162) Two Divided By Zero West End Girls Opportunities Love Comes Quickly Suburbia Why Don't We Live Together Tonight Is Forever Violence I Want A Lover Later Tonight Why Don't We Live Together Love Comes Quickly Suburbia LP: 1986 SK (Oasis Records; OLE-656) [Korea] 3:32 Two Divided By Zero 4:18 Love Comes Quickly 4:30 Tonight Is Forever 4:04 I Want A Lover 2:44 Later Tonight 4:44 Why Don't We Live Together [korean LP with 6 tracks only] [Promotional Items: Please] Sweatshirt; white, grey hood, half-zip front, front: embroidered grey+white stripe with grey "pet shop boys please" below, left sleeve: grey+yellow logo, back: blue/yellow/grey caricature of Chris in BOY cap+shades, Smash Hits 17 Jun 86 giveaway (x4) (UK) Cap/Tape; "BOY" cap, Please tape in custom orange ps, Star Hits magazine contest prize (x10) (UK) Cap; black, front: white "pet shop boys please" (UK) Please Press promo pack; comprises promo LP in giant 4-fold (in T-form) wrap-around p/s with biography printed inside + 8"x10" parlophone press foto; same item stated as PSB 1 above (UK) Presskit; huge triple-gatefold "Please!" folder w/Please LP, 8"x10" photos, press release, inner artwork (CA) ------------------------------------------------------------------------------ Pet Shop Boys: In The Night [1985] promo single 7": 1985 DE (EMI; 7P 518702) [limited 2xA promo; definitely German] 3:38 In The Night (arthur baker remix/edit) [custom ps is photo from "Suburbia" sessions] ------------------------------------------------------------------------------ Pet Shop Boys: Suburbia [22 Sep 1986] single Chart: UK #8, US #70, NL #2. 7": 1986 UK (Parlophone; R 6140) [2 Sep 1986; handwritten labels; one-sided] 7": 1986 UK (Parlophone; R 6140) 7": 1986 DE (EMI; 1C 006-201463-7) [different ps] 7": 1986 NL (EMI; 006-201463-7) 7": 1986 AU (Parlophone/EMI; A.1850) 7": 1986 IT (EMI; 201463-7) 7": 1986 FR (EMI; 201463-7) (+etched-stamp promo) 7": 1986 ZA (EMI; EMIJ2014637) [storm ps; open on both sides] 7": 1986 PT (EMI; 201463-7) [Portugal] 7": 1986 ES (EMI; 006-201463-7) [textured p/s] 7": 1986 ES (EMI; 006-201463-7) [promo; yellow label; textured p/s] 7": 1986 JP (EMI; EMS-17679) [test pressing/fold-out ps] 7": 1986 JP (EMI; EMS-17679) [+lyricsheet] 3:59 Suburbia (new version) 4:37 Paninaro 2x7": 1986 UK (Parlophone; RD 6140) [limited gatefold/"Suburbia EP"] 4x7": 1986 UK (Parlophone; PSR 486) [one-sided white-label test pressing] 3:59 Suburbia (new version) 4:37 Paninaro 6:20 Love Comes Quickly (shep pettibone mastermix - early fade) 4:30 Jack The Lad 2:20 Suburbia Pt. Two 12": 1986 UK (Parlophone; 12R 6140) 12": 1986 UK (Parlophone; 12R 6140) [double sleeve/"Suburbia EP"] 12": 1986 UK (Parlophone; n/a) [white-label test pressing] 12": 1986 UK (Parlophone; 12R 6140) [red+black-label test pressing] 12": 1986 DE (EMI; 201464-6) 12": 1986 FR (EMI; 201464-6) [title printed on slv] 12": 1986 NL (EMI; 060-201464-6) [different sleeve - white border] 12": 1986 IT (EMI; 201464-6) 12": 1986 ES (EMI; 201464-6) [Neil/Chris "headlock" ps] 12": 1986 AU (EMI; ED.227) [Neil/Chris "headlock" ps] 12": 1986 NZ (EMI; GOOD 140) [Neil/Chris "headlock" ps; title in red] CSS: 1986 NZ (EMI; TC-GOOD 140) 8:55 Suburbia (the full horror) 4:37 Paninaro 4:30 Jack The Lad CSS: 1986 UK (Parlophone; TCR 6140) ["Suburbia EP"] CSS: 1986 UK (Parlophone; TCR 6140) [mislabel: "the full horror"] CSS: 1986 UK (Parlophone; TCR 6140) [mislabel: "TR 6140"] 3:59 Suburbia (new version) 4:37 Paninaro 4:30 Jack The Lad 7:34 Love Comes Quickly (shep pettibone remix) CSS: 1986 UK (Parlophone; TR 6140) ["Suburbia EP"] 8:55 Suburbia (the full horror) 4:37 Paninaro 4:30 Jack The Lad 7:34 Love Comes Quickly (shep pettibone remix) 7": 1986 US (EMI; B-8355) 3:59 Suburbia (new version) ["edited"] 4:30 Jack The Lad 12": 1986 US (EMI; V-19226) [stickered; w/inner sleeve as per UK 12"] 8:55 Suburbia (the full horror) 3:59 Suburbia (new version) ["7" edit version"] 4:30 Jack The Lad 7": 1986 US (EMI; P-B-8355) [2xA promo; "Not For Sale"] 7": 1986 ZA (EMI; PS 46) [1-sided promo; x50] 3:59 Suburbia (new version) ["edited"] 12": 1986 US (EMI; SPRO-9925/SPRO-9926) [promo; stickered die-cut white slv] 7:10 Suburbia (club vocal) 7:58 Suburbia (arthur baker dub) [promo-only "Arthur Baker mixes"] 7": 1986 AU (EMI; A1850) [promo; tracks unknown] 7": 1986 IT (EMI; ??) [jukebox promo; b/w Corey Hart track] 3:59 Suburbia [Remixers: Suburbia] [Arthur Baker] 7:10 Suburbia (club vocal) 7:58 Suburbia (arthur baker dub) [Julian Mendelsohn] 3:59 Suburbia (new version) 8:55 Suburbia (the full horror) 2:20 Suburbia (part two) [Promotional Items: Suburbia] Video; Locations: Duarte, California, USA (while at the 1986 MTV Awards). The London suburbs. (D: Eric Watson) ------------------------------------------------------------------------------ Pet Shops Boys: Paninaro [1986] single 12": 1986 IT (EMI; 14-201562-6) [ltd; orange "Paninaro" on grey background] 12": 1992 UK (??; ??) [bootleg wht-lbl] 8:40 Paninaro (italian remix) 9:43 Paninaro (ian levine mix) VHS: 1986 UK (Inphase Facilities; PMI R124) [promo; 14 Oct 86] 4:43 Paninaro [video] [Chris's "I don't like..." quote is sampled from a 1986 interview with PSB on the US entertainment-news program Entertainment Tonight. The 1989 tour programme credits it to an unspecified Japanese TV show.] [Remixers: Paninaro] [Ian Levine] 9:43 Paninaro (ian levine mix) [Promotional Items: Paninaro] Video; Filmed on location in Milan (Italy). (D: Pet Shop Boys) ------------------------------------------------------------------------------ Pet Shop Boys: Disco - The Pet Shop Boys Remix Album [17 Nov 1986] remix compilation album CS: 1986 UK (Abbey Road Studios; n/a) [promo; custom slv] LP: 1986 UK (Parlophone; PRG 1001) LP: 1986 UK (Parlophone; ??) ["Christmas Pack" promo with socks; x80] CS: 1986 UK (Parlophone; TCPRG 1001) CD: 1986 UK (Parlophone; CDP 746450-2) CD: 1988 UK (Parlophone; CZ-33?) [mid-price reissue] LP: 1986 DE (EMI; 240666-1) CS: 1986 DE (EMI; 240666-4) LP: 1986 IT (EMI; 240666-1) CD: 1986 IT (EMI; 746450-2) LP: 1986 US (EMI; SQ-17246) CS: 1986 US (EMI; 4XQ-17246) CS: 1986 US (EMI; 4XQ-17246) [promo; clear green case w/no j-card] CD: 1986 US (EMI; CDP 746450-2) CD: 19?? US (EMI America/Columbia House; CDP 546450) [record club version] CS: 1986 US (EMI; E4-46450) [reissue] LP: 1986 NL (Parlophone; 046-240666-1) LP: 19?? NL (Parlophone; 038-746450-1) [budget reissue] CD: 1986 NL (Parlophone; CDP 746450-2) LP: 1986 JP (EMI; S18-5004) [pic slv w/fold-out lyric insert + rare "Seasons Greetings" facsimile autographed Xmas card + obi] CD: 1986 JP (EMI; CP32-5794) CD: 1990 JP (EMI; TOCP-6540 [reissue; "Supermasters"; 12 May 90] CD: 1995 JP (EMI; TOCP-3019) [reissue; 31 May 95] LP: 1986 ES (EMI; 056-240666-1) CS: 1986 ES (EMI; 256-240666-4) LP: 1986 AR (EMI; 240666-1) [promo] LP: 1986 AR (EMI; 240666-1) [spanish titles] LP: 1986 GR (EMI; 062-240666-1) [titles in greek] CS: 1986 GR (EMI; 262-240666-1) [titles in greek] LP: 1986 GR (EMI; MT-13505) LP: 1986 CO (??; 111103) [Columbian] LP: 1986 ZA (??; ??) LP: 1989 BR (Parlophone; 066-240666-1) [Brazil; ps w/custom portugese sticker + dbl sided picture insert] LP: 1986 HK (Parlophone; PRG 1001) [w/insert] LP: 1986 EC (EMI; 303-0138) [Ecuador; w/english & spanish titles] 6:26 In The Night (extended mix) 8:55 Suburbia (the full horror) 5:30 Opportunities (version latina) 8:35 Paninaro (italian remix) 7:35 Love Comes Quickly (shep pettibone mastermix) 9:04 West End Girls (disco mix) [Many versions of the album do not note mix names; disco mix of "West End Girls" is the shep pettibone mastermix with the opening from "West End Dub" and an extended fade] CS: 19?? PL (Aramis; 246) [Polish bootleg] 6:26 In The Night (extended mix) 8:55 Suburbia (the full horror) 5:30 Opportunities (version latina) 8:35 Paninaro (italian remix) 7:35 Love Comes Quickly (shep pettibone mastermix) It's A Sin (??) [Promotional Items: Disco] Socks; x80pr w/Disco LP, "PET SHOP BOYS" + holly sprig stitched on (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Television compilation video [Dec 1986] VHS: 1986 UK (Picture Music Int'l; MVR 9900572) [PAL] Beta: 1986 UK (Picture Music Int'l; MXR 9900574) [PAL] VHS: 19?? UK (Picture Music Int'l; CMV 1078) [PAL] [reissue] 8"LD: 1989 UK (Picture Music Int'l; 080496-9) [gold LD; full pic slv] VHS: 1986 US (International Video Entertainment/PMI; 65553) [NTSC] VHS: 1987 FR (Picture Music Int'l; PMF 180029) [SECAM] VHS: 1989 ZA (ELM; V1039) [wrong track order; different ps] VHS: 19?? AU (EMI Australia/Picture Music Intl; VM 30015) [PAL] LD: 198? JP (PMI/Toshiba-EMI; L060-1075) [NTSC] VHS: 198? JP (PMI/Toshiba-EMI; TT60-1168HI) [NTSC] Beta: 198? JP (PMI/Toshiba-EMI; TT60-1168FI) [NTSC] VHS: 19?? JP (Picture Music Int'l; WK033-3017H) [NTSC, info sheet] LD: 1990 JP (Picture Music Int'l; TOLW-3074) [NTSC] 0:28 excerpt from All-Hit Studio At Night 3:40 Opportunities (Let's Make Lots Of Money) (original 7" version) ["version 1"] 0:14 excerpt from P.I.T. 3:51 West Ends Girls (single version) 0:18 excerpt from The 1986 MTV Awards 4:14 Love Comes Quickly 0:13 excerpt from Video Soul 0:27 excerpt from Whistle Test [Later Tonight] 3:44 Opportunities (Let's Make Lots Of Money) (album version) ["version 2"] 0:54 excerpt from Soul Train 5:05 Suburbia (album version) 0:23 excerpt from Countdown 4:38 Paninaro 0:51 excerpt from Soul Train 0:08 excerpt from Video One [Promotional Items: Television] Press release; grey paper with copy of video sleeve (UK) ------------------------------------------------------------------------------ Pet Shop Boys: It's A Sin [15 Jun 1987] single Chart: UK #1, US #9, NL #3. 7": 1987 UK (Parlophone; R 6158) [white-label test pressing] 7": 1987 UK (Parlophone; R 6158) [black labels] 7": 1987 UK (Parlophone; R 6158) [silver labels] 7": 1987 UK (Parlophone; R 6158) [double-sleeve; inner ps=Neil+blur Chris] 7": 1987 UK (Parlophone; R 6158) [promo; with press release] 7": 1987 DE (EMI; 016 201888-7) [limited box w/PSB scarf] 7": 1987 DE (EMI; 1C 201888-7) 7": 1987 DE (EMI; 201888-7) [promo; w/poster; 21x27cm pic folder] 7": 1987 FR (EMI; 102-201888-7) 7": 1987 FR (EMI; 102 201888-7) [different title arrangement] 7": 1987 IT (EMI; 201888-7) 7": 1987 ES (EMI; 209888-7) (+promo) 7": 1987 ES (EMI; 006-201888-7) (overprinted "Pet Shop Boys" on upper right corner front) 7": 1987 ZA (EMI; EMIJ 201888-7) [foldover ps] 7": 1987 US (EMI; B-43027) 7": 19?? US (EMI; B-73038) [generic slv] CSS: 1987 US (EMI-America; 4D-43027) CSS: 1987 US (EMI; 4V-19256) [longboxed; unconfirmed cat #] CSS: 1987 US (EMI; 4B-43027) [longboxed] 7": 1987 CA (EMI; ??) 7": 1987 NZ (EMI; NZP-3613) [Generic EMI sleeve; promo?] 7": 1987 AU (EMI; A.1970) 7": 1987 AR (EMI; 9951 069) [Argentine promo] 7": 1987 FR (EMI; ??) [promo stamp etched in top left of slv] 7": 1987 BR (EMI; ??) [white-label test pressing] 7": 1987 IT (EMI; ??) [promo, in wraparound silver sleeve] 7": 1987 JP (EMI; EMS 17714) [5 Aug 87; w/lyrics] 7": 1987 JP (EMI; EMS-17714) [white-label promo w/unique ps] 4:59 It's A Sin 5:51 You Know Where You Went Wrong 12": 1987 UK (Parlophone; 12R 6158) 12": 1987 UK (Parlophone; 12R 6158) [double sleeve; Neil in black+blur ps] 12": 1987 UK (Parlophone; 12R 6158) [white-label promo; some w/press release] CSS: 1987 UK (Parlophone; TCR 6158) [track order reversed] CD5: 1987 UK (Parlophone; CDR 6158) [stickered promo; track order reversed] CD5: 1987 UK (Parlophone; CDR 6158) [3 Aug 87; track order reversed] CD5: 1993 UK (Parlophone; CDR 6158 / 201889-2) [reissue] 12": 1987 US (EMI; V-19256) [first US 12"] 12": 1987 NL (EMI; 060-201889-6) [blue-bordered ps (early copies only)] 12": 1987 NL (EMI; 060-201889-6) 12": 1987 DE (EMI; 060-201889-6) 12": 1987 IT (EMI; 201889-6) 12": 1987 ES (EMI; 201889-6) [diff titles on front of ps] 12": 1987 JP (EMI; S12 167) [w/gold obi+lyricsheet] 12": 1987 FR (EMI; 201889) 12": 1987 ZA (EMI; 12EXTRA(A) / 201889-6) [track order reversed] 12": 1987 NZ (EMI; GOOD 188) [blue bordered sleeve] 12": 1987 AU (EMI; ED.280) 12": 1987 CA (EMI; S-75200) 7:39 It's A Sin (disco mix) 5:51 You Know Where You Went Wrong 4:59 It's A Sin (7" mix) 12": 1987 UK (Parlophone; 12RX 6158) [6 Jul 87] 12": 1987 DE (EMI; 060-201942-6) 8:18 It's A Sin (remix) 6:38 You Know Where You Went Wrong (rough mix) 12": 1987 US (EMI; V-19256) [2nd US 12"] CSS": 1987 US (EMI; 4V-19256) [ignore vinyl-specific comments below!] 9:14 It's A Sin (phil harding latin vocal mix) ["vocal mix"] 4:20 It's A Sin (phil harding latin dub mix) ["dub"] 8:18 It's A Sin (remix) 7:39 It's A Sin (disco mix) 5:49 You Know Where You Went Wrong [A-side matrix: V-1-19256-Z1 ^17326 B-28271-Z1] [B-side matrix: V-2-19256-Z1 ^17326-X B-28272-Z1] [Comes in sleeve from first 12", stickered "Pet Shop Boys 4 Special Mixes of It's A Sin" w/correct tracklist as above. Label reads "Remixed in the UK for the USA" under the "vocal mix" and "remix". 33rpm.] 12": 1987 US (EMI; V-19256) [2nd US 12"; mispressing #1] 9:14 It's A Sin (phil harding latin vocal mix) 4:20 It's A Sin (phil harding latin dub mix) 5:51 You Know Where You Went Wrong 4:59 It's A Sin (7" mix) [A-side matrix: V-1-19256-Z1 // B-side matrix: V-2-19256-P2] [Comes in sleeve for first 12", stickered with tracklist from second, but pressed with tracks noted above.] [Some have A-side matrix: V-1-19256-Z2?] 12": 1987 US (EMI; V-19256) [2nd US 12"; mispressing #2; 33rpm] 9:14 It's A Sin (phil harding latin vocal mix) 4:20 It's A Sin (phil harding latin dub mix) 5:51 You Know Where You Went Wrong 7:39 It's A Sin (disco mix) [Comes in sleeve for first 12", stickered with tracklist from second, but pressed with tracks noted above. Labels list "vocal/dub"/ "remix"/"disco mix"/"You Know Where You Went Wrong". Matrix numbers unknown.] 12": 1987 HK (EMI; HK 1) [clear vinyl with large picture label] 7:39 Pet Shop Boys: It's A Sin (disco mix) Freddie Mercury: The Great Pretender 7": 1987 JP (Yuusen; ??) [promo; w/Phyllis Nelson track on other side] 4:59 It's A Sin [acetate; no ps; b/w different artist; made for Japanese Cable Radio Station "YUUSEN"] VHS: 1987 UK (Inphase Facilities; ??) [promo] It's A Sin [video] 7": 1987 US (EMI; PB-43027) [2xA promo; from forthcoming "Jealousy"] 7": 1987 IT (EMI; 201888-7) [promo; no ps; b/w different artist] RR: 1987 UK (Abbey Road; ??) [master reel to reel tape] 4:59 It's A Sin 12": 1987 BR (EMI; 9951 057) [promo; Brazil; unique white ps; lyrics on back] 4:59 It's A Sin (7" mix) ["7 inch version"] 7:39 It's A Sin (disco mix) 8:18 It's A Sin (remix) 12": 1987 BR (EMI; 9551 069) [4-track promo; diff ps - custom title sleeve; LP & remix versions] 4:59 It's A Sin (7" mix) ["7 inch version"] 8:18 It's A Sin (remix) [+ tracks "Bitter Fruit" by Little Steven & "Unchain My Heart" Joe Cocker] [The sleeves of early US 7"/12" pressings list the title of the "forthcoming album" as "Jealousy".] [Remixers: It's A Sin] [Phil Harding] 9:14 It's A Sin (phil harding latin vocal mix) 4:20 It's A Sin (phil harding latin dub mix) [Ian Levine] 8:18 It's A Sin (remix) [Remixers: You Know Where You Went Wrong] [Shep Pettibone] 6:38 You Know Where You Went Wrong (rough mix) [Promotional Items: It's A Sin] 15x55cm display stand set; one each of Neil and Chris (UK) Press pack; numbered 7", numbered folder, poster (UK) Video; Neil and Chris in a dark gothic cathedral. Catholic imagery abounds! Chief executioner: Ron Moody, Anger: Hector Chronos, Envy: Stephen Linnard, Gluttony: Naomi Gryn, Pride: Paula Pieroni, Sloth: Chris Hughes, Avarice: Douggie Fields, Lust: Amanda Metro. Location: CWS Warehouse, Millenium Wharf, London. (D: Derek Jarman. Prod: James Mackay for Anglo-International Films. May 87) ------------------------------------------------------------------------------ Pet Shop Boys: What Have I Done To Deserve This? [10 Aug 1987] single Chart: UK #2, US #2, NL #2. 7": 1987 UK (Parlophone; R 6163) [white-label test pressing] 7": 1987 UK (Parlophone; R 6163) [handwritten labels] 7": 1987 UK (Parlophone; R 6163) 7": 1987 US (EMI; PB-50107) [promo] 7": 1987 US (EMI; B-50107) CSS: 1987 US (EMI; 4B-50107) [repeats both sides; mix of WHIDTDT unconfirmed] 7": 1987 DE (EMI; 202000-7) [promo; gold pic folder; custom red ps; A4 + A5 leaflets] 7": 1987 DE (EMI; 016-202000-7) [some copies: "out now: actually.."] 7": 1987 IT (EMI; 202000-7) 7": 1987 ZA (EMI; EMIJ 202000-7) 7": 1987 ES (EMI; ??) 7": 1987 AU (EMI; A.1997) 7": 1987 NZ (EMI; NZP3615) [Generic "EMI" slv; promo?] 7": 1987 PT (EMI; 20220-7) [Portugal] 7": 1987 JP (EMI; RP07-2002) [5 Nov 87; w/lyrics; Y700] 7": 1987 GU (EMI; 4794) [spanish titles] 4:19 What Have I Done To Deserve This? 4:55 A New Life 12": 1987 UK (Parlophone; 12R 6163) 12": 1987 UK (Parlophone; 12R 6163) [yellow/white label promo; diff order] CD5: 1987 UK (Parlophone; CDR 6163 / 202003-2) CD5: 1993 UK (Parlophone; CDR 6163 / 202003-2) [reissue; dusty/harley ps] 12": 1987 NL (EMI; 060-202001-6) 12": 1987 IT (EMI; 202001-6) 12": 1987 ES (EMI; 052-202001-6) 12": 1987 BR (EMI; ??) [Brazilian/different sleeve] 12": 1987 ZA (EMI; 12EMIL (A) 202001-6) 12": 1987 PH (Parlophone; EP-PAL-84-x-018 / 12R6163) [Phillipines] 12": 1987 AU (EMI; ED.297) 12": 1987 NZ (EMI; GOOD 198) 6:49 What Have I Done To Deserve This? (extended) 4:55 A New Life 8:08 What Have I Done To Deserve This? (disco mix) CSS: 1987 UK (Parlophone; TCR 6163) 4:19 What Have I Done To Deserve This? 4:55 A New Life 8:08 What Have I Done To Deserve This? (disco mix) 12": 1987 US (EMI; V-56080) [stickered] 12": 19?? US (EMI; E1-75211) ["Rent" ps on back] 12": 1987 CA (EMI-Manhattan; S-75205) 8:08 What Have I Done To Deserve This? (disco mix) 7:06 Rent (extended mix) ["extended remix"] [This two-track version preceded the four-track version.] 12": 1988 US (EMI; V-56080) ["Rent" ps on back] CSS: 1988 US (EMI; 4V-56080) [in 7x31cm longbox] CSS: 1988 US (EMI; 4V-56080) [no longbox] 12": 1988 US (EMI; SPRO-04013/SPRO-04014) [promo] 8:28 What Have I Done To Deserve This? (shep pettibone remix) 7:17 What Have I Done To Deserve This? (dub) 7:06 Rent (extended mix) ["francois kevorkian mix"] 4:57 I Want A Dog 7": 1987 MX (EMI; SEC-532) [spanish titles; wrong times labeled] 4:19 What Have I Done To Deserve This? 3:58 Heart 7": 1987 US (EMI; PB-50107) [2xA promo] 7": 1987 IT (EMI; 202000-7) [promo] 4:19 What Have I Done To Deserve This? 7": 1987 IT (EMI; ??) [white label promo; tracks unknown] 10": 1987 UK (Audiodisc; n/a) [one-sided acetate] 4:19 What Have I Done To Deserve This? 10": 1987 UK (Audiodisc; n/a) [one-sided acetate] 4:55 A New Life ["New Life New Love"] 10": 1987 UK (Audiodisc; n/a) [one sided acetate] 5:09 I want to wake up (lp version) CS: 1987 UK (Abbey Road Studios; n/a) [studio tape; custom slv; dated 8 Oct 1987] 4:58 I Want A Dog [+2 other tracks] [Remixers: What Have I Done To Deserve This?] [Shep Pettibone] 8:08 What Have I Done To Deserve This? (disco mix) 8:28 What Have I Done To Deserve This? (shep pettibone remix) 7:17 What Have I Done To Deserve This? (dub) [Promotional Items: What Have I Done To Deserve This?] T-shirt; front: "motorbike" single ps, back: ?? (UK) Video; dancers are wearing costumes from the James Bond film Octopussy. Location: Brixton Academy, London. (D: Eric Watson. Prod: Annie Crofts for PMI. Jul 87) ------------------------------------------------------------------------------ Pet Shop Boys: Actually [7 Sep 1987] album 2xLP: 1987 UK (Parlophone; ??) [testpressing; one sided & yellow labels] LP: 1987 UK (Parlophone; PCSD 104) [w/l test pressing w/normal slv + promo sticker] LP: 1987 UK (Parlophone; PCSD 104) CS: 1987 UK (Parlophone; TCPCSD 104) [unique glossy inlay] CD: 1987 UK (Parlophone; CDPCSD 104) LP: 1987 UK (Parlophone; ??) [promo w/foldout poster] CD: 1987 DE (EMI; 746972-2) CS: 1987 DE (EMI; 274-746972-4) LP: 19?? DE (Parlophone; 14 937-7) [Club Edition] CD: 19?? DE (Parlophone; 17 697-4) [Club Edition] LP: 1987 IT (EMI; 746972-1) CD: 1987 IT (EMI; 746972-2) CS: 1987 IT (Parlophone; 64-746972-4) CS: 1987 IT (Parlophone; 64-746972-4) CS: 1987 FR (EMI; 7469724) [France] LP: 1987 ES (EMI; 074-746972-1) LP: 1987 CA (EMI-Manhattan; ELJ-46972) [labeled "printed in Canada"] CS: 1987 CA (EMI-Manhattan; E4J-46972) LP: 1987 US (EMI-Manhattan; ELJ-46972) CS: 1987 US (EMI-Manhattan; E4J-46972) CD: 1987 US (EMI-Manhattan; CDP 746972-2) LP+12": 1987 US (EMI; E1-90263) [packaged w/12" SPRO-04055] LP+12": 1987 US (EMI; E1-90263) [limited; w/"Always On My Mind" 12"; "PCSDX 104" on sticker for UK] CS+CSS: 1987 US (EMI; E4-90263) [packaged w/CSS 4X-PRO-04057 in 10x31x2cm box] CD+CD5: 1987 US (EMI; E2-790263-2) [packaged with CD5 DPRO-04058] CD+CD5: 1987 US (EMI; E2-790263-2) [limited; w/"Always On My Mind" CD5; "CDPCSDX 104" on sticker for UK] CD+CD5: 1987 US (EMI; E2-790263-2) [packaged with CD5 DPRO-04058 in 14x31x2cm box] LP+7": 1987 JP (EMI; RP28-5507) [white-label promo; ps; obi; with 7" BRP-1015] LP: 1987 JP (EMI; RP28-5507) [w/lyrics] CD: 1987 JP (EMI; CP32-5507) CD: 1995 JP (EMI; TOCP-3199) [reissue; 29 Nov 95] CD: 1996 JP (EMI; TOCP-8177) ["Cool Price" reissue; 22 Feb 1996] LP: 1987 HK (EMI; PCSD 104) [numbered/clear vinyl/some with post card] LP: 1987 HK (EMI; PCSD 104) [blue vinyl/limited] LP: 1987 PL (Wifon; 140) [Poland/red label] LP: 1987 NL (EMI; 746972-1) CS: 1987 NL (EMI; 746972-4) CD: 1987 NL (Parlophone; 064-746972-2) LP: 1987 AR (EMI; 10028) [Argentina/titles printed in Spanish/"Realmente"] LP: 1987 MX (EMI; SLEM-1478) [different ps: blow-up version of regular] LP: 1987 BR (EMI; 064-746972-1) [Brazil] LP: 1987 CO (EMI; 111136) [Columbia] LP: 1987 CO (EMI; ??) [Columbia; stickered promo] LP: 1994 RU (SBA Records; 0294 02) [Russia] LP: 1987 HU (Gong; SLPXL-37186) [Hungarian; outer ps is usual inner sleeve] CS: 1987 HU (Gong; MKL37186) [Hungarian; outer ps is usual inner sleeve] LP: 1987 GR (EMI; 062-746972-1) [Greek "Includes..." bullet on ps] CS: 1987 GR (EMI; 262-746972-4) CS: 1987 CL (EMI; 105512) [Chile] LP: 1987 IN (EMI; PCSD104) [India] CS: 1987 ID (??; E0228-8) [Indonesia] LP: 1987 ZA (EMI; EMCJ(D) 7469721) LP: 1987 NK (EMI/Oasis Record; PCSD 104) [North Korea] LP: 1987 SK (Parlophone; OLE-705) [South Korea] CS: 19?? TN (Soca; SO 989) [Tunesia] LP: 1987 YU (EMI; LSEMI 78047) [Yugoslavia] LP: 1987 IL (EMI; PCSD 104) [Israel] CD: 1987 TW (EMI; 746972-2 4) [Taiwan; p/s; wide '100% treasure' obi] 5:28 One More Chance 4:17 What Have I Done To Deserve This? 3:37 Shopping 5:09 Rent 4:44 Hit Music 5:17 It Couldn't Happen Here 4:59 It's A Sin 5:09 I Want To Wake Up 3:58 Heart 5:11 King's Cross CS: 1987 IN (??; SR 201) [Indian; different ps & running order] 12": 1988 US (EMI; SPRO-04055) ["Chairs" ps; packaged w/Actually] CSS: 1988 US (EMI; 4X-PRO-04057) ["Chairs" ps; packaged w/Actually] CD5: 1988 US (EMI; DPRO-04058) ["Chairs" ps; packaged w/Actually] 8:07 Always On My Mind (extended dance version) 5:14 Do I Have To? 3:59 Always On My Mind 7": 1988 JP (EMI; BRP-1015) [promo; white ps w/text as below] 4:03 Always On My Mind (love me tender version) [mix unlabeled] 5:16 Heart (dub mix) ["This dance single is only available with Japanese copies of "actually," actually." Unique mix of "Always On My Mind", "From the Central TV Special, Love Me Tender"] [Promotional Items: Actually] 20x30" poster; in-store promo (UK) 35x25" poster (UK; Athena) candy; 0.4oz worth in miniature 3"x2" cassette jewelbox (UK) Presskit; double-sided bio/promo sheet on EMI-Manhattan letterhead, b&w photo f/"It's A Sin" shoot (US) TV ad; N+C mime the album cover; narrated by Alan "Fluff" Freeman. Location: The ladies' waiting room, Marylebone Station, London. (D: Jack Bond) ------------------------------------------------------------------------------ Pet Shop Boys: Rent [12 Oct 1987] single Chart: UK #8, NL #28. 7": 1987 UK (Parlophone; R 6168) (+promo) 7": 1987 DE (EMI; 006-202151-7) 7": 1987 IT (EMI; 202151-7) 7": 1987 AU (EMI; A.2023) 7": 1987 ES (EMI; ??) 7": 1987 PH (EMI; PAL61207) [Phillipines] 7": 1987 ZA (EMI; EMIJ 202151-7) [misspressing] 3:35 Rent (single version) 4:57 I Want A Dog 12": 1987 UK (Parlophone; 12R 6168) (+promo) [6:06 dub confirmed] CSS: 1987 UK (Parlophone; TCR 6168) CD5: 1987 UK (Parlophone; CDR 6168) [6:06 dub confirmed] CD5: 1993 UK (Parlophone; CDR 6168 / 202152-2) [reissue; station ps; 6:06] 12": 1987 NL (EMI; 060-202152-6) [6:06 dub confirmed] 12": 1987 IT (EMI; 202152-6) 12": 1987 ES (EMI; 052-202152-6) 12": 1987 AU (EMI; ED.313) 7:06 Rent (extended mix) 6:06 Rent (dub mix) 4:57 I Want A Dog [Are all versions of "Rent (dub)" 6:06? I have reports of a 4:50 version.] 7": 1987 DE (EMI; 1C 006 202151-7) [2xA promo x100; folder+poster] 5:09 Rent [album mix] CS: 1987 UK (Abbey Road Studios; n/a) [studio tape; custom slv; dated 28 Sep 1987] 3:31 Rent 7:06 Rent (extended mix) [+7 other tracks] VHS: 1987 UK (Inphase Facilities; ES1 VT8) [promo; 11 Oct 87] 3:35 Rent [video] 7": 1987 IT (EMI; ??) [promo] [Remixers: Rent] [Francois Kevorkian] 7:06 Rent (extended mix) 6:06 Rent (dub mix) [Remixers: I Want A Dog] [Frankie Knuckles] 6:15 I Want A Dog [Introspective version] [R.J.Rice/Eddy Fowlkes] 4:07 I Want A Dog (techno funk mix) [Promotional Items: Rent] Presskit; photo, biography (UK) Gift card (UK; Athena) Video; Car scenes filmed on a Friday night between Westminster and King's Cross. Neil can't drive, so the car was towed. Woman: Margi Clarke. Locations: West End of London. King's Cross Station, London. The Town And Country Planning Association, Carlton House Terrace, London. (D: Derek Jarman. Prod: James Mackay for Reportcourt Ltd. Sep 87) ------------------------------------------------------------------------------ Pet Shop Boys: Always On My Mind [30 Nov 1987] single Chart: UK #1, US #4, NL #3. 7": 1987 UK (Parlophone; R 6171) 7": 1987 UK (Parlophone; RS 6171) [double-sleeve] 7": 1987 US (EMI; PB-50123) [white-label promo] 7": 1987 US (EMI; B-50123) [may/may not be available in US PS] CSS: 1987 US (EMI; 4BX-50123) 7": 1987 AU (EMI; A.2049) 7": 1987 DE (EMI; 006-202274-7) [doesn't exist separate from NL 7"?] 7": 1987 NL (EMI; 006-202274-7) [some w/pink sleeve sticker] 7": 1987 ES (EMI; 202274) [title sticker] 7": 1987 FR (EMI; 006 202274-7) 7": 1987 FR (EMI; 212 202274-7) [with sticker; can anyone confirm cat#?] 7": 1987 IT (EMI; 202274-7) 7": 1987 ZA (EMI; EMIJ 202274-7) [white sleeve/no cover] 7": 1987 PH (EMI; PAL61209) [Phillipines] 7": 1988 MX (EMI; SEC-560) [promo; info sheet; spanish titles] 7": 1987 JP (EMI; PRP-1272) [w/l promo; info front + photocopied back b/w sleeve] 7": 1987 JP (EMI; BRP 115) [w/lyrics] 7": 1987 PT (EMI; 2022747) [manufactured in Portugal] 7": 1987 SK (Oasis Records; OLE 714) [South Korea] CD3: 1987 JP (EMI; XP10-2002) [3.5"x6.5" case] 3:59 Always On My Mind 5:14 Do I Have To? 12": 1987 UK (Parlophone; 12R 6171) 12": 1987 UK (Parlophone; 12RS 6171) [double-sleeve] CSS: 1987 UK (Parlophone; TCR 6171) CD5: 1987 UK (Parlophone; CDR 6171) [7 Dec 87] CD5: 1993 UK (Parlophone; CDR 6171 / 202277-2) [reissue] 12": 1987 IT (EMI; 202275-6) 12": 1987 ES (EMI; 052-202275-6) ["Pet Shop Boys/'Always on my mind'" sticker] 12": 1987 MX (EMI; POP-885) ["Siempre en mi mente"; railway station ps] 12": 1987 AR (EMI; ??) [Argentina; "Siempre en mi mente"] 12": 1987 BR (EMI; 61 202275-6 6178) 12": 1987 NL (Parlophone; 060-202275-6) 12": 1987 AU (EMI; ED326) 12": 1987 JP (EMI; PRP-8314) [w/l promo slv] 12": 1987 HK (EMI; 12R 6171) 12": 1987 SK (EMI; OLE-714 {12R6171}) [South Korea] 12": 1987 PH (Parlophone; EP-PAL-84X020) [Phillipines, diff. slv] 8:07 Always On My Mind (extended dance version) 5:14 Do I Have To? 3:59 Always On My Mind 12": 1987 UK (Parlophone; 12RX 6171) (+promo) [7 Dec 87] 12": 1987 NL (EMI; 060-202321-6) 5:55 Always On My Mind (remix) 5:14 Do I Have To? 2:04 Always On My Mind (dub version) ["Pet Shop Boys. 'Always On My Mind.' Remix."] CSS: 1987 US (EMI; 4V-56089) [longboxed; some may omit "Do I Have To?"] 12": 1988 US (EMI; V-56089) [remix labeled "12-inch version"] 12": 19?? US (EMI; E1-75212) 8:07 Always On My Mind (extended dance version) 5:55 Always On My Mind (remix) 5:14 Do I Have To? 12": 1988 US (EMI; SPRO-04036/SPRO-04051) [promo] 8:07 Always On My Mind (extended dance version) ["dance version"] 4:04 Always On My Mind (7" instrumental) 3:56 Always On My Mind 5:55 Always On My Mind (remix) ["12 inch version"] 2:04 Always On My Mind (dub) ["7 inch dub"] 5:14 Do I Have To? CD5: 1988 US (EMI; DPRO-04037) [promo] 3:59 Always On My Mind 8:07 Always On My Mind (extended dance version) ["12 inch dance mix"] 5:55 Always On My Mind (remix) ["phil harding mix"] 12": 1988 BR (EMI; 9951 096) [promo; ps as UK remix w/printed sigs+lyrics] 3:54 Always On My Mind 5:55 Always On My Mind (versao remix) [== harding mix?] 8:10 Always On My Mind (extended dance version) ["ext. dance mix"] ["Disco Promocional Mix"] VHS: 1987 UK (??; ??) [promo; plain slv; 25 Nov 87] 5:23 Always On My Mind [video] 12": 19?? UK (Abbey Road Studios; n/a) [one-sided acetate] 8:12 Always On My Mind (extended dance version) 10": 1987 UK (Abbey Road Studios; n/a) [one-sided acetate] 3:59 Always On My Mind 12": 19?? UK (Abbey Road Studios; n/a) [one-sided acetate] 5:14 Do I Have To? Always On My Mind (dub) CS: 1987 UK (Abbey Road Studios; n/a) [studio tape; custom slv; dated 4 Dec 1987] 5:56 Always On My Mind (remix) [+other tracks] 7": 1987 JP (Yusen; YPS-022) [promo; w/Boston track on other side] 3:59 Always On My Mind [Remixers: Always On My Mind] [Phil Harding] 5:55 Always On My Mind (remix) [Shep Pettibone] 5:19 Always On My Mind (shep's holiday mix) 7:19 Always On My Mind (shep's house) [Julian Mendelsohn] 8:07 Always On My Mind (extended dance version) ["dance version"] 4:04 Always On My Mind (7" instrumental) 3:56 Always On My Mind 2:04 Always On My Mind (dub) ["7 inch dub"] [Promotional Items: Always On My Mind] 10x8" picture card (UK; Athena) Video; The Boys give Joss Ackland a ride in their car. Taken from the Pet Shop Boys film "It Couldn't Happen Here". Locations: The A40 road, Uxbridge. The Westcliffe Theatre, Clacton-on-Sea. The beach, Clacton-on-Sea. The Manor Hotel, Earl's Court, London. Booker Common, Buckinghamshre. Nanson Road, Clapham, London. The Tunnel Motel, Greenwich, London. Horstead Keynes Station, Sussex. Marylebone Station, London. Wycombe Air Park, Buckinghamshire. Regals Nightclub, Uxbridge. Road Runners, Shepherd Bush, London. Ferndale Road, Brixton, London. (D/Prod: Jack Bond for PMI. Oct 87) ------------------------------------------------------------------------------ Pet Shop Boys: Finally [19??] compilation album CS: 19?? TW (EMI Taiwan; ??) Always on my Mind (12" mix) Jack the Lad I Want A Dog What Have I Done to Deserve This (12" mix) It's a Sin (12" mix) You Kow Where You Went Wrong Rent (12" mix) A New Life ------------------------------------------------------------------------------ Pet Shop Boys: It Couldn't Happen Here (The Pet Shop Boys Film) [Dec 1989] video VHS: 1989 UK (Picture Music Int'l; EVV 1104 [rental; Ackland ps; Sep 88] VHS: 1989 UK (Picture Music Int'l; MVN 9912063) [retail; white psb ps] VHS: 1992 UK (Music Club/PMI; MC-2098) [PAL; budget reissue] VHS: 1997 UK (PMI; MC-2098) [reissue, w/o Music Club logo] VHS: 1989 DE (Rainbow; M-555) ["Der Film"/dubbed in German] VHS: 1990 US (Epic Home Video; ISBN 0-8001-0849-3) [PG-13!] 12"LD: 1990 US (Columbia; 59676) [mono! boo!] VHS: 1990 JP (??; TOVW-3073) [fold-out info sheet] 12"LD: 1990 JP (Picture Music Int'l; EV078-3010) [surround stereo; lyric sht] [20 tracks] VHS: 19?? DK (Pathe-Nordisk Film Video AS; 498-999) [priest ps] [Retitled to "Pet Shop Boys: It's A Sin" and subtitled in Danish. Sleeve text reads (in Danish): "It's more than just a movie, it's more than the most popular pop-group of the 80's, it's more than just stunning effects, fantastic shootings and capturing sound, it's a completely overwhelming experience. It's PET SHOP BOYS "IT'S A SIN"" // "The huge success from the movie-theatres - the nicest and most surprising movie since Pink Floyd "The Wall!""] [Promotional Items: It Couldn't Happen Here] 10"x14" film program; 8pp, glossy paper, gorgeous! (JP) Presskit; eight 8"x10"" photos (UK) UK promo (Picture Music Int'l); 4-page A4 glossy colour press book/presenter for film release featuring film synopsis and many colour photos! ------------------------------------------------------------------------------ Pet Shop Boys: Heart [Mar 1988] single Chart: UK #1, NL #11. 7": 1988 UK (Parlophone; R 6177) [Neil ps] 7": 1988 UK (Parlophone; R 6177) [Chris ps] 7": 1988 UK (Parlophone; ??) [promo] 7": 1988 ES (EMI; ??) [stickered; Neil ps] 7": 1988 AU (EMI; A2073) 7": 1988 DE (EMI; 006-202469-7) [Neil ps] 7": 1988 DE (EMI; 006-202469-7) [Chris ps] 7": 1988 FR (EMI; 202469-7) [Neil ps] 7": 1988 SP (EMI; 202469-7) 7": 1988 CA (EMI; ??) 7": 1988 PT (EMI; 202469-7) [Portugal] 7": 1988 IT (EMI; 202469-7) 7": 1988 ZA (EMI; EMIJ 2024697) 4:16 Heart 4:53 I Get Excited (You Get Excited Too) 2x12": 1988 UK (Parlophone; ??) [one-sided white-label test pressings] 12": 1988 UK (Parlophone; 12R 6177) [Neil ps] 12": 1988 UK (Parlophone; 12R 6177) [Chris ps] 12": 1988 UK (Parlophone; 12R 6177) [white-label; "promo only, not for resale"] CSS: 1988 UK (Parlophone; TCR 6177) CD5: 1988 UK (Parlophone; CDR 6177) 12": 1988 UK (Parlophone; 12RDJ 6177) [promo] CD5: 1993 UK (Parlophone; CDR 6177 / 202471-2) [reissue] 12": 1988 NL (EMI; 060-202470-6) [Neil ps] 12": 1988 NL (EMI; 060-202470-6) [Chris ps] CD5: 1988 NL (EMI; 202471-2) [does not exist separate from UK CD5?] 12": 1988 IT (EMI; 202470-6) [Neil ps] 12": 1988 IT (EMI; 202470-6) [Chris ps] 12": 1988 ES (EMI; 052-202470-6) [Neil ps, "Pet Shop Boys" sticker] 12": 1988 CA (EMI; E1-75226) [EMI factory ps; stickered; "Capitol Records - EMI of Canada limited"] 12": 1988 AU (EMI; ED.345) CSS: 1988 AR (EMI; 18067) [Argentina; ps titles printed in Spanish: Corazon - Heart, Yo Me Excito - I Get Excited] 8:27 Heart (disco mix) 4:53 I Get Excited (You Get Excited Too) 6:08 Heart (dance mix) 2x12": 19?? ?? (Abbey Road Studios; n/a) [one-sided acetates] 12": 1988 UK (Parlophone; 12RX 6177 {A/B 1}) [white-label test pressing] 12": 1988 UK (Parlophone; 12RX 6177) (+promo) 12": 1988 NL (EMI; 060-202550-6) 8:55 Heart (12" remix) 5:15 Heart (dub mix) 4:52 I Get Excited (You Get Excited Too) 12": 19?? ?? (Abbey Road Studios; n/a) [one-sided acetate; tracks on both sides] 8:27 Heart (disco mix) 5:33 I Get Excited (You Get Excited Too) ["I Get Excited" 5:33 version later released on the reissues in 2001] 7": 1988 IT (EMI; 202469-7) [promo; unique wraparound sleeve] 4:16 Heart ["Con l'aqua alla golla (radio version)"] [b/w a Nino Buonocore track] 12": 1988 AR (EMI; DIFLP 005) [Argentina; promo] 4:16 Heart 3:59 Always On My Mind [+ Whitesnake track] [Remixers: Heart] [Julian Mendelsohn] 8:55 Heart (12" remix) [Shep Pettibone] 6:08 Heart (dance mix) 5:16 Heart (dub mix) 4:12 Heart (shep pettibone version) [Remixers: I Get Excited (You Get Excited Too)] [??] 6:12 I Get Excited (You Get Excited Too) (sarm west remix) [This mix was slated for the "Heart" remix 12" but was never officially issued. Demos are circulating and it has been bootlegged.] [Promotional Items: Heart] Video; Nosferatu: Sir Ian McKellen, Bride: Daniella Colic. (D: Jack Bond) ------------------------------------------------------------------------------ Pet Shop Boys: What Keeps Mankind Alive [27 Aug 1988] special recording 7": 1988 UK [one-sided acetate] 10": 1988 UK [one-sided acetate; only a few items exist] 3:21 What Keeps Mankind Alive [Recorded for the BBC as part of a Kurt Weill tribute special, the PSBs wanted to issue it sooner but didn't want to pay the high BBC royalty rates. Surfaced in 1993 as a B-side to "Can You Forgive Her?"] ------------------------------------------------------------------------------ Pet Shop Boys: Domino Dancing [Sep 1988] single Chart: UK #7, US #18, NL #7. 7": 1988 UK (Parlophone; R 6190) 7": 1988 UK (Parlophone; R 6190) [blue-label promo] 7": 1988 UK (Parlophone; RS 6190) [double sleeve] 7": 1988 UK (Parlophone; RS 6190) [double slv; promo; press release] 7": 1988 DE (EMI; 006-202927-7) CD3: 1988 DE (EMI; 506-202927-3) [made in Austria] 7": 1988 FR (EMI; 202927-7) [promo] 7": 1988 FR (EMI; 202927-7) 7": 1988 IT (EMI; 202927-7) 7": 1988 US (EMI-Manhattan; B-50161) CSS: 1988 US (EMI-Manhattan; 4BX-50161) [longboxed] 7": 1988 AU (EMI; A2149) [slightly different rear ps] 7": 1988 JP (EMI; PRP-1321) [promo; "Introspective" style ps] CD3: 1988 JP (EMI; XP10-2024) [3.5"x6.5" sleeve] 7": 1988 ES (EMI; 202927-7) (+stamped promo) 7": 1988 PT (EMI; 2029277) [manufactured in Portugal] 7": 1988 ZA (EMI; EMIJ 202 927-7) 7": 1988 PH (Parlophone; PAL61215) [Phillipines] 7": 1988 GU (EMI; 4840) [Typo on B-side label credits "Neil Tennat"] 4:17 Domino Dancing 3:53 Don Juan 12": 1988 UK (Parlophone; 12R 6190 A) [A-side white-label test pressing] 12": 1988 UK (Parlophone; 12R 6190 B) [B-side white-label test pressing] 12": 1988 UK (Parlophone; 12R 6190) [white-label test pressing] 12": 1988 UK (Parlophone; 12R 6190) [van ps] 12": 1988 UK (Parlophone; 12RS 6190) [double-sleeve] 12": 1988 UK (Parlophone; 12RDJ 6190) [promo, black & white cover] CSS: 1988 UK (Parlophone; TCR 6190) CD5: 1988 UK (Parlophone; CDR 6190 / 202917-2) [van ps] CD5: 1993 UK (Parlophone; CDR 6190 / 202917-2) [van ps; reissue] CD5: 1988 DE (EMI; 202917-2) [does not exist separete from UK CD5?] 12": 1988 NL (EMI; 060-202917-6) [van ps] 12": 1988 IT (EMI; 202917-6) [van ps] 12": 1988 ES (Parlophone/EMI; 12R 6190/052-202917-6) 12": 1988 AU (Parlophone/EMI; ED.378) 12": 1988 BR (EMI; 9951 110) [promo w/poster] CSS: 1988 MY (EMI; TC 12R 6190) [Malaysia, van ps; cream tape/case] CSS: 1988 HK (EMI; TC 12R 6190) [Hong Kong, van ps; cream tape/case] CSS: 1988 SG (EMI; TC 12R 6190) [Singapore, van ps; cream tape/case] CSS: 1988 TH (EMI; TC 12R 6190) [Thailand, van ps; cream tape/case] 7:41 Domino Dancing (disco mix) 7:32 Don Juan (disco mix) 4:45 Domino Dancing (alternative mix) 12": 1988 UK (Parlophone; 12RX 6190) [hotel ps] 12": 1988 NL (EMI; 060-202988-6) [hotel ps] 5:53 Domino Dancing (base mix) 4:19 Don Juan (demo) 4:45 Domino Dancing (demo) 12": 1988 US (EMI; V-56116) [33rpm] 12": 1988 AR (EMI; 8580) [+white-label promo; reverses B-side tracks] CSS: 1988 AR (EMI; 18580) [Argentina; p/s] 7:41 Domino Dancing (disco mix) 4:17 Domino Dancing 4:45 Domino Dancing (alternative mix) 7:32 Don Juan (disco mix) 7": 1988 US (EMI; PB-50161) [promo] 7": 1988 MX (EMI; SEC-615) [2xA promo; credits only Chris Lowe as writer] 4:17 Domino Dancing 7": 1990 JP (??; YUSEN) [metal-acetate; 4-canal-mono; only for radio stations] 4:17 Domino Dancing 4:43 Left To My Own Devices CSS: 1988 UK (Abbey Road Studios; n/a) [studio tape; custom slv] CD5: 1988 US (EMI; DPRO-04155) [promo with picture inlay card] 4:17 Domino Dancing (7" mix) 7:41 Domino Dancing (disco mix) 4:45 Domino Dancing (alternative mix) VHS: 1988 UK (Chop 'Em Out; n/a) [studio tape; custom slv] Domino Dancing VHS: 1988 UK (Inphase Facilities; VPL 00000407488) [promo; 22 Sep 88] 7:44 Domino Dancing (disco mix) ["12-inch version"] 7": 1988 IT (EMI; ??) [promo] 7": 1988 IT (EMI; ??) [white label promo] [unknown tracks] [Remixers: Domino Dancing] [Lewis A. Martinee, Sick 'Billy Bob' Alonso, and Mike Couzzi] 5:53 Domino Dancing (base mix) [Promotional Items: Domino Dancing] Video; Girl: Donna Bottman, Boys: David Boira, Adalberto Martinez Mojica, Eduardo Martinez. (D: Eric Watson) Video (disco mix); cast/crew as above. ------------------------------------------------------------------------------ Pet Shop Boys: I Like It Here, Wherever It Is [1988] compilation video VHS: 1988 JP (PMI/Toshiba-EMI; TT30-7027HI) [with lyrics/info flyer] 8"LD: 1990 JP (PMI/Toshiba-EMI; L030-7027) [with lyrics/info flyer] Actually (tv advert) 4:59 It's A Sin 4:17 What Have I Done To Deserve This? 5:09 Rent 4:11 Always On My Mind ------------------------------------------------------------------------------ Pet Shop Boys: Showbusiness [Dec 1988] compilation video VHS: 1988 UK (Picture Music Int'l; MVR 990763) VHS: 1988 UK (Picture Music Int'l; CMV 1115) VHS: 1988 NL (Picture Music Int'l; PPS 2056) VHS: 1988 FR (Picture Music Int'l; PMF 180061) [SECAM] VHS: 19?? AU (EMI/Picture Music Int'l; VM 20017) VHS: 1990 CA (??; ??) 4:59 It's A Sin 4:19 What Have I Done To Deserve This? 5:09 Rent 4:13 Always On My Mind 4:15 Heart 7:41 Domino Dancing (long version) [Promotional Items: Showbusiness] 10"x8" picture card (Athena, UK) Presskit; release sheet, two 8"x10" b&w photos, slide of video ps (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Introspective [10 Oct 1988] album CS: 1988 UK (Abbey Road Studios; n/a) [studio tape; custom typed inlay] LP: 1988 UK (Parlophone; PCS 7325) [white-label test pressing] LP: 1988 UK (Parlophone; PCS 7325) 3x12": 1989 UK (Parlophone; PLSX 7325) [promo x10 for EMI UK directors; clear vinyl] 3x12": 1989 UK (Parlophone; PCSX 7325) [large labels/wrap-around band] CS: 1988 UK (Parlophone; TCPCSO 790868) [promo; video case; lyrics/interview] CS: 1988 UK (Parlophone; TCPS 7325) CD: 1988 UK (Parlophone; CDPCS 7325) CD: 1988 UK (Parlophone; CDP 790868-2) CD: 1988 DE (Parlophone; CDP 790868-2) LP: 19?? DE (EMI; 60 115-3) ["Club Edition"] CD: 19?? DE (EMI; 18 971-2) ["Club Edition"] LP: 1988 DE (EMI; 790868-1) [test pressing; sticker on sleeve "EMI Electrola GmbH"] LP: 1988 DE (EMI; F 670 335) [special issue manufactured for shops in East Germany] LP: 1988 EG (Amiga; 670 335) [East Germany test pressing; "unverkaufliche Musterplatte"; only 10 may exist] LP: 1988 IT (EMI; 790868-1) CD: 1988 IT (EMI; 790868-2) CS: 1988 IT (EMI; 790868-4) LP: 1988 ES (Parlophone; 072-7908681) CS: 1988 ES (EMI; 272-790868-4) [diff. strip colour {green-blue-yellow-darkblue-red-darkblue-green}] LP: 1988 US (EMI-Manhattan; E1-90868) CS: 1988 US (EMI-Manhattan; E4-90868) [promo; small video style case; lyrics/interview] CS: 1988 US (EMI-Manhattan; E4-90868) CD: 1988 US (EMI-Manhattan; CDP 790868-2) CD: 1998 US (Capitol-EMI Special Products; ??) [budget reissue; 12 May] CS: 1988 US (??; ??) [promo; special vinyl case w/bio, sticker] CS: 1988 US (EMI; ??) [promo; TDK cassette] LP: 1988 MX (EMI; SLEM-1571) [Mexico; Spanish titles] LP: 1988 JP (EMI; RP25-5670) [lyrics and psb comments booklet] CS: 1988 JP (EMI; ZP25-5670) [fold-out lyric sheet] CD: 1988 JP (EMI; CP25-5670) CD: 1995 JP (EMI; TOCP-3020) [reissue; 31 May 95; booklet + lyrics] LP: 1988 FR (EMI; 790868-1) CS: 1988 FR (EMI: 464/7908684) LP: 1988 ZA (EMI; EMICJ(D) 7908681) CS: 1988 ZA (EMI; L4 EMICJ(N) 7908681) LP: 1988 GR (EMI; 062-790868-1) LP: 199? RU (SBA Records; 0294 03) [legit licensed version] LP: 1988 HU (Gong; SPLXL 37220) [Hungarian] LP: 1988 HK (Parlophone; PCS 7325) LP: 1988 NL (Parlophone; 064-790868-1) CS: 1988 NL (Parlophone; 790868-4) CD: 1988 NL (Parlophone; CDP 790868-2) LP: 1988 AR (EMI; 10059) [spanish titles] (+promo) LP: 1988 CO (EMI; 111147) [Columbia; also exist in red vinyl] CS: 19?? HU (Gong; MKL37220) [Hungary; different stripes on sleeve] CS: 1988 MY (EMI; TCPS 7325) [Malaysia, free badge] CS: 1988 IN (??; ??) [India] CS: 1988 ID (??; E0229-8) [Indonesia] CS: 1988 SG (EMI; TCPCS 7325) [East Asian issue; different style CS] LP: 1988 YU (EMI; LSPAR 78065) [Yugoslavia] CS: 1988 YU (EMI; CAPAR 9387) [Yugoslavia] LP: 1988 BR (Parlophone; 066 790868 1) [Brazil; replaces inner slv w/insert] LP: 1988 SK (Parlophone; EKPL002) [South Korea] LP: 1988 EC (EMI; 303-0163) [Ecuador; w/english & spanish titles] 8:10 Left To My Own Devices 6:15 I Want A Dog 7:41 Domino Dancing (disco mix) 7:23 I'm Not Scared 9:05 Always On My Mind/In My House 9:24 It's Alright 3x12": 1988 US (EMI; E1-90868) [limited numbered promo] [SPRO# 04231/04232:] 6:15 I Want A Dog 7:23 I'm Not Scared [SPRO# 04233/04241:] 9:24 It's Alright 9:05 Always On My Mind/In My House [SPRO# 04242/04243:] 9:25 Left To My Own Devices (shep pettibone remix) 7:45 Left To My Own Devices (device mix) ["7:13"] 5:53 Domino Dancing (base mix) ["6:01"] 5:40 Always On My Mind (shep's holiday mix) ["7:19"] 7:28 Always On My Mind (shep's house) ["5:19"] [Packaged in three white die-cut sleeves with the following sticker on the left side of the front: "SPECIAL LIMITED EDITION / for club dj's only / PET SHOP BOYS / Club Mixes / From the Pet Shop Boys / Introspective / Album / #xxxx / Happy Holidays". These singles will often turn up in used shops on their own, but they were all originally shipped as part of this triple-12" set.] LP: 1989 BR (EMI; 9951 128) [Brazilian promo] 4:43 Left To My Own Devices (7" mix) 11:27 Left To My Own Devices (12" mix) 4:53 The Retrospective Mix (radio) [megamix] 7:39 The Retrospective Mix (club) CS: 1988 ID (EMI; G-6812) [Indonesian, outer ps, lyrics] [12 tracks] CS: 1988 ID (EMI; ENB-180) [Indonesian, different sleeve] [10 tracks] CD: 1988 US (EMI-Manhattan; CDP-7-90868-2 {90886 2 1 1 CAPITOL JAX 1 D}) [37:49 mispressing, plays 12-track Christmas album by unknown female artist. ] CS: 1989 SA (Thomsun Electronics; EN-2610) [Saudi Arabia] CD: 1989 SA (Thomsun Electronics; EN-2610) [Saudi Arabia] Left To My Own Devices I Want A Dog Domino Dancing Don Juan (disco mix) I'm Not Scared Always On My Mind/In My House It's Alright Domino Dancing (alternative mix) [white ps with N+C picture] LP: 1988 PL (US Inc.; L 1112) [bootleg; alt. track order] 8:17 Left To My Own Devices 6:16 I Want A Dog 9:24 It's Alright 7:40 Domino Dancing (disco mix) 7:26 I'm Not Scared 9:05 Always On My Mind/In My House ["...In Myhouse"] [Red slv, white "INTROSPECTIVE", black "PET SHOP BOYS"] [Sleeve Colors:] LP: yellow-green-pink-red-yellow-purple-violet CD: pink-yellow-red-green-pink-purple-violet CS: turquoise-lightblue-yellow-darkblue-red-violet-green 3x12": pink-red-yellow-purple-violet + green textbox [on sticker] [Colors confirmed for UK/HO/GR/IT/BR LP, UK/US/GE/HO/JP/IT CD, UK/US/HO/IT CS; please report any variations] [Promotional Items: Introspective] 90x50cm display stand; ps stripes, acetate title sheet wraparound (UK) 20"x3" display board; title (UK) Plastic bag; cover ps on both sides (UK) 1.5"x1.5" badge; square; stripes design (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Left To My Own Devices [Nov 1988] single Chart: UK #4, US #84, NL #19. 7": 1988 UK (Parlophone; R 6198) (+promo) 7": 1988 UK (Parlophone; RS 6198) [manila outer slv; hats-and-armour ps] 4:43 Left To My Own Devices 5:13 The Sound Of The Atom Splitting (extended version) 7": 1988 US (EMI; B-50171) [different ps] CSS: 1988 US (EMI; 4BX-50171) [different ps] 7": 1988 DE (EMI; 006-203081-7) 7": 1988 DE (EMI; ??) [unconfirmed] CD3: 1988 DE (EMI; CDP 560 203081-3) 7": 1988 FR (EMI; 203081-7) [test pressing; no label; white sleeve] 7": 1988 FR (EMI; 203081-7) [manila outer slv; hats-and-armour ps] 7": 1988 IT (EMI; 203081-7) 7": 1988 AU (EMI; A-2181) 7": 1988 PT (EMI; 203801-7) [Portugal] 7": 1988 JP (EMI; PRP-1341) [promo] 4:43 Left To My Own Devices 3:37 The Sound Of The Atom Splitting 12": 1988 UK (Parlophone; 12R 6198 A/B) [white-label test pressing] 12": 1988 UK (Parlophone; 12R 6198) 12": 1988 UK (Parlophone; 12RS 6198) [manila outer slv; dentist-chair ps] 12": 1988 UK (Parlophone; 12RDJ 6198) [promo, some with b&w cover] CD5: 1988 UK (Parlophone; CDR 6198) [manila outer sleeve; hats ps] 12": 1988 US (EMI; V-56121) [dentist-chair ps] 12": 1988 AR (EMI; 8627) [Argentine white-label] 12": 1988 AR (EMI; 8627) [Argentinan promo; 'dentists chair' p/s with Spanish text and titles] CSS: 1988 AR (EMI; 18627) [Argentina; 'dentists chair' p/s with Spanish text and titles] 12": 1988 NL (EMI; 060-203080-6) 12": 1988 IT (EMI; 203080-6) 12": 1988 DE (EMI; 052-203080-6) [dentist-chair ps] CD3: 1988 JP (EMI; XP12-5005) [3.5"x6.5" case + promo] CSS: 1988 MY (EMI; TCDPRO-04180) [promo; Malaysia] 11:27 Left To My Own Devices (the disco mix) 4:43 Left To My Own Devices 3:37 The Sound Of The Atom Splitting CSS: 1988 UK (Parlophone; TCR 6198) [manila outer sleeve] CD5: 1988 UK (Parlophone; CDR 6198 / 203080-2) [reissue] CSS: 1988 AU (Parlophone/EMI; TC-ED-391) [clear cassette] CSS: 1988 AU (Parlophone/EMI; TC-ED-391) [clear cassette; promo stamped] 12": 1988 AU (Parlophone/EMI; ED-391) CD5: 1988 US (EMI; DPRO-04180) [promo with inlay card] 4:43 Left To My Own Devices 11:27 Left To My Own Devices (the disco mix) 3:37 The Sound Of The Atom Splitting CSS: 1988 UK (Abbey Road Studios; n/a) [studio tape] 8:16 Left To My Own Devices (royal piano mix) 7": 1988 US (EMI/Manhattan; P-B-50171) [2xA promo; ps as UK] 4:45 Left To My Own Devices 7": 1989 ZA (EMI; PS 107) [promo] 4:43 Left To My Own Devices 4:53 Left To My Own Devices (disco mix edit) [mix on the b-side is the faded out Disco Mix.] 7": 1989 MX (EMI; SEC-641) [promo; Mexican track titles; white slv] 4:43 Left To My Own Devices 3:41 It's Alright (introspective version - edit) ["It´s All Right"] 7": 1988 IT (EMI; ??) [promo; tracks unknown] [Remixers: Left To My Own Devices] [Frankie Knuckles] 8:16 Left To My Own Devices (royal piano mix) [Shep Pettibone] 9:25 Left To My Own Devices (shep pettibone remix) 7:13 Left To My Own Devices (device mix) [Promotional Items: Left To My Own Devices] Video; Filmed in Los Angeles through various layers of plexiglass. (D: Eric Watson) Video (longer version); Details unknown (D: presumably Eric Watson) ------------------------------------------------------------------------------ Pet Shop Boys: In Depth [1989] compilation album CS: 1989 JP (EMI; ZP28-5875) [with lyrics+phone card] CD: 1989 JP (EMI; CP28-5875) ["batman & robin" ps; w/lyrics+phone card] CD: 1989 JP (EMI; SPCD-1071) [rare promo sampler in card picture custom Toshiba slv] 4:18 It's Alright 3:54 One Of The Crowd 2:16 Your Funny Uncle 3:59 Always On My Mind 4:17 Domino Dancing 4:43 Left To My Own Devices [Comemorates start of first PSB world tour] ------------------------------------------------------------------------------ Pet Shop Boys: It's Alright [Jun 1989] single Chart: UK #5. 7": 1989 UK (Parlophone; R 6220) [mislabel: "extended version"] 7": 1989 UK (Parlophone; RS 6220) [with wraparound band] CSS: 1989 UK (Parlophone; TCR 6220) 7": 1989 DE (EMI; 016-203420-7) [mislabel: "extended version"] 7": 1989 FR (EMI; 203420-7) [test pressing; no label; white slv] 7": 1989 FR (EMI; 203420-7) [ps swaps N+C; "extended version"] 7": 1989 ES (EMI; 203420-7) 7": 1989 PT (EMI; 203420-7) [Portugal] 7": 1989 IT (EMI; 203420-7) 7": 1989 AU (EMI; A.2260) [1/2" white border on rear ps] 4:18 It's Alright 3:54 One Of The Crowd 2:16 Your Funny Uncle 7": 1989 JP (EMI; PRP-1392) [white label promo] 4:18 It's Alright 2:16 Your Funny Uncle [in a white promo slv with a small Batman & Robin pic and japanese text] 10": 1989 UK (Parlophone; 10R 6220) [with free poster] 4:46 It's Alright (alternative mix) 10:34 It's Alright (extended dance mix) 10": 1989 UK (Parlophone; 10R 6220) [misspressing] 8:47 It's Alright (extended disco mix) 4:18 It's Alright [there are reports that this exist; can any other confirm it?] 12": 1989 UK (Parlophone; 12R 6220) 12": 1989 UK (Parlophone; 12RS 6220) [with wraparound band] 12": 1989 UK (Parlophone; 12RDJ 6220) [promo label/sticker/limited] 12": 1989 NL (EMI; 060-203420-6) 12": 1989 FR (EMI; 203420-6) 12": 1989 IT (EMI; 203420-6) [are some 203419-6?] 12": 1989 AU (EMI; ED.428) 12": 1989 AR (EMI; 56149) [Argentina; spanish-lang titles on record] 8:47 It's Alright (extended disco mix) 3:54 One Of The Crowd 2:16 Your Funny Uncle CD5: 1989 UK (Parlophone; CDR 6220) CD3: 1989 AT (EMI; 560-203420-3) [Austria; 3" paper sleeve; "ext disco mix"] CSS: 19?? UK (Abbey Road Studios; n/a) [studio tape] 4:18 It's Alright 3:54 One Of The Crowd 2:16 Your Funny Uncle 8:47 It's Alright (extended disco mix) 12": 1989 UK (Parlophone; 12RX 6220) ["DJ International Mixes"; pink ps] 12": 1989 NL (EMI; 060-203450-6) CD3: 1989 DE (EMI; 203450-3) [some reverse tracks?] 8:55 It's Alright (tyree mix) 5:34 It's Alright (sterling void mix) 12": 1989 JP (EMI; PRP-8333) [one-sided w/l promo] 5:34 It's Alright (sterling void mix) [The insert has the same picture as the "In Depth" JAPAN cd and there is also a sticker with the japanese tour dates on it!] 12": 1989 BR (EMI; 9951 157) [Brazilian promo; bright pink ps] 4:18 It's Alright (7" mix) 5:34 It's Alright (sterling void mix) 9:18 It's Alright (lp mix) 8:47 It's Alright (extended version) ["extended disco mix"] 8:55 It's Alright (tyree mix) VHS: 1989 UK (Chop 'Em Out; ??) [studio tape; custom slv] It's Alright [Remixers: It's Alright] [Julian Mendelsohn] 4:41 It's Alright (alternative mix) 10:22 It's Alright (extended dance mix) [Tyree Cooper] 8:55 It's Alright (tyree mix) [Sterling Void] 5:34 It's Alright (sterling void mix) [Promotional Items: It's Alright] 60"x40" poster; Neil picture (UK) Video; Uses 150 different babies (3 days shooting, 50 babies each day). Neil and Chris were filmed on the first day, then the baby footage took the following 2 days to shoot. (D: Eric Watson) ------------------------------------------------------------------------------ Pet Shop Boys: [Far East Tour Promo] [1989] single CSS: 1989 HK (EMI; TC PSB 1) [white tape+case; "Heart" ps] Always On My Mind (extended dance version) Heart (disco mix) Heart (remix) [Also issued in Malaysia, Singapore] ------------------------------------------------------------------------------ Pet Shop Boys: On Tour [1990] unreleased live video VHS: 1990 UK (Picture Music International; ??) [studio tape] 6:27 One More Chance 3:42 Opportunities (Let's Make Lots Of Money) 11:25 Left To My Own Devices 4:58 Rent 4:21 Heart 8:41 Paninaro 4:39 Love Comes Quickly 2:29 Later Tonight 4:52 Nothing Has Been Proved 1:30 The Sound Of The Atom Splitting 5:24 It's A Sin 3:44 Shopping 6:29 Domino Dancing 1:28 Occupy Your Mind 5:17 King's Cross 4:23 Always On My Mind 5:56 West End Girls 7:19 It's Alright [Recorded live at Wembley Arena, 1989. An unedited version of the film that was later released as "Highlights".] ------------------------------------------------------------------------------ Pet Shop Boys: So Hard [Sep 1990] single Chart: UK #4, US #62, NL #15. 7": 1990 UK (Parlophone; R 6269) 7": 1990 UK (Parlophone; RDJ 6269) [promo; black die-cut slv] CSS: 1990 UK (Parlophone; TCR 6269) [bright blue cassette] CSS: 1990 UK (Parlophone; TCR 6269) [clear cassette] 7": 1990 DE (EMI; 204062 7) [testpressing; die-cut] 7": 1990 DE (EMI; 006-204062-7) 7": 1991 FR (EMI; 204062-7) 7": 1990 IT (EMI; 204062-7) CSS: 1990 US (EMI; 4JM-50329) 7": 1990 PT (EMI; 204062-7) [Portugal] CD3: 1990 JP (EMI; TODP-2203) 7": 1990 AU (Parlophone/EMI; 2481-7) CSS: 1990 AU (Parlophone/EMI; TC-2481-4) [yellow cassette & case] CSS: 1990 CA (EMI; 4JM-73133) 3:56 So Hard 4:21 It Must Be Obvious CD5: 1990 UK (Parlophone; CDR 6269) CD5: 1990 DE (Parlophone; 560-204062-2) [slim jewelbox] CD5: 1990 FR (Parlophone; PM 515) [different position of title on sleeve] 3:56 So Hard 4:21 It Must Be Obvious 6:30 So Hard (extended dance mix) 12": 1990 UK (Parlophone; 12R 6269) 12": 1990 DE (Parlophone; 060-204062-6) 12": 1990 FR (EMI; 204062-6) 12": 1990 IT (EMI; 204062-6) 12": 1990 BO (??; E-SM 60001) 6:30 So Hard (extended dance mix) 4:21 It Must Be Obvious 7:30 So Hard (dub mix) 12": 1990 UK (Parlophone; 12RX 6269) 12": 1990 DE (EMI; 060-204092-6) CD5: 1990 DE (EMI; CDP 560-204092-2) [artwork uses UK cat # "12rx6269"] 5:27 So Hard (klf vs. pet shop boys) 9:22 It Must Be Obvious (ufo mix) 12": 1990 DE (EMI; 060-204177-6) 7:42 So Hard (red zone mix) 6:20 So Hard (12" remix) ["12-inch mix"] 3:25 So Hard (radio mix) CD5: 1990 DE (EMI; 560 204177-2) [wrong label times; blue/green ps; mfd. HO] 12": 1990 US (EMI; SPRO-04690) [promo, "David Morales mixes"] 6:20 So Hard (12" remix) 3:25 So Hard (radio mix) 7:42 So Hard (red zone mix) 4:00 So Hard (eclipse mix) 12": 1990 US (Speciality Record Corporation; V-56194) [test pressing] 12": 1990 US (EMI; V-56194) CSS: 1990 US (EMI; 4V-56194) 6:30 So Hard (extended dance mix) 3:56 So Hard (single) 7:30 So Hard (dub) 4:21 It Must Be Obvious CD5: 1990 US (EMI; E2-56195) [w/psb biography] 6:30 So Hard (extended dance mix) 3:56 So Hard (single) 7:30 So Hard (dub) 4:21 It Must Be Obvious 8:40 Paninaro (italian remix) ["12-inch remix"] 7": 1990 UK (Parlophone; RDJ 6269) [white-label promo] 12": 1990 UK (Parlophone; 12RDJ 6269) [white-label promo] 6:30 So Hard (extended mix) 7:30 So Hard (dub mix) VHS: 1990 UK (Inphase Facilities; ??) [promo] VHS: 1990 US (EMI; n/a) [promo; white stickered slv; NTSC] 4:10 So Hard [video] CSS: 1990 UK (Chop 'Em Out; n/a) [studio tape; dated 25 July 1990] 3:56 So Hard (master) 6:30 So Hard (12" master) 4:21 It Must Be Obvious (master) CSS: 1990 UK (Abbey Road Studios; n/a) [studio tape; custom typed slv] 5:27 So Hard (klf vs pet shop boys) [+4 other tracks] 12": 1990 US (EMI; SPRO-04673) [promo] 5:27 So Hard (klf vs. pet shop boys) 9:22 It Must Be Obvious (ufo mix) 3:56 So Hard ["lp version"] CD5: 1990 US (EMI; DPRO-4650) [promo, special drawer sleeve] 3:56 So Hard (7" mix) 5:00 So Hard (9" edit mix) 6:30 So Hard (extended dance mix) 7:30 So Hard (dub mix) Box: 1990 US (Abbey Road; n/a) [promo; css in box] 3:56 So Hard (single) Box: 1990 US (EMI; n/a) [promo; video + css in white box] [CSS (EMI 4V-56194):] 6:30 So Hard (extended dance mix) 3:56 So Hard (single) 7:30 So Hard (dub) 4:21 It Must Be Obvious [VHS (EMI n/a):] 4:10 So Hard [video] 12": 1990 BR (Parlophone; 995122-0) [Brazilian promo, chair/roses ps] 3:56 So Hard (7" mix) [33rpm] 3:56 So Hard (7" mix) [45rpm] 7": 1990 HK (EMI; RDJ 6269) [white-label promo; Cantonese biography leaflet] 3:56 So Hard 4:21 It Must Be Obvious [Leaflet is 7"x7" w/Behaviour ps on cover, bio inside, discography in English on rear. Includes coupon (for T-shirt?) and two passes to "Pet Shop Boys / London Market / Fashion Show" (19 Dec 1990).] CSS: 1990 UK (Abbey Road; n/a) [studio tape in 5"x5" Abbey Road box w/technical info] 7": 1990 MX (EMI; 700912) [2xA Mexican promo; "Tan Dificil"] 7": 1990 PH (Parlophone; E-USA-89x016-7 / R6269) [double-A promo; Phillippines] 3:56 So Hard [Remixers: So Hard] [Bill Drummond & Jim Cauty (The KLF)] 5:27 So Hard (klf vs. pet shop boys) [David Morales] 6:20 So Hard (12" remix) 3:25 So Hard (radio mix) 7:42 So Hard (red zone mix) 4:00 So Hard (eclipse mix) [Remixers: It Must Be Obvious] [Bill Drummond & Jim Cauty (The KLF)] 9:22 It Must Be Obvious (ufo mix) [Promotional Items: So Hard] 22x40cm display stand; Neil + Chris shape (UK) Handheld puzzle; maze w/drop of mercury, labeled "It's....SO HARD" (UK) Boxer shorts; labeled "It's So Hard" (UK) T-Shirt; red, front: "It's Hard", back: "So Hard, Pet Shop Boys" (UK) 20"x13" poster; N+C as single ps, title, date (UK fan club) Video, Filmed in Newcastle. Girl: Anna Gascoigne. Bodyguards: Dainton and Chopper. (D: Eric Watson) Video (12" version); set to the US 9" edit promo mix. (D: Eric Watson) ------------------------------------------------------------------------------ Pet Shop Boys: Highlights -- Pet Shop Boys On Tour [Dec 1990] live video VHS: 1990 UK (Picture Music Int'l; MVP 9912623) [PAL] VHS: 1992 UK (Music Club; VHS MC 2080) [PAL; budget reissue] 12"LD: 1991 JP (Toshiba/EMI; TOLW-3072) [NTSC] VHS: 1991 JP (Toshiba/EMI; TOVW-3072) [NTSC] VHS: 1991 US (Picture Music Int'l; P5-12623) [NTSC] 1:22 The Sound Of The Atom Splitting 5:18 It's A Sin 3:37 Shopping 4:32 Love Comes Quickly 6:49 Domino Dancing 5:25 Rent 5:19 King's Cross 4:20 It's Alright 0:10 [west end girls] [Recorded live at Wembley Arena, 1989] CDV: 1991 JP (EMI/Picture Music Int'l; TOFF-7504) [3 Jun 1991] 5:25 Rent (live version from Highlights video) VHS: 1990 US (EMI-USA; ??) [promo; "excerpts"; NTSC] 1:22 [The Sound Of The Atom Splitting] 5:18 It's A Sin 3:37 Shopping 4:20 It's Alright ------------------------------------------------------------------------------ Pet Shop Boys: Behaviour [22 Oct 1990] album Chart: UK #2, US #45 CS: 1990 UK (The Tape Gallery; n/a) [studio tape; custom slv] LP: 1990 UK (Parlophone; PCSD 113) CS: 1990 UK (Parlophone; TCPCSD 113) CD: 1990 UK (Parlophone; CDPCSD 113) LP: 1990 DE (Parlophone; 068-794310-1) LP: 1990 DE (Parlophone; 47 251-4) ["Club Edition"] CS: 1990 DE (EMI; 268 794310-4) CD: 1990 DE (EMI; 568 794310-2) LP: 1990 IT (EMI; 794310-1) CD: 1990 IT (EMI; 794310-2) CS: 1990 IT (EMI; 64-794310-4) CD: 1990 CA (Parlophone/Capitol; C2-94310) CS: 1990 US (EMI; E4-94310) [untitled prerelease promo; "PET SHOP BOYS - 'E4-94310'"] CS: 1990 US (EMI; E4-94310) ["Behavior"] CD: 1990 US (EMI-USA; CDP 794310-2) ["Behavior"] CD: 1990 US (EMI-USA; CDP 794310-2) ["Behavior" in 14x31x2cm box] LP: 1990 MX (Parlophone; 119-794310-1) [Mexico; spanish-language titles] CS: 1990 AU (EMI; TCPCSD 113) CD: 1990 AU (EMI; CDPCSD 113) CD: 1990 AT (EMI; CDPCSD113 / CDP7943102) [Austria] CD: 1990 NL (EMI; CDP 794310-2) CS: 1990 NL (EMI; 264-794310-4) LP: 1990 HK (EMI; PCSD 113) LP: 1990 NK (EMI/Kemongsa Music; PCSD 113) [North Korea] LP: 1990 PL (MJM Music; MJM-101) [x500, supposedly legitimate] CS: 1990 PL (Baron Music; BM-299) [bootleg] LP: 1990 HU (MMC; PL MMC9015) [Hungary] CS: 1990 HU (MMC; PK MMC9015) [Hungary; black cassette w/white letters] LP: 1990 ZA (EMI; EMCJ(L) 5409) LP: 1990 ES (EMI; ??) LP: 1990 AR (Parlophone; 10085) [white-label promo; spanish titles on spine, record] CS: 199? TH (Bager; B-120) [Thailand] CD: 1990 JP (EMI; TOCP-6441) [+4pp booklet, fold out lyric sheet] CD: 1995 JP (EMI; TOCP-3198) [reissue; 29 Nov 95] LP: 1990 GR (EMI; 062-7943101) CS: 1990 GR (EMI; 262-7943101) LP: 1990 CO (EMI; 11001334) [Columbia] LP: 1990 IL (Parlophone; PCSD 113) [promo; w/1-page Hebrew press release; Israel] LP: 1990 SK (EMI/Kemongsa Music Ltd; EKPL-0135) [+Insert; South Korea] 6:48 Being Boring 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:43 The End Of The World 4:47 Jealousy CS: 199? PL (Mag Magic; MM-0344) [bootleg] 6:48 Being Boring 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 4:43 The End Of The World 4:47 Jealousy LP: 199? RU (BRS; RGM 7027 10 92 M D) [Russia, bootleg?; red labels] LP: 199? PL (BRS; RGM 7027 10 92 M D) [Russia, bootleg?; red labels] 6:48 Being Boring 3:58 So Hard 5:32 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 5:17 My October Symphony 5:30 This Must Be The Place I Waited Years To Leave 4:05 Nervously 4:47 Jealousy CD: 1990 JP (EMI; TOCP-6440/BDCS-1010) [with bonus CD3] [CD: TOCP-6440] 6:48 Being Boring 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:43 The End Of The World 4:47 Jealousy [CD3: BDCS-1010] 4:30 Miserablism 4:26 Bet She's Not Your Girlfriend 9:30 This Must Be The Place I Waited Years To Leave (extended mix) [Comes in a white velvet slipcase with gold titles and a 22pp. photo and lyric booklet. This mix of "This Must Be The Place..." is unique to this release.] CS: 1991 AU (EMI; TCPCSD 113) [reissue; w/bonus cassette single] CD: 1991 AU (EMI; CDPCSD 113) [reissue; w/bonus cassette single] 6:48 Being Boring 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:43 The End Of The World 4:47 Jealousy [bonus cassingle EMI 2586-4:] 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 4:10 How Can You Expect To Be Taken Seriously? LP: 1990 RU (??; ??) [Russia] 6:48 Being Boring 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:47 Jealousy [track order here is wrong] Box: 1990 UK (Parlophone; ??) [promo press pack] [TCPCSD 113 and CDPCSD 113 in white card sleeves plus 5x5" "Pet Shop Boys" chronology booklet] Box: 1990 CA (Parlophone; ??) [promo; 6"x6" white plastic box] [Includes CD (C2-94310) and CS (C4-94310) versions of the album in white cardboard sleeves, plus oversize booklet with standard album artwork and "Pet Shop Boys Chronology"] CS+VHS: 1990 US (EMI; 4XPRO-4679) [promo box; "Excerpts"; custom sticker] 4:10 So Hard [Excerpts from album tracks; pre-release +promo VHS] CS: 1990 UK (Abbey Road Studios; n/a) [studio tape; custom ps; dated 27 Sep 1990] 6:48 Being Boring 5:30 This Must Be The Place 5:33 To Face The Truth 3:54 Seriously 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:43 End Of The World 4:47 Jealousy [Stock album mixes throughout, just abbreviated titles on some tracks] VHS: 1990 UK (PMD/TWTV; n/a) [promo; adverts for TV broadcast; PAL] 0:30 Behaviour TV advert 0:10 Behaviour TV advert [Promotional Items: Behaviour] Presskit: standard LP, 9xA4 pages chronology+1 page press sheet 2x 8"x10" promo photo in folder with standard album artwork (UK) Presskit; standard LP, booklet with comprehensive biography (UK) 40"x30" poster; album sleeve (UK) 60"x40" poster; album sleeve (UK) 14"x17" advertising boards; full colour (3 different designs) (UK) 70x84cm in-store display stand; glossy (UK) 5pc. mobile (UK) 5"x9" booklet; 8pp, photos, picture discography (JP) 12"x12" display; double-sided (US) 35"x25" poster; promo (US) ------------------------------------------------------------------------------ Pet Shop Boys: Being Boring [Nov 1990] single Chart: UK #20. 7": 1990 UK (Parlophone; R 6275) CSS: 1990 UK (Parlophone; TCR 6275) 7": 1990 DE (EMI; 006-204125-7) 7": 1990 IT (EMI; 204125-7) CSS: 1990 AU (Parlophone/EMI; 2516-4) [yellow plastic case] CD3: 1990 JP (Toshiba/EMI; TODP-2224) (+stamped promo) 4:50 Being Boring 3:59 We All Feel Better In The Dark CD5: 1990 UK (Parlophone; CDR 6275) CD5: 1993 UK (Parlophone; CDR 6275 / 204125-2) [reissue; chris-kick ps] CD5: 1990 DE (EMI; CDP 560-204125-2) [chris-kick ps; slim jewelbox] 4:50 Being Boring 3:59 We All Feel Better In The Dark 10:36 Being Boring (extended mix) 12": 1990 UK (Parlophone; 12R 6275) 12": 1990 UK (Parlophone; 12RDJ 6275) [promo] 12": 1990 DE (EMI; 060-204125-6) 12": 1990 ES (EMI; 204125-6) 12": 1990 IT (EMI; 204125-6) 12": 1990 BR (EMI; 995123-2) [Brazilian promo] 10:36 Being Boring (extended mix) 6:42 We All Feel Better In The Dark (extended mix) 12": 1990 UK (Parlophone; 12RX 6275) [b-side times mislabeled] 12": 1990 UK (Parlophone; 12RXDJ 6275) [white-label promo] 12": 1990 DE (Parlophone; 060-204126-6) CD5: 1990 DE (Parlophone; 560-204126-2) [artwork uses UK cat # "12rx6275"] 9:01 Being Boring (marshall jefferson remix) 5:18 We All Feel Better In The Dark (after hours climax) 5:18 We All Feel Better In The Dark (ambient mix) ["Being Remixed"] CSS: 1990 UK (Abbey Road; n/a) [studio tape; dated 24 Oct 1990] 9:01 Being Boring (marshall jefferson remix) ["12-inch A remix"] ["Copied in Real Time by Gordon Graham"] 7": 1990 MX (EMI; 700947) [2xA promo; "Siendo Aburrido"] 4:50 Being Boring VHS: 1991 US (EMI Video; n/a) [promo] 4:49 Being Boring (video) [Remixers: Being Boring] [Marshall Jefferson] 9:03 Being Boring (marshall jefferson remix) [Remixers: We All Feel Better In The Dark] [Steve Anderson und Dave Seaman (Brothers In Rhythm)] 5:18 We All Feel Better In The Dark (after hours climax) 5:18 We All Feel Better In The Dark (ambient mix) [Promotional Items: Being Boring] Video; Filmed in a large house on Long Island because of the Zelda Fitzgerald connection. Cameos include Neneh Cherry's brother Eli and Robert DeNiro's daughter. (D: Bruce Weber) Video (background mix); details unknown except that it's completely different from the regular video; mentioned in Record Collector article on collectable promo videos. Maybe from Jarman's "Projections" collection? ------------------------------------------------------------------------------ Pet Shop Boys: How Can You Expect To Be Taken Seriously? [1991] single CSS: 1991 US (EMI; E2-56205) [blue sleeve/mini-cassette; cat # unconfirmed] CSS: 1991 US (EMI; 4JM-50343) [blue sleeve/mini-cassette] 3:54 How Can You Expect To Be Taken Seriously? (lp version) 4:17 What Have I Done To Deserve This? 12": 1991 US (EMI; V-56204) [airport ps] 12": 1991 US (EMI; V-56204) (identical promo w/"NOT FOR SALE" on label; no sleeve) CSS: 1991 US (EMI; 4V-56204) 12": 1991 BR (EMI; 9951 243) [Brazilian] 6:03 How Can You Expect To Be Taken Seriously? (extended mix) ["12-inch mix"] 4:10 How Can You Expect To Be Taken Seriously? (perfect attitude mix) 3:05 How Can You Expect To Be Taken Seriously? (classical reprise) 9:03 Being Boring (marshall jefferson remix) ["...12" mix"] 3:59 We All Feel Better In The Dark CD5: 1991 US (EMI-USA; E2-56205) [airport ps] 3:54 How Can You Expect To Be Taken Seriously? (album version) 4:10 How Can You Expect To Be Taken Seriously? (perfect attitude mix) 3:05 How Can You Expect To Be Taken Seriously? (classical reprise) 4:18 It's Alright (7" mix) [mislabeled "5:07 trevor horn mix"] 3:59 We All Feel Better In The Dark 9:03 Being Boring (marshall jefferson remix) ["...12" mix"] [there exists a few misspressings of this item with 10 tracks of a unknown artist] 7": 1991 FR (EMI; 204291-7) 4:10 How Can You Expect To Be Taken Seriously? (perfect attitude mix) 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) ["7-inch edit"] 12": 1991 FR (Parlophone; 204254-6) [airport ps; variant pressing?] 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 6:44 Where The Streets Have No Name (extended mix) 4:26 Bet She's Not Your Girlfriend CD5: 1991 FR (Parlophone: 204254-2) [airport ps; slim jewelbox] 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 5:45 Where The Streets Have No Name (7" full length mix) 4:26 Bet She's Not Your Girlfriend 3:06 How Can You Expect To Be Taken Seriously? (classical reprise) 12": 1991 US (EMI-USA; SPRO-4727) [promo, "David Morales Mixes"] 6:48 How Can You Expect To Be Taken Seriously? (momo mix) 6:24 How Can You Expect To Be Taken Seriously? (ragga zone mix) 3:57 How Can You Expect To Be Taken Seriously? (def mix) 3:38 How Can You Expect To Be Taken Seriously? (eclipse mix) 4:10 How Can You Expect To Be Taken Seriously? (new 7" mix) CD5: 1991 US (EMI; DPRO-4698) [promo] 3:54 How Can You Expect To Be Taken Seriously? (lp version) 4:10 How Can You Expect To Be Taken Seriously? (perfect attitude mix) 6:03 How Can You Expect To Be Taken Seriously? (extended mix) ["12-inch mix"] 3:05 How Can You Expect To Be Taken Seriously? (classical reprise) 5:09 How Can You Expect To Be Taken Seriously? (perfect mood mix) 7": 1991 FR (EMI; SP-1525) [2xA promo x300; unique "umbrella" ps] 3:54 How Can You Expect To Be Taken Seriously? (lp version) 3:54 How Can You Expect To Be Taken Seriously? (lp version) ["How Can We Expect To Be Taken Seriously?"] CSS: 1991 AU (??; ??) [Reported to contain the video version] CD5: 1991 AU (??; ??) ["japan airport" ps; jewel case; does this exist?] 12": 199? HK (EMI; ??) [1-sided promo; tracks unk] [Remixers: How Can You Expect To Be Taken Seriously?] [Steve Anderson und Dave Seaman (Brothers In Rhythm)] 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 4:10 How Can You Expect To Be Taken Seriously? (perfect attitude mix) 5:09 How Can You Expect To Be Taken Seriously? (perfect mood mix) 3:05 How Can You Expect To Be Taken Seriously? (classical reprise) [David Morales] 6:48 How Can You Expect To Be Taken Seriously? (momo mix) 6:24 How Can You Expect To Be Taken Seriously? (ragga zone mix) 3:57 How Can You Expect To Be Taken Seriously? (def mix) 3:38 How Can You Expect To Be Taken Seriously? (eclipse mix) 4:10 How Can You Expect To Be Taken Seriously? (new 7" mix) [The "video version" would have the "Gotta Have Fun" quote, the piano section, and Neil saying "message for your fans"...] [Promotional Items: How Can You Expect To Be Taken Seriously?] Video; set to the Brothers In Rhythm 7" mix. (D: Liam Kan) Video (extended mix edit?); (D: Liam Kan) ------------------------------------------------------------------------------ Pet Shop Boys: Where The Streets Have No Name (I Can't Take My Eyes Off You). How Can You Expect To Be Taken Seriously? [Mar 1991] single Chart: UK #4, US #72, NL #13. 7": 1991 UK (Parlophone; R 6285) CSS: 1991 UK (Parlophone; TCR 6285) 7": 1991 DE (EMI; 006-204254-7) 7": 1991 NL (EMI; 204254-7) [does this exist separate from DE 7"?] CSS: 1991 NL (EMI; 300019-4) 7": 1991 IT (EMI; 204254-7) 7": 1991 FR (EMI; 204254-7) [keyboard ps] 7": 1991 US (EMI; ??) [custom ps] 7": 1991 AU (Parlophone/EMI; 2586-7) CSS: 1991 AU (Parlophone/EMI; TC-2586-4) [clear cassette] 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 4:10 How Can You Expect To Be Taken Seriously? (7" mix) 12": 1991 UK (Parlophone; 12R 6285) 12": 1991 DE (EMI; 060-204254-6) 12": 1991 IT (EMI; 204254-6) 12": 1991 FR (EMI; 253699-6) [keyboards ps] 12": 1991 AR (Parlophone/EMI; EMI 12R 6285 / LG 20 4254 6) [Argentine] 6:44 Where The Streets Have No Name (extended mix) 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 4:26 Bet She's Not Your Girlfriend CD5: 1991 UK (Parlophone; CDR 6285) CD5: 1993 UK (Parlophone; CDR 6285) [reissue] CD5: 1991 NL (Parlophone; 560-204254-2) [cardboard slv (early copies) Matrix: AR @ 1-1-3-NL (silver CD)] CD5: 1991 NL (Parlophone; 560-204254-2) [slim jewelbox; new art; Matrix: AR @ 1 -1-1-NL (white CD; small outer silver ring)] CD5: 1991 NL (Parlophone; 560-204254-2) [slim jewelbox; new art; Matrix: AR @ 1-1-3-NL (white CD; large outer silver ring)] CD5: 1991 NL (Parlophone; 560-204254-2) [slim jewelbox; new art; Matrix: AR @ 1-1-4-NL (white CD; large outer silver ring)] CD5: 1991 NL (Parlophone; 560-204254-2) [slim jewelbox; new art; Matrix: AR @ 1-1-5-NL (white CD; small outer silver ring)] CD5: 1991 NL (Parlophone; 560-204254-2) [slim jewelbox; new art; Matrix: AR @ 1-1-3-NL (white CD); reissued] CD5: 1991 FR (EMI; 253699-2) [keyboard ps] 5:35 Where The Streets Have No Name (7" full length mix) 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 4:26 Bet She's Not Your Girlfriend 3:06 How Can You Expect To Be Taken Seriously? (classical reprise) 12": 1991 UK (Parlophone; 12RX 6285) 12": 1991 DE (EMI; 060-204266-6) CD5: 1991 NL (EMI; 560-204266-2) [slim jewelbox] 6:24 Where The Streets Have No Name (red zone mix) ["david morales"] 6:51 How Can You Expect To Be Taken Seriously? (mo mo mix) 6:27 How Can You Expect To Be Taken Seriously? (ragga zone mix) ["Pet Shop Boys Remixed"; NL CD5: mislabels "ragga zone mix" as "perfect mood mix" on insert.] CSS: 1991 US (EMI; 4KM-50351) [2 tracks, unknown] 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 4:26 Bet She's Not Your Girlfriend 12": 1991 US (EMI; V-56217) 12": 1991 US (EMI; V-56217) (+ blue sticker) 12": 1991 US (EMI; V-56217) [test pressing; unstickered white sleeve] 7:35 Where The Streets Have No Name (12" dance mix) 4:37 Where The Streets Have No Name (sound factory mix) 6:18 Where The Streets Have No Name (red zone mix) 1:38 Where The Streets Have No Name (eclipse mix) 2:59 Where The Streets Have No Name (ska reprise) 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) CD5: 1991 US (EMI; E2-56217) [airport ps] CD5: 1991 US (EMI; E2-56217) [concert ps] 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 7:35 Where The Streets Have No Name (12" dance mix) 6:18 Where The Streets Have No Name (red zone mix) 4:26 Bet She's Not Your Girlfriend 4:07 I Want A Dog (techno funk mix) CSS: 1991 AU (EMI; ??) 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) [+track(s)] CD5: 1991 AU (??; ??) ["chris's bed" ps; does this exist?] CD3: 1991 JP (EMI; TODP-2273) 5:35 Where The Streets Have No Name (7" full length mix) 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 12": 1991 UK (Parlophone; 12RDJ 6285) [promo] 6:44 Where The Streets Have No Name (extended mix) 6:03 How Can You Expect To Be Taken Seriously? (extended mix) 5:09 How Can You Expect To Be Taken Seriously? (perfect mood mix) CSS: 1991 UK (Abbey Road Studios; n/a) [studio tape; dated 5 March 1991] 6:24 Where The Streets Have No Name (red zone mix) ["david morales"] 6:51 How Can You Expect To Be Taken Seriously? (mo mo mix) 6:27 How Can You Expect To Be Taken Seriously? (ragga zone mix) VHS: 1991 UK (Inphase Facilities; ??) [promo] Where The Streets Have No Name [video] CD5: 1991 US (EMI; DPRO-04753) [promo] 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 6:44 Where The Streets Have No Name (extended mix) ["ext version"] CD5: 1991 US (EMI; {Capitol Jax 1 C CPCP04773 51514F}) [promo] 3:58 Where The Streets Have No Name (early fade) [blank case, blank disc; cat# above is matrix number on disc] CD3: 1991 JP (??; ??) [promo] 10": 1991 UK (Abbey Road Studios; n/a) [one-sided acetate] 4:30 Where the Streets Have No Name (fade) 12": 1991 UK (Abbey Road Studios; n/a) [one-sided acetate] 6:42 Where the Streets Have No Name (12" mix) 12": 1991 FR (EMI; SP-1546) [promo x300; blue special club promo] 7:35 Where The Streets Have No Name (12" dance mix) [Remixers: Where The Streets Have No Name] [David Morales] 7:35 Where The Streets Have No Name (12" dance mix) 6:18 Where The Streets Have No Name (red zone mix) 1:38 Where The Streets Have No Name (eclipse mix) 4:37 Where The Streets Have No Name (sound factory mix) 2:59 Where The Streets Have No Name (ska reprise) [Promotional Items: Where The Streets Have No Name (I Can't Take My Eyes Off Of You)] 20"x30" poster; sleeve & 1991 tour dates, glossy (UK) 22x30cm counterstand (UK) Video; (D: Liam Kan) ------------------------------------------------------------------------------ Pet Shop Boys: Jealousy [28 May 1991] single Chart: UK #12. 10": 1991 UK (Audiodisc; n/a) [acetate] 7": 1991 UK (Parlophone; R 6283) CSS: 1991 UK (Parlophone; TCR 6283) 7": 1991 DE (EMI; 016-204224-7) CSS: 1991 AU (Parlophone; 2557-4) 4:17 Jealousy 4:35 Losing My Mind 12": 1991 UK (Parlophone; 12R 6283) 12": 1991 DE (EMI; 060-204224-6) 12": 1991 IT (EMI; 060-204224-6) [artwork uses UK cat # "12r6283"] 7:54 Jealousy (extended mix) 6:08 Losing My Mind (disco mix) CD5: 1991 UK (Parlophone; CDR 6283 / 204224-2) [ps: incorrect tracklist] CD5: 1993 UK (Parlophone; CDR 6283 / 204224-2) [ps: correct tracklist] 12": 1991 IT (EMI; 204224-6) 4:17 Jealousy (7" version) 6:08 Losing My Mind (disco mix) 7:54 Jealousy (extended mix) [Early copies of the UK CD5 were labeled (sleeve and disc) as including a 7" mix of "Losing My Mind" instead of the extended "Jealousy", but the track listing was changed at the last minute. All UK copies track as listed above, no matter how they're labeled. Most NL CD5s are reportedly mislabeled.] CD5: 1991 NL (EMI; 560-204224-2 {AR @ 1-1-3-NL}) [ps as UK] CD5: 1991 NL (EMI; 560-204224-2 {AR @ 1-1-3-NL}) [ps: pics in middle; no title] 4:17 Jealousy (7" version) 6:08 Losing My Mind (disco mix) ["Losing My Mind (7" version)"] 7:54 Jealousy (extended mix) ["Losing My Mind (disco mix)"] [incorrect tracklist on slv and label] CD5: 1991 NL (EMI; 560-204224-2 {AR @ 1 2-1-3 NL})[ps as UK] CD5: 1991 NL (EMI; 560-204224-2 {AR @ 1-1-5-NL}) [ps as UK] CD5: 1991 NL (EMI; 560-204224-2 {AR @ 2-1-1-NL}) [sleeve 2 ps as UK] 4:17 Jealousy (7" version) 4:35 Losing My Mind (7" version) 6:08 Losing My Mind (disco mix) CD5: 1991 UK (Parlophone; CDRS 6283) [gatefold sleeve] 12": 1991 DE (EMI; 060-204372-6) [uses UK cat # "CDRS 6283" in cover art] CD5: 1991 NL (EMI; 560-204372-2) ["CDRS 6283"; wrong time info] 7:54 Jealousy (extended mix) 7:23 This Must Be the Place I Waited Years To Leave (extended mix) 4:00 So Hard (eclipse mix) [Jealousy labeled as "extended version" on disc and slv] CD5: 1991 AU (??; ??) [ps: no title] 12": 1991 UK (Parlophone; 12R 6283) [promo white-label] 7:54 Jealousy (extended mix) 6:08 Losing My Mind (disco mix) 12": 1991 UK (EMI; 12RDJ 6283) [promo white-label] 6:08 Losing My Mind (disco mix) [Remixers: This Must Be The Place I Waited Years To Leave] [Julian Mendelsohn] 7:23 This Must Be the Place I Waited Years To Leave (extended mix) 9:28 This Must Be the Place I Waited Years To Leave (extended mix) [Promotional Items: Jealousy] 20"x13" poster; Neil picture, glossy (UK) 40"x60" poster; N+C picture + 1991 tour dates (UK) 12"x8" display stand; full colour (UK) 12"x8" display stand; full colour, w/digipak case stuck on (UK) Video (D: Eric Watson) ------------------------------------------------------------------------------ Pet Shop Boys: Promotion [Jun 1991] compilation video VHS: 1991 UK (Picture Music Int'l; MVR 9900943) VHS: 1991 CA (Picture Music Int'l; P5-90094) [NTSC] VHS: 1991 JP (Picture Music Int'l; TOVW-3093) 12"LD: 1991 JP (Picture Music Int'l; TOLW-3093) 4:43 Left To My Own Devices 4:19 It's Alright 6:30 So Hard (ext dance mix) 4:50 Being Boring 4:10 How Can You Expect To Be Taken Seriously? 4:30 Where The Streets Have No Name 4:15 Jealousy [Promotional Items: Promotion] 30"x20" poster; video sleeve, glossy (UK) ------------------------------------------------------------------------------ Pet Shop Boys: DJ Culture [Oct 1991] single Chart: UK #13. 7": 1991 UK (Parlophone; R 6301) CSS: 1991 UK (Parlophone; TCR 6301 / 204549-4) CSS: 1993 UK (Parlophone; TCR 6301 / 204549-2) [reissue] 7": 1991 DE (EMI; 006-204549-7) 7": 1991 IT (EMI; 204549-7) 4:13 DJ Culture 3:35 Music For Boys 12": 1991 UK (Parlophone; 12R 6301) 12": 1991 DE (EMI; 060-204549-6) 12": 1991 IT (EMI; 204549-6) 6:52 DJ Culture (extended mix) 3:35 Music For Boys 6:11 Music For Boys (part 2) CD5: 1991 UK (Parlophone; CDR 6301 / 204549-2) CD5: 1991 NL (EMI; 560-204549-2) [slim jewelbox; "CDR 6301"] CD3: 1991 JP (Toshiba/EMI; TODP-2323) [promo; long jewelbox] 4:13 DJ Culture 3:35 Music For Boys 6:52 DJ Culture (extended mix) 12": 1991 US (EMI; V-56234) ["Limited Edition"] 6:52 DJ Culture (extended mix) 4:13 DJ Culture ["short version"] 3:35 Music For Boys 6:11 Music For Boys (part 2) 12": 1991 UK (Parlophone; 12MFB 1) [promo x300 or x500; white-label; Sep 91] 3:35 Music For Boys (7" mix) 6:11 Music For Boys (part 2) 6:40 Music For Boys (chris lowe remix) [How limited this is depends on who you ask] 12": 1991 UK (Parlophone; 12MFBX 1) [2xA promo; white-label; Sep 91] 5:34 Music For Boys (part 3) 12": 1991 UK (Parlophone; 12RDJ 6301) [one-sided promo; some w/press rel] 6:52 DJ Culture (extended mix) 12": 1991 US (EMI; VNR-56240) [promo; stickered "Altern-8 Remix!"] 5:46 DJ Culture (remixed by the grid) 5:34 Music for Boys (part 3) 6:15 Overture to Performance CS: 1991 UK (Abbey Road Studios; n/a) [studio tape; custom slv] 4:13 DJ Culture 6:52 DJ Culture (extended mix) 3:35 Music For Boys (7" mix) 6:11 Music For Boys (part 2) 6:40 Music For Boys (chris lowe remix) CS: 1991 UK (Abbey Road Studios; n/a) [studio tape; custom slv; dated 15 Oct 1991] 5:46 DJ Culturemix [+other tracks] VHS: 1991 US (EMI Video; n/a) [promo; 1-trk; NTSC] 4:22 DJ Culture [Remixers: DJ Culture] [Steve Anderson und Dave Seaman (Brothers In Rhythm)] 6:52 DJ Culture (extended mix) [The Grid] 5:46 DJ Culturemix [Remixers: Music For Boys] [Chris Lowe] 6:40 Music For Boys (chris lowe remix) [Mark Archer & Chris Peat (Altern 8)] 5:34 Music For Boys (part 3) [Promotional Items: DJ Culture] Presskit; 8x10 photo, biography (UK) 60"x40" poster; horizontal, single ps (UK) Video (D: Eric Watson) ------------------------------------------------------------------------------ Pet Shop Boys: DJ Culturemix [Oct 1991] single Chart: UK #40. [This was treated as a separate release for chart purposes.] 12": 1991 UK (Parlophone; 12RX 6301) CSS: 1991 UK (Parlophone; TCRX 6301) CD5: 1991 UK (Parlophone; CDRX 6301) [Cardsleeve] CD5: 1991 UK (Parlophone; CDRX 6301) CD5: 1991 NL (Parlophone; 560-204580-2) ["CDrx 6301" in artwork] 12": 1991 DE (EMI; 204580-6) 5:46 DJ Culturemix 5:34 Music For Boys (part 3) 6:15 Overture To Performance ["Dj Culturemix"] [Songs in: Overture To Performance] 0:00 Niles speak & count, tape start 0:12 Intro 0:20 It's A Sin 0:53 Being Boring 1:31 Opportunities 2:04 So Hard 2:49 Jealousy 3:20 Suburbia 3:47 How Can You Expect To Be Taken Seriously? 4:31 What Have I Done To Deserve This? 5:03 West End Girls 5:35 Being Boring (reprise) 5:50 Suburbia (reprise) 5:58 Outro 6:13 * End Of Track * ------------------------------------------------------------------------------ Pet Shop Boys: Discography [4 Nov 1991] compilation album Chart: UK #3 2xLP: 1991 UK (Parlophone; P MTV 3) CS: 1991 UK (Parlophone; TCP MTV 3) CD: 1991 UK (Parlophone; CDP MTV 3) 2xLP: 1991 DE (EMI; 168-797994-1) CD: 1991 DE (EMI; 797994-2) CD: 2002 DE (EMI; ??) [re-issued; Mar 2002] CD: 1991 NL (EMI; CDP 797994-2) CS: 1991 NL (Parlophone; 468-797994-4) CS: 1991 FR (EMIl 797994-4) 2xLP: 1991 IT (EMI; 797994-1) CD: 1991 IT (EMI; 797994-2) CD: 1991 CA (EMI/Capitol; C2-97097) CD: 1991 US (EMI; D 105605) (Mfd. for BMG Direct Marketing Inc.) CD: 1991 US (EMI; E2-797097-2) ["The Complete Singles Collection"] CS: 1991 US (EMI; E4-97097) CD: 1991 AU (EMI; 797994-2) CD: 1991 JP (EMI; TOCP-6911) [24pp. lyric booklet w/color photos] CD: 1996 JP (EMI; TOCP-50113) ["Best of the Best"; EMI 100th Anniv.; 4 Dec 1996] CD: 2002 JP (EMI; TOCP-??) [re-issued; Mar 2002; tracktimes on back slv.] 2xLP: 1994 RU (SBA Records; 0294 06 / 0294 05) [labels accidentally reversed] 2xLP: 1991 HU (MMC; PLMMC9142) [Hungary] CS: 1991 HU (MMC; PKMMC9142) [Hungary] 2xLP: 1991 ZA (EMI; EMCJD(I)5442) [South Africa] CS: 1991 MX (EMI; 419-797994-4) [Mexico] CD: 1991 MX (EMI; 219-797994-2) [Mexico] CD: 1991 TW (EMI; CDP 797994-2) [Taiwan; p/s + obi] 2xLP: 1991 SK (EMI; EKPl-0176/0177) [South Korea; w/lyrics sheet] CD: 2000 SG (EMI; CDP-7979942 ) [Singapore, "Collector Series" box] 2xLP: 1986 EC (EMI; 303-0223/24) [Ecuador; w/english & spanish titles; reverse slv.] 3:59 West End Girls 4:17 Love Comes Quickly 3:36 Opportunities (Let's Make Lots Of Money) 4:03 Suburbia 4:59 It's A Sin 4:19 What Have I Done To Deserve This? 3:32 Rent 3:53 Always On My Mind 4:16 Heart 4:17 Domino Dancing 4:46 Left To My Own Devices 4:19 It's Alright 3:58 So Hard 4:50 Being Boring 4:30 Where The Streets Have No Name 4:15 Jealousy 4:13 DJ Culture 4:22 Was It Worth It? [All versions are 7" single mixes] CS: 199? PL (Mag Magic; MM-0577) [bootleg, "Discography vol. 2"] 4:59 It's A Sin 4:03 Suburbia 4:30 Where The Streets Have No Name 4:22 Was It Worth It? 4:46 Left To My Own Devices 4:50 Being Boring 4:15 Jealousy 4:13 DJ Culture CD: 1991 UK (Parlophone; CDPSBDJ 1) [promo; no ps] 3:49 West End Girls 4:00 Love Comes Quickly 3:31 Opportunities (Let's Make Lots Of Money) 3:55 Suburbia 4:55 It's A Sin 4:08 What Have I Done To Deserve This? 3:26 Rent 3:45 Always On My Mind 4:13 Heart 4:10 Domino Dancing 4:44 Left To My Own Devices 4:10 It's Alright 3:58 So Hard 4:29 Being Boring 4:30 Where The Streets Have No Name 4:09 Jealousy 4:05 DJ Culture 4:23 Was It Worth It? [This version includes on-disc intros of all the tracks by DJ Mark Goodier. Times differ slightly because many tracks fade early to make room for Goodier's commentary.] CD: 1991 FR (EMI; ??) [promo sampler/"Hit Music"] [Promotional Items: Discography] Presskit; photo, biography (UK) 20"x30" poster; album sleeve, glossy (UK) 60x50cm display stand; "heads" shape (UK) 60x10cm display board; album title (UK) 25x40cm display board; tracklist (UK) 12"x12" display board; double sided (US) T-shirt; white with album art (UK) Presskit; 3 8"x10" b&w pics (N, C, "Being Boring" video cast), facsimile note from Neil on textured paper (US) Presskit; 12pp. biography, b&w photo sheet w/N+C sleeve pics (US) ------------------------------------------------------------------------------ Pet Shop Boys: Videography [4 Nov 1991] compilation video VHS: 1991 UK (Picture Music Int'l; MVD 9913333) [PAL] VHS: 1991 FR (Picture Music Int'l; MDV 9913333) [SECAM] VHS: 1991 CA (Picture Music Int'l P5-13333) [NTSC] VHS: 1992 US (EMI/Picture Music Int'l; E5-1640) 12"LD: 1992 US (??; 13023-26028) [NTSC] VHS: 199? AU (EMI Australia/Video Selection Aust; 15015) [PAL] 12"LD: 1991 AT (Picture Music Int'l; LDB 9913331) [PAL] VHS: 199? PL (??; KAMA 061) [PAL; bootleg; no labels] DVD: 2000 HK (EMI; ISRC CN-D15-00-020-01/V.J6) [NTSC; bootleg; codefree; vinyl DVD box; trackmarks slip up 10-30sec] DVD: 2000 HK (EMI; ISRC CN-D15-00-020-01/V.J6) [NTSC; bootleg; codefree; jewel DVD box+inner slv] West End Girls Love Comes Quickly Opportunities (Let's Make Lots Of Money) [1985 version] Suburbia It's A Sin What Have I Done To Deserve This? Rent Always On My Mind Heart Domino Dancing Left To My Own Devices It's Alright So Hard Being Boring How Can You Expect To Be Taken Seriously? Where The Streets Have No Name Jealousy DJ Culture VHS: 1992 JP (EMI/Picture Music Int'l; TOVW-3116) [NTSC; 1 May 92; + one more vid] 12"LD: 1992 JP (EMI/Picture Music Int'l; TOLW-3116) [NTSC; + one more vid] West End Girls Love Comes Quickly Opportunities (Let's Make Lots Of Money) [1985 version] Suburbia It's A Sin What Have I Done To Deserve This? Rent Always On My Mind Heart Domino Dancing Left To My Own Devices It's Alright So Hard Being Boring How Can You Expect To Be Taken Seriously? Where The Streets Have No Name Jealousy DJ Culture Was It Worth It? VCD: 1996 UK (Picture Music Int'l; PMCD-4914442) [MPEG Video CD (CD-I/PC)] 3:54 West End Girls 4:17 Love Comes Quickly 3:42 Opportunities (Let's Make Lots Of Money) [1985 version] 5:07 Suburbia 5:01 It's A Sin 4:16 What Have I Done To Deserve This? 3:34 Rent 5:11 Always On My Mind 4:25 Heart 4:18 Domino Dancing 4:45 Left To My Own Devices 4:17 It's Alright 4:55 Being Boring 4:10 Jealousy 4:45 DJ Culture VHS: 1991 UK (Picture Music Int'l; LNSN 54491) [promo; PAL] 4:00 [Videography sales trailer] ------------------------------------------------------------------------------ Pet Shop Boys: Was It Worth It? [Dec 1991] single Chart: UK #24. 7": 1991 UK (Parlophone; R 6306) CSS: 1991 UK (Parlophone; TCR 6306) 7": 1991 DE (Parlophone; 016-204167-7) 4:22 Was It Worth It? (7") 4:11 Miserablism (7") CD5: 1991 UK (Parlophone; CDR 6306) CD5: 1993 UK (Parlophone; CDR 6306 / 204617-2) [reissue] CD5: 1991 NL (Parlophone; 204617-2) [jewel box; track order as below] 4:22 Was It Worth It? (7") 4:11 Miserablism (7") 7:12 Was It Worth It? (12") 5:15 Was It Worth It? (dub) 12": 1991 UK (Parlophone; 12R 6306) 12": 1991 DE (Parlophone; 060-204617-6) 7:12 Was It Worth It? (12" remix) 5:15 Was It Worth It? (dub version) 5:35 Miserablism (electro mix) 12": 1991 US (EMI; VNR-56243) 7:12 Was It Worth It? (12" remix) 5:15 Was It Worth It? (dub version) 5:35 Miserablism (electro mix) 4:11 Miserablism (7") 7": 1991 US (EMI; S7-57696) ["For Jukebox Only"; mixes not labeled] 5:15 Was It Worth It? (dub) 5:27 Miserablism (electro mix) CD5: 1991 US (EMI; E2-56244) 4:22 Was It Worth It? (7" mix) 7:12 Was It Worth It? (12" remix) 5:30 Miserablism (electro mix) 5:34 Music For Boys (part 3) 6:15 Overture To Performance 12": 1991 UK (Parlophone; 12RDJ 6306) [black label promo] 12": 1991 UK (Parlophone; 12RDJ 6306) [white-label promo] 7:12 Was It Worth It? (extended mix) 5:15 Was It Worth It? (dub) 12": 1991 US (EMI; ??) [promo] 5:15 Was It Worth It? (dub mix) VHS: 1991 US (EMI; n/a) [promo] 4:10 Was It Worth It? (video) [Remixers: Was It Worth It?] [Pet Shop Boys] 7:12 Was It Worth It? (12" remix) 5:15 Was It Worth It? (dub mix) [Remixers: Miserablism] [Richard Hall (Moby)] 5:35 Miserablism (electro mix) [Promotional Items: Was It Worth It?] 20"x13" poster; 4 photos inc 'video photo', glossy (UK) 60"x40" poster; Dolls & Roses design (UK) In-store mobile with a 7"x7" 'Was It Worth It?' square, Two 5" PSB figures, and the 12" sleeve. (UK) Video; Neil and Chris at a disco costume ball. ------------------------------------------------------------------------------ Pet Shop Boys: Performance '91 [1992] live video VHS: 1992 UK (Picture Music Int'l; MVD 9913383) [PAL] VHS: 1994 UK (Music Club; MC 2130) [PAL; budget reissue] 12"LD: 1992 UK (Pioneer Artists/PMI; PLMPB 00661) [PAL] VHS: 199? AU (EMI/Picture Music Int'l; 15042) VHS: 1992 CA (Picture Music Int'l; P3-91338) [NTSC] VHS: 1992 US (EMI/Picture Music Int'l; E3-33157 / 0777 733157-3 0) 12"LD: 1992 US (Pioneer Artists; PA-93-500) [NTSC] VHS: 1992 ZA (EMI; VEMCJ(MVA) 5486) 12"LD: 199? JP (??; PILP-9005) [NTSC] 4:25 The Alpine Symphony 6:25 This Must Be The Place I Waited Years To Leave 5:01 It's A Sin 4:53 Losing My Mind 7:00 What Have I Done To Deserve This? 5:52 My October Symphony 6:49 I'm Not Scared 6:49 We All Feel Better In The Dark 3:09 So Sorry I Said 3:58 Suburbia 3:58 So Hard 3:52 Opportunities (Let's Make Lots Of Money) 5:41 How Can You Expect To Be Take Seriously? 4:32 Rent 5:01 Where The Streets Have No Name 5:06 West End Girls 5:33 Jealousy 5:08 Always On My Mind 2:15 Your Funny Uncle [Filmed June 1-3 1991 at Birmingham NEC] ["Where The Streets..." deletes lyrics from "I Can't Take My Eyes Off You" for publishing reasons.] VHS: 1991 UK (In-Phase; n/a) [promo; "Rehearsal"] [Electronic Press Kit with interviews about the upcoming tour.] [Promotional Items: Performance] T-shirt; white, front: circular green logo, back: tour dates (UK) 7"x5" card; George Mott concert pic, video tracklist (UK fan club) ------------------------------------------------------------------------------ Pet Shop Boys: Go West / Forever (In Love) [1992] unreleased single [We suspect that this was planned as the original first single from Very, but forces conspired to prevent it.] CSS: 1992 UK (??; n/a) [studio tape; dated 28 Oct 1992; "CDRX6333"] 4:18 Go West (original mark stent mix) ["7-inch version"] 7:44 West End Girls (sasha remix) 5:40 Forever (In Love) (original mix) 7:03 Go West (extended dance mix) 12": 1992 UK (??; ??) [x200; 1992 christmas promo] 4:21 Go West (original mark stent mix) 5:32 Forever (In Love) (original mix) 12": 1993 UK (Abbey Road Acetate; 12RDJ 6332) [one sided studio acetate] 9:09 Go West (full length extended dance mix) [track misslabled as "Sasha-Extended Full Length"] ------------------------------------------------------------------------------ Pet Shop Boys: Can You Forgive Her? [31 May 1993] single Chart: UK #7, NL #29, US dance chart #1. CS: 1993 UK (Abbey Road Studios; n/a) [studio tape; custom inlay/label; dated 4 May 1993] 7": 1993 UK (Parlophone; R 6348) 7": 1993 UK (Parlophone; R 6348) [black label; jukebox promo] 7": 1993 UK (Parlophone; R 6348) [promo; red vinyl; only 5 exists] CSS: 1993 UK (Parlophone; TCR 6348 / 7243-8-80638-4 5) 7": 1993 DE (Parlophone; 7243-8-80638-7 6) CSS: 1993 AU (Parlophone/EMI; 880638-4) [clear cassette] CSS: 1993 FR (EMI; 880638-4) CD5: 1993 FR (Parlophone; 880672-2) CD5: 1993 NL (Parlophone; 7243-8-80672-2 5) CSS: 1993 CA (EMI; 4KM-80638) 3:56 Can You Forgive Her? 3:06 Hey Headmaster CD-R: 1993 UK (Abbey Road Acetate; "CDR 6348") [20 Apr 93; testpressing by Adam Nunn] CD5: 1993 UK (Parlophone; CDR 6348 / 7243-8-80638-2 1) [7 Jun 93] CD5: 1993 NL (Parlophone; 7243-8-80673-2 4) [slim jewelbox] CD5: 1993 IT (EMI; 880673-2) [slim jewelbox] CD5: 199? AU (Parlophone/EMI; 880638-2) 3:56 Can You Forgive Her? 3:06 Hey Headmaster 6:00 Can You Forgive Her? (rollo remix) 4:51 Can You Forgive Her? (rollo dub) ["5:15" on UK/NL/IT labels] 12": 1993 UK (Parlophone; 12R 6348) [x16000; "CYFH? Remixes"; blue egg ps] 6:00 Can You Forgive Her? (rollo remix) 4:51 Can You Forgive Her? (rollo dub) 7:28 Can You Forgive Her? (mk remix) 5:53 Can You Forgive Her? (mk dub) CD-R: 1993 UK (Abbey Road Studios; CDRS 6348) [test pressing; "by Adam Nunn"; dated 20 Mar 1993] CD5: 1993 UK (Parlophone; CDRS 6348 / 7243-8-80639-2 0) [ltd pack for 2 CDs] CD5: 1993 NL (Parlophone; 7243-8-80674-2 3) [white CD] CD5: 1993 CA (Parlophone; 7243-8-80674-2 3) CD5: 1993 ?? (Parlophone; 7243-8-80674-2 3) ["Australasia"; white cd] 7:26 Can You Forgive Her? (mk remix) 5:25 I Want To Wake Up (1993 remix) 3:25 What Keeps Mankind Alive? 5:51 Can You Forgive Her? (mk dub) 12": 1993 DE (??; ??) ["blue egg" ps] 7:26 Can You Forgive Her? (mk remix) [+tracks?] 12": 1993 IT (EMI; 7243-8-80638-6 9) [mislabeled b-side track order] 12": 1993 ES (EMI; 052-8 80638 6) 3:56 Can You Forgive Her? 3:06 Hey Headmaster 6:00 Can You Forgive Her? (rollo remix) 7:28 Can You Forgive Her? (mk remix) 12": 1993 IT (EMI; 880674-6) 3:56 Can You Forgive Her? 5:25 I Want To Wake Up (1993 remix) 3:25 What Keeps Mankind Alive? 5:51 Can You Forgive Her? (mk dub) 4:51 Can You Forgive Her? (rollo dub) 7": 1993 US (EMI; 17492) ["For Jukeboxes Only"; mixes unlabeled] 3:56 Can You Forgive Her? [album version] 5:25 I Want To Wake Up (1993 remix) CSS: 1993 US (EMI; 4KM-50461) 3:54 Can You Forgive Her? 4:04 Can You Forgive Her? (mk remix edit) 12": 1993 US (EMI; Y-56279) [unique ps: two figures w/"Grass" bg] CSS: 1993 US (EMI; 4V-56282) 6:00 Can You Forgive Her? (rollo remix) 4:51 Can You Forgive Her? (rollo dub) 3:54 Can You Forgive Her? 7:28 Can You Forgive Her? (mk remix) 5:53 Can You Forgive Her? (mk dub) CD5: 1993 US (EMI; E2-56281) CSS: 1993 US (EMI; no cat #) [promo; "PET SHOP BOYS 5/18/93"] 3:54 Can You Forgive Her? 6:00 Can You Forgive Her? (rollo remix) 4:51 Can You Forgive Her? (rollo dub) 7:28 Can You Forgive Her? (mk remix) 5:53 Can You Forgive Her? (mk dub) 5:25 I Want To Wake Up (1993 remix) CSS: 1993 US (EMI; no cat #) [promo] 3:54 Can You Forgive Her? 6:00 Can You Forgive Her? (rollo remix) 4:51 Can You Forgive Her? (rollo dub) 7:28 Can You Forgive Her? (mk remix) 5:53 Can You Forgive Her? (mk dub) CSS: 1993 CA (EMI; SPRO 760) [advance promo; black cassette with custom slv] 3:54 Can You Forgive Her? 3:54 Can You Forgive Her? 3:54 Can You Forgive Her? [repeat both sides] CD3: 1993 JP (??; TODP-2409) [display pack/inserts] 12": 1993 UK (Parlophone; 12RDJ 6348) [white-label promo] CSS: 1993 UK (Parlophone; n/a) [studio tape; custom inlay/label; dated 15 Apr 93] 6:00 Can You Forgive Her? (rollo remix) ["main master mix"] 4:51 Can You Forgive Her? (rollo dub) ["dub mix"] 12": 1993 UK (Parlophone; 12RXDJ 6348) [white-label; promo] 7:28 Can You Forgive Her? (mk remix) 5:51 Can You Forgive Her? (mk bicycle dub) 5:25 I Want To Wake Up (johnny marr 1993 remix) 5:43 I Want To Wake Up (johnny marr groove mix) VHS: 1993 UK (??; ??) [promo; 1-trk] Can You Forgive Her? CD5: 1993 US (EMI-USA; DPRO-04539) [promo] 3:56 Can You Forgive Her? 4:00 Can You Forgive Her? (mk remix edit) 3:28 Can You Forgive Her? (rollo remix edit) ["rollo dub edit"] 7": 1993 MX (??; ??) [promo; spanish titles] 3:56 Can You Forgive Her? ["?Puedes perdonarla?"] 5:03 Go West ["Vamos al oeste"] [Remixers: Can You Forgive Her?] [Mark Kinchen] 7:28 Can You Forgive Her? (mk remix) 4:00 Can You Forgive Her? (mk remix edit) 5:53 Can You Forgive Her? (mk dub) 5:51 Can You Forgive Her? (mk bicycle dub) [Rollo Armstrong & Rob Dougan] 6:00 Can You Forgive Her? (rollo remix) 3:28 Can You Forgive Her? (rollo remix edit) ["rollo dub edit"] 4:51 Can You Forgive Her? (rollo dub) [Promotional Items: Can You Forgive Her?] 14"x6" display; sticky-backed (UK) 20"x13" poster; Neil & Chris sitting in front of blue egg (UK) 12"x12" display flat; orange, tracklisting in blue lettering (UK) Counter display; die-cut, colour, N+C in pointy hats (UK) Hat; cardboard, orange & white, pointy (UK) T-shirt; natural; colour pic of N+C in pointy hats (UK) 5"x4" postcard; N+C hats/egg pic (UK fan club) Video; Costumes and design by David Fielding. (D: Howard Greenhalgh. Prod: Megan Hollister for Why Not Films Ltd.) Video (extended version) ------------------------------------------------------------------------------ Pet Shop Boys: Go West [6 Sep 1993] single Chart: UK #2, NL #5. 7": 1993 UK (Parlophone; R 6356 / 7243-8-80848-7 1) 7": 1993 UK (Parlophone; R 6356) [black label; jukebox promo] CSS: 1993 UK (Parlophone; TCR 6356 / 7243-8-80848-4 0) CSS: 1993 AU (Parlophone/EMI; 880848-4) [clear cassette] CD5: 1993 FR (Parlophone; 880849-2) CSS: 1993 FR (Parlophone; 880848-4) 7": 1993 PH (EMI; 73X419) [Phillipines] CD5: 1993 NL (EMI; 7243-8-80849-2 5) [early copies in glossy sleeve] CD3: 1993 JP (EMI; TODP-2426) [snap-pack; 22 Sep 93; +stamped promo] 5:03 Go West (album version) 5:03 Shameless 12": 1993 UK (Parlophone; 12R 6356) [33rpm] 12": 1993 IT (EMI; 880848-6) [45rpm] 12": 1993 ES (EMI; 052-880848-6) [33rpm] 10:13 Go West (ming's gone west first and second movement) 6:01 Go West (farley & heller disco mix) 6:52 Go West (kevin saunderson tribe mix) CD5: 1993 UK (Parlophone; CDR 6356 / 7243-8-80848-2 6) CD5: 1993 AU (Parlophone; 880848-2) 5:03 Go West (album version) 5:03 Shameless 10:13 Go West (ming's gone west first and second movement) CD5: 1993 NL (EMI; 7243-8-80910-2 2 {@ 1 1-1-7-NL}) [mispressing #1] 5:03 Shameless 6:01 Go West (farley & heller disco mix) 5:03 Go West CD5: 1993 NL (EMI; 7243-8-80910-2 2 {@ 2}) [mispressing #2; fairly common] 5:03 Go West 6:52 Go West (kevin saunderson tribe mix) 5:03 Go West CD5: 1993 NL (EMI; 7243-8-80910-2 2 {@ 4}) CD5: 1993 NL (EMI; 7243-8-80910-2 2 {@ 5}) 5:03 Go West 6:01 Go West (farley & heller disco mix) 6:52 Go West (kevin saunderson tribe mix) [At least one copy of {@ 4 , 4-1-8-NL} is confirmed to have the following info printed on the label of the disc itself: Tracklist: Go West/Shameless Catalog Number: CDR 6336 , 07243 8808492 5] CD5: 1993 NL (Parlophone; 7243-8-81091-2 3) ["The Remixes"] 5:03 Go West (album version) ["edit"] 10:13 Go West (ming's gone west first and second movement) 7:43 Go West (farley and heller fire island mix) 6:54 Go West (kevin saunderson trance mix) CD5: 1993 NL (Parlophone; ??) [very unconfirmed] 4:09 Go West (radio version) 6:01 Go West (farley & heller disco mix) 7:43 Go West (farley & heller fire island mix) 6:54 Go West (kevin saunderson trance mix) 7": 1993 US (EMI; 17708) 7": 1993 US (EMI; S7-17708) [jukebox promo; no ps] 5:01 Go West (album version) 3:55 Yesterday, When I Was Mad (album version) CSS: 1993 US (EMI; 4KM-58084) 4:09 Go West (radio version) 5:01 Go West (album version) 12": 1993 US (EMI; Y-58084) 10:13 Go West (ming's gone west: first and second movements) 5:03 Go West (album version) 6:01 Go West (farley & heller disco mix) 6:52 Go West (kevin saunderson tribe mix) CD5: 1993 US (EMI; E2-58084) 5:03 Go West (album version) 5:03 Shameless 10:13 Go West (ming's gone west: first and second movements) 6:01 Go West (farley & heller disco mix) 7:43 Go West (farley & heller fire island mix) 6:52 Go West (kevin saunderson tribe mix) 6:54 Go West (kevin saunderson trance mix) 12": 1993 UK (Parlophone; 12RDJ 6356) [black-label promo] 5:02 Go West (ming's gone west second movement) 6:01 Go West (farley & heller disco mix) 7:43 Go West (farley & heller fire island mix) 12": 1993 UK (Parlophone; 12RXDJ 6356) [white-label promo] 6:52 Go West (kevin saunderson tribe mix) 6:54 Go West (kevin saunderson trance mix) 10:13 Go West (ming's gone west first and second movement) CD5: 1993 UK (Parlophone; PSB-2) [promo x500; no sleeve] 5:01 Go West VHS: 1993 UK (??; ??) [promo; 1-trk] Go West 12": 1993 US (EMI; SPRO-8732) [promo x300] 12": 1993 US (Speciality Records; SPRO-8732) [test pressing] 6:00 Go West (sunny beach vocal - cold ending) 6:47 Go West (sunny beach vocal - percussion ending) 7:58 Go West (west end dub) 6:40 Go West (california dreamin' dub) ["Vocal side/Dub side"/"The Unauthorized Bootleg Mixes"; titles courtesy of Alistair Knight] CD5: 1993 US (EMI; DPRO-04619) [promo] 4:21 Go West (radio version) [mislabeled 4:09] 5:01 Go West (album version) CD5: 1993 JP (Toshiba/EMI; PCD-0417) [promo] 4:39 Go West (mings gone west first and second movement mix) 4:22 Go West (mings gone west first and second movement edit) 5:02 Go West (album version) [Rorie McIntosh reports that this has unique endings on all mixes] CSS: 1993 JP (EMI; ??) [promo; w/press release for Very] Go West [mix unknown] [Remixers: Go West] [Steve Anderson und Dave Seaman (Brothers In Rhythm)] 10:13 Go West (ming's gone west first and second movement) 4:39 Go West (mings gone west first and second movement mix) 4:22 Go West (mings gone west first and second movement edit) 5:02 Go West (ming's gone west second movement) 5:03 Go West [album version] [Terry Farley & Peter Heller (Farley & Heller)] 6:01 Go West (farley & heller disco mix) 7:43 Go West (farley & heller fire island mix) [Kevin Saunderson] 6:52 Go West (kevin saunderson tribe mix) 6:54 Go West (kevin saunderson trance mix) [Mark Stent] 4:18 Go West (original 7" mix) 7:03 Go West (extended dance mix) 9:09 Go West (full length extended dance mix) [Promotional Items: Go West] 60"x40" poster; white with Tennant/Lowe badge (UK) 12" mobile; circular, Neil on one side, Chris on the other (UK) sticker set; four different designs (UK) 2" badge set; first different designs (UK) 12"x8" counter display; shaped (UK) 16"x23" poster; N+C costume w/small headstanding N+C (UK fan club) Video; Costumes and design by David Fielding. (D: Howard Greenhalgh. Prod: Megan Hollister for Why Not Films Ltd.) Video (part 2); Essentially an extension of the end of the original "Go West" video, set to the "ming's gone west, part 2" mix. ------------------------------------------------------------------------------ Pet Shop Boys: Very [27 Sep 1993] album CS: 1993 UK (Abbey Road Studios; 0777-789721-2 9) [studio tape; dated 28 Jun 1993] LP: 1993 UK (Parlophone; ??) [white-label test pressing] LP: 1993 UK (Parlophone; PCSD 143) CS: 1993 UK (Parlophone; TCPCSD 143 / 0777-789721-4 3) CS: 1993 NL (Parlophone; 0777-789721-4 3) CS: 1993 US (EMI; E4-89721) [purple j-card in jewel box] CS: 1992 US (EMI; no cat #) [promo; black type on generic j-card] CS: 1992 US (EMI; 4PRO-89721) [promo; green type on generic j-card] LP: 1993 IT (EMI; 789721-1) LP: 1993 GR (Parlophone; PCSD 143) [Made in Greece w/"Kiss FM Athens" sticker] LP: 1993 ES (EMI; 074-7897211) [yellow ps + sticker in spanish] CS: 1993 ES (EMI; 274-7897214) [blue ps + 'Neil head silhouette' sticker in spanish] LP: 1994 RU (SBA Records; 0294 07) [yellow ps; omits "Go West"?] LP: 1994 SK (EMI/Kemongsa Music Ltd; EKPL-0342) [yellow ps; Printed in KOREA] LP: 1986 EC (EMI; 303-0287) [Ecuador; w/english & spanish titles; diff. slv.] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West CD: 1993 UK (Parlophone; CDPCSD 143) ["lego" jewel box; disc - EMI SWINDON] CD: 1993 UK (Parlophone; CDPCSD 143) ["lego" jewel box; disc - Sonopress H-2913; different graphics on label] CD: 1996 UK (Parlophone; CDPCSV 143 / 7243-854093-2 5) [mid-price reissue; "lego" ps; orange back; Sep 96] CD: 1993 DE (Parlophone; 0777-789721-2 9) CD: 1993 NL (Parlophone; 0777-789721-2 9) CD: 1996 NL (Parlophone; 7243-8-28160-2 7) [unconfirmed; please contact] CD: 1996 NL (Parlophone; 7243-8-54093-2 5) [mid-price reissue; normal jb; pink back; Sep 96] CD: 1993 CA (EMI; CDP-589721) CD: 1993 US (EMI/ERG; CDP-589721) ["lego" jewel box; some with mispressed light orange sticker] CD: 1993 US (EMI; E2-89721) [opaque orange "lego" jewel box; blue sticker] CD: 1996 US (EMI/Capitol; 7243-8-54093-2 5) [Made in the USA] CD: 1993 IT (EMI; 0777-789721-2 9) CD: 1993 JP (EMI; TOCP-7800??) (+stamped promo) [orange tray, no tracklist] CD: 1993 JP (EMI; TOCP-8065) [w/lyrics, "lego"-box, no tracklist sticker] CD: 1993 JP (EMI; TOCP-8065) [w/lyrics, white tray, tracklist sticker] CD: 1993 JP (EMI; TOCP-8065) [w/lyrics, white tray, no tracklist sticker] CD: 1997 JP (EMI; TOCP-3295) ["cool price" reissue] CD: 1999 JP (EMI; TOCP-53108) [reissue; dated 8/10/99 on the cover] CD: 199? CN (??; ??) [Chinese pirate version; Neil on balls ps] CD: 1998 MX (EMI-Mexico; 0777-789721-2 9) [reissue; normal jb] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West [indexed with following two tracks:] 2:07 [silence] 1:14 Postscript [I Believe In Ecstasy] CD+VHS: 1994 AU (EMI; 831699-2) [Boxed with "Performance" video; custom ps] [CD (7243 828160-2 7); N+C heads front and back:] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West [indexed with following two tracks:] 2:07 [silence] 1:14 Postscript [I Believe In Ecstasy] [VHS is as standard PERFORMANCE release] CD: 199? BR (Parlophone; 789721-2) [standard jewel box] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West PD: 1993 MX (EMI/DIS*COLLECCION; PCSD 143) ["Muy"; Mexican picture disc] La Podras Per Donar? / Normalmente No Haria Esta Clase De Cosa / Liberacion / Un Punto De Vista Diferente / Sonando Con La Reina / Ayer Cuando Estaba Loco / El Teatro / Uno Y Uno Son Cinco / Habler Es Un Pecado / Delincuente Jouen / Uno En Un Million / Ir Havcia El Oeste [Music as stock version, but tracklist follows English titles with Spanish titles (as noted above) in brackets. Omits "Postscript". Art is rows of Neil and Chris heads on a yellow background, b/w Go West picture and tracklist. Clear plastic sleeve.] CS: 1993 PL (Professional Communication Int'l Release; PROCOM 924) [bootleg] 5:00 Go West 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:30 One And One Make Five 3:55 Yesterday, When I Was Mad 5:10 The Theatre 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million [ps: Neil + Chris standing on balloons] CS: 1993 PL (For You; n/a) [bootleg; "Go West" ps] 5:00 Go West 3:53 One In A Million 4:49 Young Offender 4:45 To Speak Is A Sin 3:55 Yesterday, When I Was Mad 3:30 One And One Make Five 5:10 The Theatre 4:19 Dreaming Of The Queen 3:25 A Different Point Of View 4:05 Liberation CS: 1993 PL (Phoenix; 788) [bootleg; omits "The theatre"] CS: 1993 PL (Bis Records; 2494) [bootleg] [omits "One and one make five" and "To speak is a sin"] CD: 1993 ?? (Telarc; EC-D 903) [bootleg] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West 6:33 My Head Is Spinning 6:25 KDX 125 6:28 One Thing Leads To Another [labeled on back slv "PET SHOP BOYS CLVB"] [Promotional Items: Very] Presskit; yellow picture folder, color 8x10, 14pp band history (UK) Presskit; press release, two review copies, 8"x10" b&w "CYFH" pic (UK) Presskit; both-sided color A4 press release, cassette w/"Go West" (JP) 30"x20" poster; blue with picture of 'Very', glossy (UK) 30"x20" poster; yellow with PSB heads (UK) 30"x20" poster; N+C in cone hats on white bg with blue eggs; "Very Pet Shop Boys" (UK) EMI 3-page media pack w/publicity photo. (UK) Candy; Orange/white striped tube of orange powdered candy w/"dunce cap" picture on top (UK) 25"x6" display board; yellow, title (UK) Umbrella; yellow with tiny N+C heads (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Very Relentless [Sep 1993] double album 2xCD: 1993 UK (Parlophone; CDPCSDX 1431/1432 / 827171-2/827011-2) [x15,000] 2xCD: 1993 CA (EMI Music Canada; E2-27010) [folded one-sheet inserts] 2xCD: 1993 AU (??; ??) [x7000] 2xCD: 1994 US (EMI; E2-27010) [Disc 1: Very (identical to regular release)] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West [indexed with following two tracks:] 2:07 [silence] 1:14 Postscript [I Believe In Ecstasy] [Disc 2: Relentless] 6:33 My Head Is Spinning 6:19 Forever In Love 6:25 KDX 125 5:24 We Came From Outer Space 6:01 The Man Who Has Everything 6:28 One Thing Leads To Another 2xCD: 1993 UK (Parlophone; CDPCSDX 1431/1432) [Mispressing with "Relentless" on both discs. Matrix number of disc labeled as "Very" is "827011 1".] 3x12": 1993 UK (EMI; DF-118) [Relentless; promo x500; pink/yellow/blue vinyl] CSS: 1993 UK (Chop 'Em Out; PCSDX 1432 D/TS) [studio tape; dated 2 Jul 1993] CSS: 1993 UK (Abbey Road Studios; n/a) [studio tape; dated 17 Jul 1993] 6:33 My Head Is Spinning 6:19 Forever In Love 6:25 KDX 125 5:24 We Came From Outer Space 6:01 The Man Who Has Everything 6:28 One Thing Leads To Another CS: 1993 UK (Chop 'Em Out; n/a) [studio tape; custom ps] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West 6:19 Forever In Love ["The Very Pet Shop Boys Sampler"] CS: 1993 UK (EMI; no catalog #) [promo; "zebra" ps; "Relentless"] Forever In Love KDX 125 My Head Is Spinning The Man Who Has Everything We Came From Outer Space One Thing Leads To Another [31:20; all tracks mixed together] CD: 1993 JP (??; TOCP-8175) [Relentless; never released] [announced with bonus track or remixes] CS: 1993 PL (MG; MG1-106) [bootleg] 6:19 Forever In Love 6:25 KDX 125 6:01 The Man Who Has Everything 6:33 My Head Is Spinning 5:24 We Came From Outer Space 6:28 One Thing Leads To Another [Promotional Items: Relentless] 60"x40" poster; Chris 'head' on yellow background (UK) 60"x40" poster; Neil 'head' on yellow background (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Very Remixes [1994] unreleased japanese remix compilation CD: 1994 JP (??; TOCP-8189) [announced but never issued] [Slated to include remixes of: Go West / I Wouldn't Normally Do This Kind Of Thing / Can You Forgive Her? / Violence / I Want To Wake Up / West End Girls] ------------------------------------------------------------------------------ Pet Shop Boys: I Wouldn't Normally Do This Kind Of Thing [29 Nov 1993] single Chart: UK #13, US dance chart #2, NL #45. [Note: the grandballroom mix and dub are identical.] 7": 1993 UK (Parlophone; R 6370 / 7243-8-81121-7 8) 7": 1993 UK (Parlophone; R 6370) [black label; jukebox promo] CSS: 1993 UK (Parlophone; TCR 6370 / 7243-8-81121-4 7) CSS: 1993 AU (Parlophone/EMI; 881121-4) [clear cassette] 4:36 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 4:19 Too Many People [Mix is just labeled "remix"] 12": 1993 UK (Parlophone; 12R[DJ] 6370) ["...the remixes"] 12": 1993 UK (Parlophone; 12R[DJ] 6370) [white-label promo] 7:49 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 6:32 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) 7:45 West End Girls (sasha remix) 8:16 West End Girls (sasha dub) [grandballroom mix labeled "grandballroom dub"] 12": 1993 UK (Parlophone; 12RX[DJ] 6370) ["...the DJ Pierre remixes"] 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 3:49 I Wouldn't Normally Do This Kind Of Thing (wild tribal beats) 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) CD5: 1993 UK (Parlophone; CDR 6370 / 7243-8-81122-2 2) [blue ps] 4:45 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 7:49 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 6:39 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) [track 4 labeled "grandballroom dub" on CD itself] [Some releases mislabel track 5 "wild dub pitch"] CD5: 1993 UK (Parlophone; CDRS 6370 / 7243-8-81121-2 3) [rubber slv; yellow ps; 6 Dec 93] CD5: 1993 NL (EMI; 7243-8-81120-2 4) [slim jewelbox] CD5: 199? AU (EMI/Parlophone; 881120-2) 3:04 I Wouldn't Normally Do This Kind Of Thing (album mix) 4:19 Too Many People 4:58 Violence (hacienda version) 7:45 West End Girls (sasha remix) CD5: 1993 NL (EMI; 7243-8-81112-2 5) CD5: 1993 IT (EMI; 881112-2) CD3: 1993 JP (EMI; TODP-2438) [snap-pack; 23 Feb 94; *not* the sasha dub!] 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 7:45 West End girls (sasha remix) CD5: 1993 NL (EMI; 8 81??? 2) [existance unconfirmed] 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 4:19 Too Many People CD5: 1993 NL (EMI; 7243-8-81125-2 9) ["...The DJ Pierre Remixes"] 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) 12": 1993 IT (Parlophone; 7243-8-81125-6 7) 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 3:49 I Wouldn't Normally Do This Kind Of Thing (wild tribal beats) 7:45 West End Girls (sasha remix) CD5: 1993 NL (EMI; 7243-8-81270-2 8) 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 7:48 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 6:25 I Wouldn't Normally Do This Kind Of Thing (voxigen mix) ["Remixes 2"; Neil w/little Chrisses around his head; blue bkgrnd] CD5: 1993 FR (Parlophone; 881199-2) CSS: 1993 FR (Parlophone; 881112-4) 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 10:13 Go West (ming's gone west: first and second movements) 7": 1994 FR (??; ??) CD5: 1994 FR (Parlophone; 7243-8-81486-2 7) [2-sided flat wallet sleeve] 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 7:08 Absolutely fabulous (our tribe tongue-in-cheek mix) 12": 1994 IT (Parlophone; 881270-6) [b&w custom ps; Feb 94] 12": 1993 IT (Parlophone; 881270-6) [b&w custom ps; French stickers] 6:25 I Wouldn't Normally Do This Kind Of Thing (voxigen mix) 6:32 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 8:16 West End Girls (sasha dub) [grandballroom mix labeled "grandballroom dub"] CSS: 1994 US (EMI; 4KM-58122) [Jan] CD5: 1994 US (EMI; DPRO-19789) [promo; ps as commercial US CD5] 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 4:46 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") 12": 1994 US (EMI; Y-58122) [Jan 94] 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 6:30 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 7:49 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 7:45 West End Girls (sasha remix) ["sasha mix"] [grandballroom mix labeled "grandballroom dub"] CD5: 1994 US (EMI; E2-58122) [Jan 94] 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 7:48 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 7:45 West End Girls (sasha remix) ["sasha mix"] 4:58 Violence (hacienda version) 4:19 Too Many People [Do some versions have the grandballroom mix instead of wild pitch?] CD5: 1993 UK (Parlophone; CDR DJ 6370) [promo x400; custom ps] 3:59 I Wouldn't Normally Do This Kind Of Thing (beatmasters radio edit) 7:49 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) 8:22 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 6:39 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) ["beatmasters radio edit" is the 7" mix with a slightly different instrumental ending.] VHS: 1993 UK (??; ??) [promo; 1-trk] I Wouldn't Normally Do This Kind Of Thing 7": 1993 PH (EMI; n/a) [Philippines; 2xA promo; promo only label] 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) 3:04 I Wouldn't Normally Do This Kind Of Thing (album version) [Remixers: I Wouldn't Normally Do This Kind Of Thing] [P.Carter, M.Granfield and R.Walmsley (The Beatmasters)] 4:45 I Wouldn't Normally Do This Kind Of Thing (7" mix) 7:48 I Wouldn't Normally Do This Kind Of Thing (extended nude mix) [Terence Parker] 6:32 I Wouldn't Normally Do This Kind Of Thing (grandballroom mix) [Nathaniel Pierre Jones (DJ Pierre)] 7:10 I Wouldn't Normally Do This Kind Of Thing (club mix) 3:49 I Wouldn't Normally Do This Kind Of Thing (wild tribal beats) 8:29 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 7:45 I Wouldn't Normally Do This Kind Of Thing (wild pitch dub) [Gary Jones (Coconut 1)] 6:25 I Wouldn't Normally Do This Kind Of Thing (voxigen mix) [Promotional Items: I Wouldn't Normally Do This Kind Of Thing] 60"x40" poster; Neil picture (UK) 60"x40" poster; Chris picture (UK) 12"x12" display card; pale blue w/Neil (UK) 20"x13" poster; yellow Chris picture, tracklistings (UK) T-Shirt; yellow/blue N+C 12"-cover pics on front and back, L/XL (UK fan club) Video; Costumes and design by David Fielding. (D: Howard Greenhalgh. Prod: Megan Hollister for Why Not Films Ltd.) [Promotional Items: Violence (hacienda version)] Video (D: Derek Jarman) ------------------------------------------------------------------------------ Derek Jarman/Pet Shop Boys: Projections [Dec 1993] video VHS: 1993 UK (Artificial Eye; 090) ["dog" ps] [PAL] VHS: 1997 DE (Edition Salzgeber; 190) [white sleeve with pic of N+C] VHS: 1998 CA (Substance; 89890) ["dog" ps; slipcase] [NTSC] [Tour Projections:] 3:44 Opportunities 3:59 Heart 8:40 Paninaro 4:58 It's A Sin 4:28 Domino Dancing (alternative mix) 5:18 Kings Cross 3:55 Always On My Mind [Videos:] 5:00 Violence [hacienda version] 4:49 Being Boring [The "Tour Projections" are Jarman's rear-screen projections for PSB's concert tours, not actual concert or promo videos.] ------------------------------------------------------------------------------ Pet Shop Boys: Liberation [5 Apr 1994] single Chart: UK #14. [The "profiles" on the picture sleeves of some of these issues are of Neil (blue) and Chris (orange).] 7": 1994 UK (Parlophone; R 6377 / 7243-8-81305-7 8) [orange ps] 7": 1994 UK (Parlophone; R 6377 / 7243-8-81305-7 8) [blue ps] CSS: 1994 UK (Parlophone; TCR 6377 / 7243-8-82305-4 7) [orange ps; sticker] CD5: 1994 NL (Parlophone; 7243-8-81307-2 1) [blue ps] 4:06 Liberation 3:55 Decadence CD-R: 1994 UK (Abbey Road Studios; n/a) [test pressing; "by Adam Nunn"; dated 18 Mar 1994] CD5: 1994 UK (Parlophone; CDRS 6377 / 7243-8-81305-2 3) [CD1; orange ps] CD5: 1994 UK (Parlophone; CDRS 6377 / 7243-8-81305-2 3) [stickered promo] CD5: 1994 NL (Parlophone; 7243-8-81308-2 0) [slim jewelbox; orange ps] CD5: 1994 AU (Parlophone; 881308-2) [orange card ps] CD5: 1994 IT (EMI; 881308-2) [slim jewelbox; ?? ps] 4:06 Liberation 3:55 Decadence 12:26 Liberation (e smoove mix) 3:50 Liberation (e smoove 7" edit) CD5: 1994 UK (Parlophone; CDR 6377 / 7243-8-81306-2 2) [CD2; blue ps; 11 Apr 94] CD5: 1994 AU (Parlophone; 8813062) [blue card ps; "CD1"(?)] 4:30 Liberation (murk deepstrumental mix) 4:30 Liberation (oscar g's dopeassdub mix) 7:21 Young Offender (jam & spoon trip-o-matic fairy tale mix) 3:20 Decadence (unplugged mix) 2x12": 1994 UK (Parlophone; 12R 6377) [x3000; in cardboard sleeve] 2x12": 1994 UK (Parlophone; 12R-DJ6377) [promo x650; custom ps; missing barcodes] [12" #1 (Parlophone 12R 6377 1 / 12RDJ 6377):] 3:50 Liberation (e smoove 7" edit) 4:30 Liberation (murk deepstrumental mix) 4:30 Liberation (oscar g's dopeassdub mix) 2:43 Liberation (murk dirty club mix) [12" #2 (Parlophone 12R 6377 2 / 12RXDJ 6377):] 7:21 Young Offender (jam & spoon trip-o-matic fairy tale mix) 9:17 Young Offender (remix no.2) [Each disc also issued separately as promos] 2x12": 1994 IT (EMI; 881366-6) [12 Apr 94] [12" #1 (EMI 881367-6):] 3:50 Liberation (e smoove 7" edit) 4:30 Liberation (murk deepstrumental mix) 4:30 Liberation (oscar g's dopeassdub mix) 2:43 Liberation (murk dirty club mix) [12" #2 (EMI 881368-6):] 7:21 Young Offender (jam & spoon trip-o-matic fairy tale mix) 9:17 Young Offender (remix no.2) CD5: 1994 UK (Parlophone; ??) [one-track promo] VHS: 1994 UK (Parlophone; ??) [video promo with custom sleeve] [Remixers: Liberation] [Eric Miller (E-Smoove)] 12:26 Liberation (e smoove mix) 3:50 Liberation (e smoove 7" edit) [Oscar Gaeton & Ralph Falcon (Murk Boys)] 4:30 Liberation (murk deepstrumental mix) 4:30 Liberation (oscar g's dopeassdub mix) 2:43 Liberation (murk dirty club mix) 4:32 Liberation (deep vocal mix) [on Aurally 2] [Remixers: Young Offender] [Rolf Ellmer & Markus Loffel (Jam & Spoon)] 7:21 Young Offender (jam & spoon trip-o-matic fairy tale mix) 9:17 Young Offender (remix no.2) [Promotional Items: Liberation] 12"x12" display flat; double-sided (UK) 20"x13" poster; sleeve pictures of 4 formats, glossy (UK) 60"x40" poster; 'blue Neil' spinning top (UK) 60"x40" poster; 'orange Chris' spinning top (UK) T-Shirt; white, short-sleeve XL w/blue Neil logo, for UK press (x80) T-Shirt; spun-head pics, front: blue Neil, back: orange Chris, both: PET SHOP BOYS in green (UK) Video (D: Howard Greenhalgh. Prod: Megan Hollister for Why Not Films Ltd.) ------------------------------------------------------------------------------ Absolutely Fabulous (Pet Shop Boys with Jennifer Saunders and Joanna Lumley): Absolutely Fabulous [23 May 1994] single [Pulled single was originally issued 23 May; revised issue released 31 May] Chart: UK #6, AU #2. 7": 1994 UK (Spaghetti/Parlophone; ??) [withdrawn or never issued] 3:46 Absolutely Fabulous (single mix) 3:41 This Wheel's On Fire 12": 1994 UK (Spaghetti/Parlophone; ??) [withdrawn or never issued] Absolutely Fabulous [rollo remix] Absolutely Fabulous [rob d remix] Absolutely Fabulous [pet shop boys remix] CD5: 1994 UK (Spaghetti/EMI; CDR 6382) [scarce; released but pulled] CD5: 1994 UK (Spaghetti/EMI; CDR 6382) [stickered promo] 3:46 Absolutely Fabulous (single mix) ["7-inch mix"] 7:10 Absolutely Fabulous (our tribe tongue-in-cheek mix) 5:23 Absolutely Dubulous 3:41 Julie Driscoll and Adrian Edmonson: This Wheel's On Fire [Removed from the market when Julie Driscoll refused permission to include "This Wheel's On Fire".] [The sticker on the promo reads: ""ABSOLUTELY FABULOUS" BY ABSOLUTELY FABULOUS / RELEASED ON 23.5. // Having prised themselves out of the Romeo Gigli shop long enough to "cut" a record, Patsy & Edina are joined by Pet Shop Boys on the single "Absolutely Fabulous". The official Comic Relief record for 94, was written and produced by Pet Shop Boys & features dialogue from the BBC show plus specially recorded speech by Jennifer Saunders. All proceeds go to Comic Relief." Some have sticker that ends "Absolutely Fabulous indeed, sweetie!"] 7": 1994 UK (Spaghetti/EMI; R 6382 / 7243-8-81426-7 0) CSS: 1994 UK (Spaghetti/EMI; TCR 6382 / 7243-8-81426-4 9) CSS: 1994 AU (Spaghetti/EMI; 881426-4) 3:42 Absolutely Fabulous (single mix) 8:10 Absolutely Fabulous (dull soulless dance music mix) 12": 1994 UK (Spaghetti/EMI; 12R 6382) [tribe/dubu/single/dull] CD5: 1994 UK (Spaghetti/EMI; CDR 6382) [cardboard ps] CD5: 1994 NL (Spaghetti/EMI; 7243-8-81535-2 2) [slim jewel box] CD5: 1994 AU (Spaghetti/Parlophone; 881426-2) CD5: 1995 ZA (??; ??) 3:42 Absolutely Fabulous (single mix) 7:10 Absolutely Fabulous (our tribe tongue in cheek mix) 5:23 Absolutely Dubulous 8:10 Absolutely Fabulous (dull soulless dance music mix) 7": 1994 UK (Spaghetti/EMI; ??) [black label jukebox promo] [tracks unknown] [Remixers: Absolutely Fabulous] [Pet Shop Boys] 8:10 Absolutely Fabulous (dull soulless dance music mix) [Rollo Armstrong & Rob Dougan] 7:10 Absolutely Fabulous (our tribe tongue-in-cheek mix) 5:23 Absolutely Dubulous [Promotional Items: Absolutely Fabulous] 60"x40" poster; original, tracklist for withdrawn single (UK) 20"x13" poster; original, tracklist for withdrawn single (UK) 12"x12" display flat; original, tracklist for withdrawn single (UK) 20"x13" poster; revised, single ps (UK) Video; Neil and Chris in pastry-chef outfits are cavorted around by Joanna Lumley and Jennifer Saunders (as Pats and Eddi). With many clips from the TV show. PSB costumes designed by David Fielding. (D: Bob Spiers/Howard Greenhalgh. Prod: Jon Plowman/ Elizabeth Flowers.) Video (telegenics 2 remix); single version with more synth/bass drum. (For Telegenics video service.) ------------------------------------------------------------------------------ Pet Shop Boys: Yesterday, When I Was Mad [30 Aug 1994] single Chart: UK #13, US dance chart #4, NL #28. CSS: 1994 UK (Parlophone; TCR 6386 / 7243-8-81569-4 3) [no 7" released] CD5: 1994 NL (EMI; 7243-8-81633-2 3) [cardboard ps] 3:59 Yesterday, When I Was Mad (single mix) 4:28 Euroboy 12": 1994 UK (Parlophone; 12R 6386) 9:20 Yesterday, When I Was Mad (jam and spoon mix) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 6:20 Yesterday, When I Was Mad (r.a.f. zone mix - early fade) CD-R: 1994 UK (Abbey Road Studios; n/a) [test pressing; "Room 6 IJ"; dated 5 Aug 1994] CD5: 1994 UK (Parlophone; CDRS 6386 / 7243-8-81569-2 9) [CD1] CD5: 1994 NL (Parlophone; 7243-8-81632-2 4) [slim jewelbox] 3:59 Yesterday, When I Was Mad [single mix] 2:58 If Love Were All 4:53 Can You Forgive Her? (swing version) [orch. by Richard Niles] 9:20 Yesterday, When I Was Mad (jam and spoon mix) [UK CD5: "straightjacket" ps; sleeve comes with room for CD2] CD5: 1994 AU (EMI; 881673-2) [slim jewelbox; bonus track] 3:59 Yesterday, When I Was Mad [single mix] 2:58 If Love Were All 4:53 Can You Forgive Her? (swing version) [orch. by Richard Niles] 9:20 Yesterday, When I Was Mad (jam and spoon mix) 3:45 Absolutely Fabulous (single mix) CD5: 1994 UK (Parlophone; CDR 6386 / 7243-8-81570-2 5) [CD2] 4:05 Yesterday, When I Was Mad (coconut 1 mix) 6:33 Some Speculation 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 5:37 Yesterday, When I Was Mad (r.a.f. zone dub) ["back of the straightjacket" ps] CSS: 1994 AU (EMI; 881673-4) [same tracks both sides] 3:59 Yesterday, When I Was Mad (single mix) 4:28 Euroboy 3:46 Absolutely Fabulous (single mix) 12": 1994 IT (EMI; 881632-6) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 4:53 Can You Forgive Her? (swing version) 9:20 Yesterday, When I Was Mad (jam & spoon mix) 4:05 Yesterday, When I Was Mad (coconut 1 remix) 12": 1994 IT (Media Records; MR-624) [Jul 94; black ps] (+promo) 6:34 Yesterday, When I Was Mad (r.a.f. zone mix) 5:36 Yesterday, When I Was Mad (r.a.f. zone dub) 2x12": 1994 US (EMI; VV-58319) [13 Dec 94; black, stickered die-cut sleeve] [12" #1:] 9:20 Yesterday, When I Was Mad (jam & spoon mix) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) [12" #2:] 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 6:39 Yesterday, When I Was Mad (raf zone mix) 6:22 Yesterday, When I Was Mad (coconut 1 12" mix) ["8:22"] 4:28 Euroboy ["Special Limited Edition - 2 Record Set"] CD5: 1994 US (EMI; 7243-858319-2 8) [13 Dec 94] 9:20 Yesterday, When I Was Mad (jam & spoon mix) 6:22 Yesterday, When I Was Mad (coconut 1 12" mix) 6:39 Yesterday, When I Was Mad (r.a.f. zone mix) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 4:28 Euroboy 6:33 Some Speculation CD5: 1994 FR (EMI; SPCD-1759) [withdrawn promo x150] 3:55 Yesterday, When I Was Mad (album version) CSS: 1994 UK (Abbey Road Studios; n/a) [studio tape; dated 4 Jul 1994] 3:59 Yesterday, When I Was Mad [7" version] 2:58 If Love Were All 4:53 Can You Forgive Her? (swing version) 9:20 Yesterday, When I Was Mad (jam & spoon mix) 4:05 Yesterday, When I Was Mad (coconut 1 remix) 6:33 Some Speculation 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 5:37 Yesterday, When I Was Mad (r.a.f. zone dub) ["Yesterday, When I Was Mad (mixes)"] CSS: 1994 UK (Abbey Road Studios; n/a) [studio tape; dated 4 Jul 1994] 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) 6:22 Yesterday, When I Was Mad (coconut 1 12" mix) 6:39 Yesterday, When I Was Mad (r.a.f. zone mix) 4:28 Euroboy 6:33 Some Speculation ["Yesterday, When I Was Mad (cassette 2)"] CSS: 1994 UK (Abbey Road Studios; n/a) [studio tape; dated 2 August 1994] 3:59 Yesterday, When I Was Mad [7" version] 4:05 Yesterday, When I Was Mad (coconut 1 remix) 9:20 Yesterday, When I Was Mad (jam & spoon mix) 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) 6:22 Yesterday, When I Was Mad (coconut 1 12" mix) 6:39 Yesterday, When I Was Mad (r.a.f. zone mix) 5:37 Yesterday, When I Was Mad (r.a.f. zone dub) ["Yesterday, When I Was Mad (cassette 3)"] 2x12": 1994 UK (Parlophone; 12RDJ 6836) [promo] 9:20 Yesterday, When I Was Mad (jam & spoon mix) 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) 6:22 Yesterday, When I Was Mad (coconut 12" mix) 6:20 Yesterday, When I Was Mad (r.a.f. zone mix) 5:37 Yesterday, When I Was Mad (r.a.f. zone dub) 4:28 Euroboy 6:33 Some Speculation VHS: 1992 US (EMI; n/a) [promo] Yesterday, When I Was Mad (u.s. mix) [Remixers: Yesterday, When I Was Mad] [Gary Jones (Coconut 1)] 4:05 Yesterday, When I Was Mad (coconut 1 mix) 6:22 Yesterday, When I Was Mad (coconut 1 12" remix) [Rolf Ellmer & Markus Löffel (Jam & Spoon)] 3:59 Yesterday, When I Was Mad (jam & spoon mix edit/7" version) 9:20 Yesterday, When I Was Mad (jam & spoon mix) [Gianfranco Bortolotti & Mauro Picotto (R.A.F.)] 6:34 Yesterday, When I Was Mad (r.a.f. zone mix) 5:36 Yesterday, When I Was Mad (r.a.f. zone dub) [Donald Mattern (Junior Vasquez)] 9:17 Yesterday, When I Was Mad (junior vasquez fabulous dub) 8:19 Yesterday, When I Was Mad (junior vasquez factory dub) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) [Promotional Items: Yesterday, When I Was Mad] 12"x12" display flat; double-sided/glossy w/straightjacket design (UK) 20"x13" poster; Two straightjackets, track listings (UK) 60"x40" poster; Two straightjackets (UK) Video; Costumes and design by David Fielding. (D: Howard Greenhalgh. Prod: Megan Hollister for Why Not Films Ltd.) ------------------------------------------------------------------------------ Pet Shop Boys: Disco 2 [12 Sep 1994] remix compilation album LP: 1994 UK (Parlophone; PCSD 159) CS: 1994 UK (Parlophone; TC PCSD 159) CD: 1994 UK (Parlophone; CD PCSD 159) CS: 1994 UK (Parlophone; n/a) [promo; custom typed slv] CD: 1994 DE (Parlophone; 7243-828105-2 0) CD: 1994 NL (Parlophone; 7243-828105-2 0) CS: 1994 NL (Parlophone: 7243-828105-4 4) CD: 1994 ZA (EMI; CDEMCJ (WM) 5550 (8281052)) LP: 1994 IT (EMI; 828105-1) CD: 1994 IT (EMI; 828105-2) CD: 1994 CA (EMI; 7243-828105-2 0) CD: 1994 US (EMI; DPRO-19906) [advance promo CD; generic insert] LP: 1994 US (EMI; E1-28105) [20 Sep 94; "AbFab Pastry Chef" ps] CD: 1994 US (EMI; E2-28105) [20 Sep 94; "AbFab Pastry Chef" ps] CS: 1994 US (EMI; E4-28105) [20 Sep 94; "AbFab Pastry Chef" ps] CD: 199? US (EMI/BMG Music Club; D-106063) [Folded to Neil ps?] CS: 1994 ZA (EMI; L4EMCJ) [south africa] CD: 1994 JP (EMI; TOCP-8370) [ps w/obi-strip; fold out lyrics] CD: 1997 JP (EMI; TOCP-3296) ["cool price" reissue] CD: 2000 TW (EMI; 28105-2 0) [Taiwan; p/s + obi; reissue] 0:30 Absolutely Fabulous (rollo our tribe tongue-in-cheek mix) 4:15 I Wouldn't Normally... (beatmasters extended nude mix) 3:00 I Wouldn't Normally... (dj pierre wild pitch mix) 3:40 Go West (farley & heller mix) 6:09 Liberation (e smoove mix) ["e smoove 12" mix"] 2:49 So Hard (red zone mix) ["david morales red zone mix"] 4:03 Can You Forgive Her? (rollo dub) 4:55 Yesterday, When I Was Mad (junior vasquez factory dub) [mislabeled fabulous dub] 6:01 Absolutely Fabulous (rollo our tribe tongue-in-cheek mix) 2:13 Yesterday, When I Was Mad (coconut 1 12" mix) 5:02 Yesterday, When I Was Mad (jam & spoon mix) 5:22 We All Feel Better In The Dark (ambient mix) [mislabeled after hours climax] 2xCD: 1994 US (EMI; 7243-8 30852 2 4) [ltd x35,000; slimline 2xjb; 20 Sep 94] [CD1 (E2-30853):] 0:30 Absolutely Fabulous (rollo our tribe tongue-in-cheek mix) 4:15 I Wouldn't Normally... (beatmasters extended nude mix) 3:00 I Wouldn't Normally... (dj pierre wild pitch mix) 3:40 Go West (farley & heller mix) 6:09 Liberation (e smoove mix) ["e smoove 12" mix"] 2:49 So Hard (red zone mix) ["david morales red zone mix"] 4:03 Can You Forgive Her? (rollo dub) 4:55 Yesterday, When I Was Mad (junior vasquez factory dub) [mislabeled fabulous dub] 6:01 Absolutely Fabulous (rollo our tribe tongue-in-cheek mix) 2:13 Yesterday, When I Was Mad (coconut 1 12" mix) 5:02 Yesterday, When I Was Mad (jam & spoon mix) 5:22 We All Feel Better In The Dark (ambient mix) [mislabeled after hours climax] [CD2 (E2-30854):] 3:55 Decadence 6:33 Some Speculation 4:28 Euroboy 5:37 Yesterday, When I Was Mad (r.a.f. zone dub) 4:45 I Wouldn't Normally Do This Kind Of Thing (beatmasters 7") [Disc 1 Megamixed from vinyl by Danny Rampling. All tracks are edits.] [Sleeve art photos from Italian TV show "Un Disco Per L'Estate 1994" (A Song For Summertime 1994), held in the Adriatic resort city of Riccione from June 14th to 16th. PSB lip-synched Liberation on the 15th and Go West on the 16th, and on the 15th -- when the pictures were taken -- a lad jumped over the stage, kissing and hugging Neil for a few seconds before being taken away. Neil was very good at dealing with him. -Paolo] [Promotional Items: Disco 2] 30"x20" poster; album sleeve + 2 pictures, glossy (UK) 60"x40" poster; album sleeve (UK) 30"x12" display board; full colour, title (UK) 40x60cm poster; Neil + pics of Very/Discography/Intro./Disco (DE?) Presskit; two-sided A4 info sheet w/promo blurb, tracklist, b&w photo ca. 1990 (US) ------------------------------------------------------------------------------ Pet Shop Boys: Disco / Introspective [1994] double-album set 2xCD: 1994 FR (EMI France; 7243-483105-2) ------------------------------------------------------------------------------ Pet Shop Boys: Various [Mar 1995] video compilation VHS: 1995 UK (Picture Music Int'l; MVR 7243-4900293-7) VHS: 1995 UK (Picture Music Int'l; MVL 4900293) VHS: 1995 DE (Picture Music Int'l; MVL 4900293) [SECAM] 12"LD: 1995 AT (Pioneer/Pciture Music Int'l; PLMPBA 01111) [Austria] VHS: 1995 CA (Picture Music Int'l; E5 7243-4900293-7) VHS: 1995 US (Pioneer Artists; 77809) LD: 1996 US (Pioneer Artists; PA-96-576) LD: 1995 JP (Toshiba-EMI; TOLW-3211) 0:16 Introduction [N+C fly on Very lego-case boxes; unlisted] 3:54 Can You Forgive Her? 4:50 Go West 4:38 I Wouldn't Normally Do This Kind Of Thing 3:58 Liberation 3:58 Yesterday, When I Was Mad 3:42 Absolutely Fabulous 5:02 Go West (Part 2) 0:45 End Credits [unlisted] ------------------------------------------------------------------------------ Pet Shop Boys: Paninaro '95 [24 Jul 1995] single Chart: UK #15, IL #1, NL #37. CD5: 1995 UK (Parlophone; CDRS 6414) [digipak] CD5: 1995 US (EMI; E2-58369) [8 Aug 95; full jewelbox] 7:32 Paninaro '95 (pet shop boys extended remix) 7:49 Paninaro '95 (tin tin out mix) 8:30 Paninaro '95 (tracy's 12" mix) 5:40 Paninaro '95 (sharon's sexy boyz dub - early fade) 10:29 Paninaro '95 (angel moraes deep dance mix - early fade) ["PASSION LOVE SEX MONEY" cover artwork] CD5: 1995 UK (Parlophone; CDR 6414) [digipak] CD5: 1995 UK (Parlophone; CDRDJ 6414) [promo; std jb; flower ps; May 95] CD5: 1995 US (EMI; E2-58370) [8 Aug 95; full jewelbox] 4:07 Paninaro '95 4:23 In the Night (arthur baker remix) 5:04 Girls and Boys (pet shop boys live in rio) ["VIOLENCE RELIGION INJUSTICE DEATH" cover artwork] CSS: 1995 UK (Parlophone; TCR 6414) [ltd yellow cassette] CSS: 1995 AU (Parlophone/EMI; 882262-4) 4:11 Paninaro '95 4:23 In the Night (arthur baker remix) 7:32 Paninaro '95 (pet shop boys extended remix) 12": 1995 UK (Parlophone; 12RX 6414) [Neil ps] 12": 1995 UK (Parlophone; 12RDJX 6414) [promo] 8:28 Paninaro '95 (tracy's 12" mix) 5:47 Paninaro '95 (sharon's sexy boyz dub - cold ending) 7:47 Paninaro '95 (tin tin out mix) 7:32 Paninaro '95 (pet shop boys extended remix) ["Paninaro Remixes Part One"] 12": 1995 UK (Parlophone; 12R 6414) [Chris ps] 12": 1995 UK (Parlophone; 12RDJ 6414) [promo] 10:32 Paninaro '95 (angel moraes deep dance mix - cold ending) 11:49 Paninaro '95 (angel moraes girls boys in dub) 9:27 Paninaro '95 (angel moraes the hot n spycy dub) ["Paninaro Remixes Part Two"] 2x12": 1995 US (EMI; VV-58370) ["Paninaro '95" sticker; ltd; unique ps] [12" #1:] 10:32 Paninaro '95 (angel moraes deep dance mix) 11:49 Paninaro '95 (angel moraes girls boys in dub) 9:27 Paninaro '95 (angel moraes the hot and spycy dub) [12" #2:] 8:28 Paninaro '95 (tracy's 12" mix) 5:47 Paninaro '95 (sharon's sexy boyz dub) 7:47 Paninaro '95 (tin tin out mix) 7:32 Paninaro '95 (pet shop boys extended remix) CD5: 1995 NL (Parlophone/EMI; 7243-8-82269-2 9) [slim jewelbox; garden ps] CD5: 1995 IT (??; ??) [unconfirmed] CD5: 1995 AU (Parlophone; 7243-8-82269-2 9) [slim jewelbox; garden ps] 4:11 Paninaro '95 4:50 In the Night [mislabeled "arthur baker remix" on all CD5s] 5:04 Girls and Boys (pet shop boys live in rio) 7:32 Paninaro '95 (pet shop boys extended remix) CD5: 1995 NL (Parlophone; 882403-2) ["The Remixes"; white video ps] 4:07 Paninaro '95 10:32 Paninaro '95 (angel moraes deep dance mix) 11:49 Paninaro '95 (angel moraes girls boys in dub) 7:47 Paninaro '95 (tin tin out mix) 8:28 Paninaro '95 (tracy's 12" mix) [GE: Some have slight title misprint on front] CD5: 1995 NL (Parlophone; 7243-8-82268-2 0) [cardboard slv; garden ps] CD3: 1995 JP (EMI; TODP-2518) [snap pack; "4:39"; 6 Sep 95] 7": 1995 UK (Parlophone; RLH 6414) [black label jukebox promo] 4:11 Paninaro '95 4:27 In The Night (arthur baker remix) CSS: 1995 UK (EMI; ??) [studio tape] 4:08 Paninaro '95 (7") 10:32 Paninaro '95 (angel moraes deep dance mix) 11:49 Paninaro '95 (angel moraes girls boys in dub) 9:27 Paninaro '95 (angel moraes the hot and spycy dub) 7:32 Paninaro '95 (pet shop boys extended remix) 7:47 Paninaro '95 (tin tin out mix) 8:28 Paninaro '95 (tracy's 12" mix) 5:47 Paninaro '95 (sharon's sexy boyz dub) 4:23 In The Night (arthur baker remix) 5:02 Girls & Boys (pet shop boys live in rio) 7": 1995 US (EMI; S7-18736) [jukebox promo; no ps] 4:09 Paninaro '95 5:03 Girls & Boys (pet shop boys live in rio) CD5: 1995 US (EMI; DPRO-10400) [withdrawn promo; back insert only] 4:09 Paninaro '95 7:30 Paninaro '95 (extended mix) 7:47 Paninaro '95 (tin tin out mix) 8:28 Paninaro '95 (tracy's 12" mix) 10:39 Paninaro '95 (angel moraes deep dance mix) [Remixers: Paninaro '95] [Angel Moraes] 10:32 Paninaro '95 (angel moraes deep dance mix) 11:49 Paninaro '95 (angel moraes girls boys in dub) 9:27 Paninaro '95 (angel moraes the hot and spycy dub) [Darren Stokes & Lindsay Edwards (Tin Tin Out)] 7:49 Paninaro '95 (tin tin out mix) [Tom Stephan (Tracy & Sharon)] 8:28 Paninaro '95 (tracy's 12" mix) 5:47 Paninaro '95 (sharon's sexy boyz dub) [Promotional Items: Paninaro '95] 60"x40" poster; garden picture (UK) 12"x12" display flat; single-sided, garden pic w/text: PET SHOP BOYS PANINARO '95 / THE NEW SINGLE / CASSETTE AND CD PART ONE OUT NOW / CD PART TWO OUT JULY 31 / CD PART ONE: FEATURING MIXES / BY TIN TIN OUT, PET SHOP BOYS, / ANGEL MORAES AND / TRACY & SHARON. / CD PART TWO: FEATURING / PANINARO '95, IN THE NIGHT / AND GIRLS AND BOYS (UK) 13"x7" poster; garden pic, custom for HMV (UK) Video (D: Howard Greenhalgh) ------------------------------------------------------------------------------ Pet Shop Boys: Discovery Live In Rio [7 Aug 1995] live video VHS: 1995 UK (Picture Music Int'l; MVN 7243-491451-3 9) VHS: 1995 AU (EMI/Picture Music Int'l; 15139) LD: 1996 AT (Pioneer; PLMPB 01101) [Aug 96; PAL] LD: 1995 JP (Toshiba-EMI; TOLW-3217) [break after "Let's Rock"] LD: 1996 US (Pioneer Artists; PA-96-566) [Feb 1996; brk bef "Let's Rock"] DVD: 1999 HK (??; ISRC CN-F23-99-318-O/ V.J6) [NTSC; bootleg; codefree] The Man Who Has Everything (entry music) Tonight Is Forever I Wouldn't Normally Do This Kind Of Thing Always On My Mind Domino Dancing To Speak Is A Sin One In A Million/Mr. Vain Paninaro '95 Rent Suburbia Kings Cross So Hard Left To My Own Devices/Rhythm Of The Night Absolutely Fabulous Liberation West End Girls Can You Forgive Her? Girls And Boys It's A Sin/I Will Survive Go West Go West (reprise) Being Boring Ethel Merman: Together Where We Go (exit music) [96:00; Concert video recorded in Rio De Janeiro] [Promotional Items: Discovery] A4-size sales presentation card; one-sided, color, video info (cat #, release date, price etc), some info about the marketing plans, tracklisting & pic of the video slv. (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Alternative Pet Shop Boys [7 Aug 1995] compilation album 3xLP: 1995 UK (Parlophone; PCSD 166 / 7243-834023-1 1) [lenticular ps+book] 2xCD: 1995 UK (Parlophone; CDPCSD 166 / 7243-834023-2 8) [lenticular ps+book] 2xCS: 1995 UK (Parlophone; TCPCSD 166 / 7243-834023-4 2) [lenticular ps+book] 2xCD: 1995 UK (Parlophone; CDPCSDS 166 / 7243-834353-2 8) 2xCS: 1995 UK (Parlophone; TCPCSDS 166 / 7243-834353-4 0) 2xCS: 1995 NL (Parlophone; 7243-834353-4 0) 2xCD: 1995 NL (Parlophone; 7243-834023-2 8) [lenticular ps+book] 2xCD: 1995 NL (Parlophone; 7243-834353-2 6) 3xLP: 1995 US (EMI; 34023-1) [$32.98] 2xCD: 1995 US (EMI; E2-34023) [+promo] 2xCS: 1995 US (EMI; 34023-4) [cancelled?] 2xCD: 1995 US (EMI; E2-34353) [ltd x20,000; import f/UK; lenticular ps+book] 2xCD: 1995 CA (EMI; 7243-834353-2 6) 2xCD: 1995 IT (EMI; 834023 2) [limited edition, available on 24 Jul (!!)] 2xCD: 1995 JP (Toshiba/EMI; TOCP-8605/8606) [white case; bonus track; 3600Y] [CD #1:] 4:50 In The Night 4:19 A Man Could Get Arrested (12" mix) 5:18 That's My Impression (disco mix) 5:15 Was That What It Was? 4:40 Paninaro 4:32 Jack The Lad 5:52 You Know Where You Went Wrong 4:56 A New Life 4:59 I Want A Dog 5:14 Do I Have To? 4:55 I Get Excited (You Get Excited Too) 3:55 Don Juan 5:13 The Sound Of The Atom Splitting (extended version) 3:56 One Of The Crowd 2:15 Your Funny Uncle [CD #2:] 4:24 It Must Be Obvious 4:00 We All Feel Better In The Dark 4:29 Bet She's Not Your Girlfriend 4:34 Losing My Mind 3:36 Music For Boys 4:11 Miserablism 3:07 Hey, Headmaster 3:24 What Keeps Mankind Alive? 5:03 Shameless 4:17 Too Many People 4:59 Violence (hacienda version) 3:56 Decadence 2:59 If Love Were All 4:28 Euroboy 6:34 Some Speculation [JP version adds:] 5:02 Girls & Boys (pet shop boys live in rio) [Ltd version: x20000 (worldwide?)] 2xCD: 1995 JP (EMI; TOCP 8605/8606) [unreleased; first announced tracklist] [CD1:] In the Night / A Man Could Get Arrested / That's My Impression / Paninaro / Jack the Lad / You Know Where You Went Wrong / A New Life / I Want a Dog / Do I Have To / I Get Excited (You Get Excited Too) / Don Juan (final mix/version to be confirmed) / Domino Dancing demo / The Sound of the Atom Splitting (12" mix) / One of the Crowd / Your Funny Uncle / It Must Be Obvious / We All Feel Better In the Dark [CD2:] Bet She's Not Your Girlfriend / How Can You Expect to be Taken Seriously (classical reprise) / Losing My Mind / Music For Boys / Overture to Performance / Miserablism / Hey Headmaster / What Keeps Mankind Alive / Shameless / Too Many People / Violence (hacienda version) / Decadence (final mix/version to be confirmed) / If Love Were All / Can You Forgive Her (swing version) / Some Speculation CD5: 1995 DE (EMI; P-519 487) [promo sampler; picture folder; mfd NL] 4:07 Paninaro '95 ["Paninero"] 4:23 In The Night 4:57 I Want A Dog 4:33 Losing My Mind 4:08 Miserablism 5:02 Shameless 4:15 Too Many People 2xCS: 1995 US (EMI; ??) [advance promo cassette; different tracks] [Tape 1:] In The Night / A Man Could Get Arrested / That's My Impression / Was That What It Was / Paninaro / Jack The Lad / You Know Where You Went Wrong / A New Life / I Want A Dog / Do I Have To? / I Get Excited (you get excited too) / Don Juan / Don Juan (demo) / Domino Dancing / The Sound Of The Atom Splitting / One Of The Crowd [Tape 2:] Your Funny Uncle / It Must Be Obvious / We All Feel Better in the Dark / Bet She's Not Your Girlfriend / How Can You Expect To Be Taken Seriously? (classical reprise) / Losing My Mind / Music For Boys / Overture to "Performance" / Miserablism / Hey Headmaster / What Keeps Mankind Alive? / Shameless / Too Many People / Violence (hacienda version) / Decadence / Decadence (unplugged mix) / If Love Were All / Can You Forgive Her (swing version) / Euroboy / Some Speculation 2xCS: 1995 UK (Parlophone; n/a) [promo; custom sleeves] [Tape 1: 7243-834024 4(1)] 4:51 In The Night 4:19 A Man Could Get Arrested 5:18 That's My Impression 5:15 Was That What It Was? 4:40 Paninaro 4:32 Jack The Lad 5:52 You Know Where You Went Wrong 4:56 A New Life 4:59 I Want A Dog 5:14 Do I Have To? 4:55 I Get Excited (You Get Excited Too) 3:55 Don Juan 5:13 The Sound Of The Atom Splitting 3:56 One Of The Crowd 2:15 Your Funny Uncle [Tape 2: 7243-834025 4 0] 4:24 It Must Be Obvious 4:00 We All Feel Better In The Dark 4:29 Bet She's Not Your Girlfriend 4:34 Losing My Mind 3:36 Music For Boys 4:11 Miserablism 3:07 Hey, Headmaster 3:24 What Keeps Mankind Alive? 5:03 Shameless 4:17 Too Many People 4:59 Violence (hacienda version) 3:56 Decadence 2:59 If Love Were All 4:28 Euroboy 6:34 Some Speculation [came with A4 card colour gatefold sales presenter] DAT: 1995 UK (Abbey Road Studios; n/a) [DAT w/original tracks for Alternative] [Tape 1 {B-Side Compilation Part One}:] 4:53 In The Night 5:42 A Man Could Get Arrested [extended version] 4:12 That's My Impression [demo version] 5:18 Was That What It Was? 4:38 Paninaro 4:32 Jack The Lad 5:50 You Know Where You Went Wrong 4:56 A New Life 4:58 I Want A Dog 5:18 Do I Have To? 4:53 I Get Excited (You Get Excited Too) 3:55 Don Juan 4:24 Don Juan (demo) 4:50 Domino Dancing (demo) 5:14 The Sound Of The Atom Splitting 3:56 One Of The Crowd 2:15 Your Funny Uncle 4:24 It Must Be Obvious 4:00 We All Feel Better In The Dark 4:30 Bet She's Not Your Girlfriend 3:10 How Can You Expect To Be Taken Seriously (classical reprise) [Tape 2 {B-Side Compilation Part Two}:] 4:34 Losing My Mind 3:36 Music For Boys 6:20 Overture to "Performance" 4:11 Miserablism 3:02 Hey, Headmaster 3:25 What Keeps Mankind Alive? 5:04 Shameless 4:17 Too Many People 5:00 Violence (hacienda version) 3:54 Decadence 2:58 If Love Were All 4:55 Can You Forgive Her? (swing version) 4:28 Euroboy 6:39 Some Speculation [the only item the longer version of "A Man Could Get Arrested" and the demo version of "Thats My Impression" is included] [Promotional Items: Alternative] 60"x40" poster; black, Neil "fencing mask" picture (UK) 60"x40" poster; black, Chris "fencing mask" picture (UK) 60"x40" poster; black, Neil + Chris "fencing mask" pictures (UK) 12"x12" display flat; full colour (UK) 30"x20" poster; Neil + Chris "fencing mask" pictures + text (UK) 30"x20" poster; glossy, Neil's head, Chris' head below (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Please / Actually [Nov 1996] album double-pack 2xCD: 1996 AU (EMI Music Australia; 7243-814769-2 5) [gold CDs] [Please (814769-2/1):] 3:32 Two Divided By Zero 4:41 West End Girls 3:43 Opportunities (Let's Make Lots Of Money) 4:18 Love Comes Quickly 5:07 Suburbia 0:32 Opportunities (reprise) [unlisted on LP/CS] 4:30 Tonight Is Forever 3:55 Violence 4:04 I Want A Lover 2:44 Later Tonight 4:39 Why Don't We Live Together [Actually (814769-2/2):] 5:28 One More Chance 4:17 What Have I Done To Deserve This? 3:37 Shopping 5:09 Rent 4:44 Hit Music 5:17 It Couldn't Happen Here 4:59 It's A Sin 5:09 I Want To Wake Up 3:58 Heart 5:11 King's Cross [black ps w/small album pics] ------------------------------------------------------------------------------ Pet Shop Boys: Before [20 Apr 1996] single CSS: 1996 UK (Parlophone; TCR 6431 / 882809-4) 7": 1996 UK (Parlophone; RLH 6431) [Jukebox single] CD5: 1996 NL (Parlophone; 7243-8-82834-2 7) [cboard slv] CD5: 1996 FR (Parlophone; 7243-8-82834-2 7) [cboard slv] CSS: 1996 AU (Parlophone/EMI; 882809-4) 4:05 Before 3:33 The Truck Driver And His Mate CD5: 1996 UK (Parlophone; CDRDJ 6431) [promo; b+w Neil ps] CD5: 1996 UK (Parlophone; CDRS 6431 / 7243-8-82809-2 1) [withdrawn; some really exists; red penis ps] CD5: 1996 UK (Parlophone; CDRS 6431 / 7243-8-82809-2 1) [Neil ps] CD5: 1996 NL (Parlophone; 7243-8-82835-2 6) CD5: 1996 NL (Parlophone; 7243-8-82835-2 6) [withdrawn; some really exists; red penis ps; cardsleeve] CD5: 1996 FR (Parlophone; 7243-8-82835-2 6) CD5: 1996 AU (Parlophone; 7243-8-82835-2 6) 4:05 Before 3:33 The Truck Driver And His Mate 4:05 Hit And Miss 4:17 In The Night 1995 CD5: 1996 UK (Parlophone; CDR 6431 / 7243-8-82810-2 7) [Chris ps] CD5: 1996 UK (Parlophone; CDR 6431 / 7243-8-82810-2 7) [withdrawn; some really exists; blue penis ps] CD5: 1996 AU (EMI; ??) [3 Jun 96] 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) 7:33 Before (hed boys mix) 8:47 Before (extended mix) 7:15 Before (underground mix) ["Danny Tenaglia Mix"] CD5: 1996 NL (Parlophone; 7243-8-82836-2 5) [ps: yellow, Chris out/Neil in; also imported to PL] CD5: 1996 NL (Parlophone; 7243-8-82836-2 5) [withdrawn; some really exists; blue penis ps; cardsleeve] CD5: 1996 FR (Parlophone; 7243-8-82836-2 5) [ps: yellow, Chris out/Neil in] 12": 1996 ?? (EMI; 7243-8-82836-6 3) ["made in UK"] 12": 1996 IT (EMI; 882836-3) [6 May 96; ps: Neil+Chris from UK CD5s] CD5: 1996 IT (EMI; 882836-2) [6 May 96] 4:05 Before 8:47 Before (extended mix) 7:15 Before (underground mix) 7:33 Before (hed boys mix) 7:27 Before (aphrodisiac mix) 3:59 Before (bonus dub) 3x12": 1996 UK (Parlophone; 12RX 6431 / 7243-8-82899-6 2) [20 May 96] [12" #1 (7243-8-82900-6 7):] 7:15 Before (underground mix) 3:59 Before (bonus dub) 7:15 Before (underground instrumental) 3:59 Before (bonus beats) [12" #2 (7243-8-82901-6 6):] 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) [12" #3 (7243-992902-6 5):] 7:33 Before (hed boys mix) 4:53 Before (dub) 8:47 Before (extended mix) [olive drab box w/cream inner ps's] CD5: 1996 US (Atlantic; 85489-2) [Chris ps; 25 Jun 96] 4:05 Before 8:46 Before (d.t.'s after mix) 7:56 Before (classic paradise mix) 7:33 Before (hed boys mix) ["joey negro's hed boys mix"] 4:53 Before (dub) ["joey negro before dub"] 7:15 Before (underground mix) ["tenaglia's underground mix"] 3:59 Before (bonus beats) ["tenaglia's bonus beats"] 8:57 Before (d.t.'s twilo dub) 3:59 Before (bonus dub) ["tenaglia's bonus dub"] 2x12": 1996 US (Atlantic; DMD-2312) [promo; black gatefold slv; stickered] 2x12": 1996 US (Atlantic; 0-85489) 2x12": 1993 US (Speciality Records; DMD-2312) [test pressing; states "from the desk of Johnny 'D'"] 8:46 Before (d.t.'s after mix) 4:03 Before (bonus dub) ["tenaglia's bonus dub"] 7:56 Before (classic paradise mix) 4:03 Before (bonus beats) ["tenaglia's bonus beats"] 7:35 Before (hed boys mix) ["joey negro's hed boys mix"] 4:55 Before (dub) ["joey negro before dub"] 7:17 Before (underground mix) ["tenaglia's underground dub"] 8:57 Before (d.t.'s twilo dub) [promo: photos of N+C stickered inside] CSS: 1996 US (Atlantic; 4-87049) [27 Jun 96] 4:05 Before 3:33 The Truck Driver And His Mate 4:05 Hit And Miss CD5-E: 1996 US (Atlantic; 87049-2) [Neil ps; sliding tray; 5 Jul 96] 4:05 Before 3:33 The Truck Driver And His Mate 4:05 Hit And Miss [CD-Rom Content:] Before (the video) 4:05 Before [QuickTime] 3:33 The Truck Driver And His Mate [QuickTime] 4:05 Hit And Miss [QuickTime] [lyrics] 12": 1996 UK (Parlophone; 12RDJ 6431) [promo x400; red penis ps] 7:15 Before (underground mix) 3:59 Before (bonus dub) 7:15 Before (underground instrumental) 3:59 Before (bonus beats) 12": 1996 UK (Parlophone; 12RDJ 6431 {A-1-1-1 #2A}) [mispressed promo; red penis ps] 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) 7:15 Before (underground instrumental) 3:59 Before (bonus beats) 2x12": 1996 UK (Parlophone; 12RDJD 6431) [promo; 18 Mar; blue penis ps + press release] 2x12": 1996 UK (Parlophone; 12RDJD 6431) [promo; later released in blk slv + red & white sticker] [12" #1:] 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) [12" #2:] 7:33 Before (hed boys mix) 4:53 Before (dub) 8:47 Before (extended mix) 12": 1996 UK (Parlophone; 12 BARDJ 2) [promo x250; yellow/pink penises ps] 3:33 The Truck Driver And His Mate 7:56 Before (classic paradise mix) ["The Truck Driver And His Mate". ps=two yellow penises ("The Truck Driver" / "And His Mate") on a pink bg.] CD5: 1996 US (Atlantic; PRCD 6808-2) [N+C ps] 4:04 Before (album version) 4:13 Before (classic paradise mix - edit) 3:48 Before (extended mix - edit) CD-R: 1996 UK (Metropolis Mastering; n/a) [test pressing; by "MG-T"; dated 20 Mar 1996] 4:05 Before [1-trk; esprit {mail order firm} says there only 6 copies exists] CS: 1996 UK (Abbey Road Studios; n/a) [studio tape] 4:05 Before 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) 7:33 Before (hed boys mix) 4:53 Before (dub) 8:47 Before (extended mix) 7:15 Before (underground mix) 3:59 Before (bonus dub) 7:15 Before (underground instrumental) 3:59 Before (bonus beats) 3:33 The Truck Driver And His Mate 4:05 Hit And Miss [Remixers: Before] [Danny Tenaglia] 7:15 Before (underground mix) 7:15 Before (underground instrumental) 3:59 Before (bonus beats) 3:59 Before (bonus dub) 8:46 Before (d.t.'s after mix) 8:57 Before (d.t.'s twilo dub) [Andy Lee, Pete Lee, and Louise Bailey (Love To Infinity)] 7:56 Before (classic paradise mix) 7:27 Before (aphrodisiac mix) [Joey Negro] 8:47 Before (extended mix) 4:53 Before (dub) 7:33 Before (hed boys mix) [Promotional Items: Before] 60"x40" poster; Neil (UK) 60"x40" poster; Chris (UK) 12"x12" display flat; N+C pics, release info (UK) 12"x12" display flat; cream with Neil & Chris pics, tracklisting (UK) 11"x8" display flat; cream with Neil & Chris pics, title (UK) 6"x4" postcard; cream, N+C sleeve pics front, tracklists reverse (UK) Video ------------------------------------------------------------------------------ Pet Shop Boys: Se A Vida E (That's The Way Life Is) [12 Aug 96] single Chart: DE #18 CSS: 1996 UK (Parlophone; TCR 6443) CD5: 1996 NL (Parlophone; 7243-8-83194-2 3) [cardboard ps] 4:01 Se A Vida E (That's The Way Life Is) 5:18 Betrayed CD5: 1996 UK (Parlophone; CDR 6443 / 7243-8-83147-2 5) ["CD1"] CD5: 1996 UK (Parlophone; CDR DJ 6443) [promo; different slv (no drops)] CD5: 1996 NL (Parlophone; 7243-8-83147-2 5) ["CD1"] CD5: 1996 FR (Parlophone; 7243-8-83147-2 5) ["CD1"; made in HO] CD5: 1996 DE (Parlophone; 7243-8-83147-2 5) ["CD1"; made in HO; insert card] CD5: 1996 IT (EMI; 883147-2) [CD1] CD5: 1996 AU (Parlophone; CDR 6443 / 7243-8-83147-2 5) [uk ps; cd mfd in oz] CD5: 1996 JP (EMI; TOCP-8978) [full-size clear jb; obi+lyrics; 11 Nov 96] CD5: 1996 MX (Parlophone; CDR 7243-8-83147-2 5) 4:01 Se A Vida E (That's The Way Life Is) 5:18 Betrayed 4:40 How I Learned To Hate Rock'N'Roll 5:37 Se A Vida E (pink noise mix) CD5: 1996 UK (Parlophone; CDRS 6443 / 7243-8-83162-2 4) ["CD2"] CD5: 1996 NL (Parlophone; 7243-8-83162-2 4) ["CD2"] CD5: 1996 FR (Parlophone; 7243-8-83162-2 4) ["CD2"; made in HO] 12": 1996 IT (EMI; 7243-8-83162-6 2) [plain yellow slv] CD5: 1996 IT (EMI; 883162-2) [CD2] CD5: 1996 AU (Parlophone; CDRS 6443 / 7243-8-83162-2 4) [uk ps; cd mfd in oz] 7:58 Se A Vida E (mark picchiotti's deep and dark vocal) 8:40 Se A Vida E (mark picchiotti's shelter dub) 9:57 Se A Vida E (deep dish liquid mix) 11:45 Se A Vida E (deep dish dub) 2x12": 1996 UK (Parlophone; 12RD 6443) [ltd; dayglow green/yellow vinyls] [12" #1 (dayglow green vinyl):] 7:58 Se A Vida E (mark picchiotti's deep and dark vocal) 7:58 Se A Vida E (mark picchiotti's deep and dark instrumental) 8:40 Se A Vida E (mark picchiotti's shelter dub) [12" #2 (dayglow yellow vinyl):] 9:57 Se A Vida E (deep dish liquid mix) 5:37 Se A Vida E (pink noise mix) 11:45 Se A Vida E (deep dish dub) 4:01 Se A Vida E (radio mix) CD5: 1997 FR (Parlophone; 7243-8-83535-2 6) [unique ps; made in HO] 4:01 Se A Vida E (album version) 9:57 Se A Vida E (deep dish liquid mix) CD3: 1997 JP (EMI; TODP-2541) [promo; 29 Jan 97; promotes FIS World Cup Ski 96/97] 4:02 Se A Vida E 5:01 Go West (album version) 7": 1996 UK (Parlophone; RLH 6443) [black label jukebox promo] 4:01 Se A Vida E 4:05 Before ["radio edit"] 12": 1996 UK (Parlophone; 12RSDJ 6443) [promo x300?; yellow on purple ps] 7:58 Se A Vida E (mark picchiotti's deep and dark vocal) 7:58 Se A Vida E (mark picchiotti's deep and dark instrumental) 8:40 Se A Vida E (mark picchiotti's shelter dub) 12": 1996 UK (Parlophone; 12RDJ 6443) [promo x300?; yellow; purp on yel ps] 9:57 Se A Vida E (deep dish liquid mix) 5:37 Se A Vida E (pink noise mix) 11:45 Se A Vida E (deep dish dub) 4:01 Se A Vida E (radio mix) CD-R: 1996 UK (Abbey Road Studios; n/a) [test pressing] [4 tracks] [Remixers: Se A Vida E (That's The Way Life Is)] [Richard Morel] 5:37 Se A Vida E (pink noise mix) [Mark Picchiotti] 7:58 Se A Vida E (deep and dark vocal) 7:58 Se A Vida E (deep and dark instrumental) 8:40 Se A Vida E (shelter dub) [Promotional Items: Se A Vida E (That's The Way Life Is)] 60x40" poster; "Boy On Rubber Ring" (UK) 60x40" poster; "Man On Lilo" (UK) 12x12" display flat; yellow, blue & red with release details (UK) 12x12" display flat; black, yellow & red "boy" ps for CD2 (UK) 12x12" display flat; lime green; blue "splash" ps + tracklist (UK) Video; Filmed at Wet & Wild in Florida, USA. (D: Bruce Weber) ------------------------------------------------------------------------------ Pet Shop Boys: Se A Vide E (That's The Way Life Is) and To Step Aside [1 Apr 1997] single 2x12": 1997 US (Atlantic; DMD 2341) [promo; stickered slv] [12" #1] 9:07 To Step Aside (ralphi's disco vox) 8:50 To Step Aside (hasbrouk heights mix) 7:30 To Step Aside (davidson ospina dub) 7:33 To Step Aside (ralphi's old school dub) [12" #2] 7:30 To Step Aside (brutal bill mix) ["7:50"] 7:32 To Step Aside (ralphi's house vox ii) 7:58 Se A Vida E (mark picchiotti's deep & dark vocal) 9:57 Se A Vida E (deep dish liquid remix) 2x12": 1997 US (Atlantic; 85430-0) [1 Apr 97] [12" #1] 7:58 Se A Vida E (mark picchiotti's deep & dark vocal) 9:57 Se A Vida E (deep dish liquid remix) 9:07 To Step Aside (ralphi's disco vox) 8:50 To Step Aside (hasbrouk heights mix) [12" #2] 7:30 To Step Aside (davidson ospina dub) 7:33 To Step Aside (ralphi's old school dub) 7:30 To Step Aside (brutal bill mix) ["7:50"] 7:32 To Step Aside (ralphi's house vox ii) CD5: 1997 US (Atlantic; 85430-2) [1 Apr 97] 4:01 Se A Vida E (album version) 7:58 Se A Vida E (mark picchiotti's deep and dark vocal) 3:48 To Step Aside (album version) 9:07 To Step Aside (ralphi's disco vox) 2:45 The calm before the storm 5:32 Betrayed ["Se a vida E (That's the way life is) and To step aside"] 12": 1996 US (Specialty Records; DMD-2412 {STDM 86057-86058-1/STDM 86059-86060-1}) [test pressing] 12": 1996 US (WEA; DMD 2412) [test pressing x30; blank labels; some with handwritten cat#] 10:03 To Step Aside (brutal bill mix 2) ["brutal's mix"] 3:42 To Step Aside (quiet mix) 9:14 To Step Aside (ralphi's old school dub 2) ["ralph's dub"] 7:29 To Step Aside (davidson ospina dub 2) ["ospina dub"] CD-R: 1997 US (??; ??) [x15; Vinnie Vero original acetate] 8:50 To Step Aside (hasbrouck heights club mix) 4:15 To Step Aside (hasbrouck heights single mix) 9:00 To Step Aside (hasbrouck heights brazilian anthem dub) 3:42 To Step Aside (quiet mix) 3:57 To Step Aside (champagne beats) [Remixers: To Step Aside] [Ralph Rosario] 9:07 To Step Aside (ralphi's disco vox) 7:33 To Step Aside (ralphi's old school dub) 7:32 To Step Aside (ralphi's house vox 2) 9:14 To Step Aside (ralphi's old school dub 2) [Vinnie Vero] 8:50 To Step Aside (hasbrouk heights club mix) 4:15 To Step Aside (hasbrouck heights single mix) 3:42 To Step Aside (quiet mix) 9:00 To Step Aside (hasbrouck heights brazilian anthem dub) 3:57 To Step Aside (champagne beats) [Davidson Ospina] 7:30 To Step Aside (davidson ospina dub) 7:29 To Step Aside (davidson ospina dub 2) [Bill Marquez (Brutal Bill)] 7:30 To Step Aside (brutal bill mix) 10:03 To Step Aside (brutal bill mix 2) ------------------------------------------------------------------------------ Pet Shop Boys: Bilingual [2 Sep 1996] album [US release date: 3 Sep 96] Chart: Germany #7, Sweden #4 CS: 1996 UK (Parlophone; PSB TC1) [promo; diff. slv to normal release] CS: 1996 UK (Parlophone; TCPCSD170 / 7243-8-53102-4 9) LP: 1996 UK (Parlophone; PCSD 170 / 7243-8-53102-1 8) CD: 1996 UK (Parlophone; CDPCSD 170 / 7243-8-53102-2 5) [some w/promo stkr] CD: 1996 US (Atlantic; 82915-2P) [promo; "Discotecca"] CD: 1996 US (Atlantic; 82915-2) CD: 199? US (Atlantic; 82915-2) [BMG Direct edition, #D120139] CD: 1996 FR (Parlophone; 7243-8-53102-2 5) CD: 1996 FR (EMI; SPCD 1988) [french promo; no sleeve; standard 12 tracks] CD: 1996 NL (Parlophone; 7243-4-89702-4 4) [etched jewelbox] CS: 1996 NL (Parlophone; 7243-8-53102-2 5) CD: 1996 CA (Parlophone/EMI Canada; 7243-8-53102-2 5) CD: 1996 IT (EMI; 853102-2) [30 Aug 96] CD: 1996 AU (Parlophone; CDPCSD170) [light green inlay] CD: 1996 JP (EMI; TOCP-8977) [28 Aug 96; transparent obi + promo] CD: 1996 TW (EMI; 53102 2 5) [Taiwan; frosted p/s with lyrics and rice paper obi] CS: 1996 PL (EMI; 7243-8-53102-4 9) 4:37 Discoteca 3:48 Single 4:03 Metamorphosis 4:58 Electricity 4:00 Se A Vida E (That's The Way Life Is) 6:05 It Always Comes As A Surprise 5:10 A Red Letter Day 4:16 Up Against It 4:30 The Survivors 4:32 Before 3:48 To Step Aside 3:59 Saturday Night Forever CD+VHS: 1996 AU (Parlophone; CDPCSD170) [light green inlay; bonus VHS tape] [CD:] 4:37 Discoteca 3:49 Single 4:04 Metamorphosis 4:58 Electricity 4:01 Se A Vida E (That's The Way Life Is) 6:08 It Always Comes As A Surprise 5:09 A Red Letter Day 4:17 Up Against It 4:30 The Survivors 4:33 Before 3:48 To Step Aside 4:00 Saturday Night Forever [VHS tape (no catalog number):] Before Se A Vida E Being Boring CS: 1996 US (Atlantic; ??) [prerelease promo; shipped late May 1996] 4:37 Discoteca 3:48 Bilingual [original title of "Single"] 4:04 Metamorphosis 4:58 Electricity 4:01 Se A Vida E (That's The Way Life Is) 5:09 Red Letter Day 4:17 Up Against It 4:31 The Survivors 4:32 Before 3:48 To Step Aside 3:59 Saturday Night Forever CS: 1996 UK (??; ??) [prerelease promo; "That's The Way Life Is"] CD-R: 1996 UK (Metropolis Mastering; 2nd Reference) [test pressing; 10 May 1996; project "That's The Way Life Is"] 4:36 Discoteca 3:49 Bilingual [original title of "Single"] 4:30 The Survivors 4:01 Se A Vide E (That's The Way Life Is) 6:06 It Always Comes As A Surprise 4:16 Up Against It 4:32 Before 4:03 Metamorphosis [with Sylvia Mason-James] 3:48 To Step Aside 4:57 Electricity 3:50 Saturday Night Forever 5:17 Red Letter Day [This was the original planned tracklist until Chris Lowe came up with the one that was eventually released. Some mixes on this tape are slightly different from the release album as well.] CD-R: 1996 UK (Metropolis Mastering; CDPCSD 170) [test pressing; 26 July 1996; project "Billingual"] 4:37 Discoteca 3:48 Single 4:04 Metamorphosis 4:58 Electricity 4:01 Se A Vida E 6:08 It Always Comes As A Surprise 5:09 Red Letter Day 4:17 Up Against It 4:31 The Survivors 4:32 Before 3:48 To Step Aside 3:59 Saturday Night Forever [tracklistings are different to final album release, cause they changed their minds] CD-R: 1996 UK (Abbey Road Acetate; 7243-85310-2 4)[15 Aug 1996; by Dee Batten] 4:37 Discoteca 3:48 Single 4:04 Metamorphosis 4:58 Electricity 4:01 Se A Vida E 6:08 It Always Comes As A Surprise 5:09 Red Letter Day 4:17 Up Against It 4:31 The Survivors 4:32 Before 3:48 To Step Aside ["To Keep Aside"] 3:59 Saturday Night Forever CD5: 1996 UK (Parlophone; BI-LING-1) [promo sampler; "A Taste Of Bilingual"; some whitout insert] 4:43 Discoteca 4:58 Electricity 5:10 A Red Letter Day 6:05 It Always Comes As A Surprise 4:00 Se A Vida E (That's The Way Life Is) [Frosted "BILINGUAL" jewel case, folded insert; PSB CDDJ 1 catalog number appears deep in the fine print; insert same as 2-trk CD but whitout inside pictures] CD5: 1996 UK (Parlophone; PSB CDDJ 1)[promo x100?] 4:05 Before 4:01 Se A Vida é [Frosted "BILINGUAL" jewel case smaller sized to normal release, 4-page yellow folded insert] Box: 1996 UK (Parlophone; n/a) [promo; some with full CD album] [12"x8" Frosted white plastic promo box incl. 2xA4 pages biography, 3xA4 pages chronology, two 5"x7" (Neil and Chris), one 8"x10" (variable) promo photo and 5-trk promo CD (BI-LING-1)] Box: 1996 UK (Parlophone; n/a) [promo] [Frosted white vinyl promo box incl. yellow insert, 8"x10" (variable) promo + photo and full CD album] Box: 1996 UK (Parlophone; n/a) [promo x100?] [blue/yellow paper/vinyl promo box incl. 2-trk promo (CDPSB CDDJ 1), promo CSS (Parlophone; PSB TC1) + 4 pages color radio stations strategy release] Box: 1996 HU (EMI-QUINT; n/a) [promo x3] [blue/yellow paper/vinyl promo box incl. 5-trk promo CD (BI-LING-1), and full album cassette (TCPCSD170)] CD5: 1996 UK (Parlophone; CDIN 103) [promo; no sleeve; some w/transcript] 43:22 Interview [Promotional Items: Bilingual] Yellow paper folder with standard album artwork, release info in inner, catalogue on back (EU) 12"x12" display flat; yellow+white as per album sleeve (UK) 24"x7" plastic acetate name board (UK) 30"x20" poster; glossy yellow & white, 6 different pictures (UK) 32"x24" poster; glossy, CD case on blue background (UK) 24"x7" acetate strip; clear "Bilingual" (UK) Mobile; 6 pictures (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Single-Bilingual / Discoteca [11 Nov 1996] single CD-R: 1996 UK (Metropolis Mastering; n/a) [test pressing; dated 26 Sep 1996] CD-R: 1996 UK (Abbey Road; n/a) [test pressing; dated 11 Oct 1996; mastered by Allan Ramsey] CSS: 1996 UK (Parlophone; TCR 6452) [transparent yellow slv] CD5: 1996 UK (Parlophone; CDRDJ 6452) [promo; unique frosted ps] CD5: 1996 NL (Parlophone; 7243-8-83451-2 5) [bright green paper sleeve] 3:30 Single-Bilingual (7") 3:48 Discoteca (new version) CD5: 1996 UK (Parlophone; CDRS 6452) [transparent yellow slv; "CD ONE"] CD5: 1996 NL (Parlophone; 7243-8-83452-2 4) [tsp yellow slv; "CD ONE"] 3:30 Single-Bilingual (7") 3:48 Discoteca (new version) 2:46 The Calm Before The Storm 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) CD5: 1996 UK (Parlophone; CDR 6452) [transparent green slv; "CD TWO", spine: "CD1"] CD5: 1996 NL (Parlophone; 7243-8-83468-2 5) [tsp green slv; "CD TWO", spine: "CD1"] 7:02 Discoteca (psb extended mix) 4:48 Confidential (1992 demo for tina turner) 5:45 Single-Bilingual (baby doc mix) 7:19 Discoteca (baby doc mix) 12": 1996 IT (Parlophone; 883618-6) [generic slv; some promo stamped] 3:48 Discoteca (new version) 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) 7:02 Discoteca (psb extended mix) 7:19 Discoteca (baby doc mix) 12": 1996 UK (Parlophone; 12RDJ 6452) [promo; lime green ps] 7:02 Discoteca (psb extended mix) 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) 12": 1996 UK (Parlophone; 12RDJX 6452) [promo; yellow slv] 8:31 Discoteca (full length baby doc mix) 5:45 Single-Bilingual (baby doc mix) 5:33 Single-Bilingual (original baby doc mix) 12": 1996 UK (Parlophone; 12RDJX 6452) [promo; yellow slv; mispressing] [A-side (12 RDJ 6452 A-1-1-1):] 7:02 Discoteca (psb extended mix) [B-side (12 RDJX 6452 B-1-1-1):] 5:45 Single-Bilingual (baby doc mix) 5:33 Single-Bilingual (original baby doc mix) CD-R: 1996 UK (Abbey Road; ??) [promo; 11 Okt 96 loc. Room 13; Ref. CD by Alan Ramsay] 3:30 Single-Bilingual CSS: 1996 UK (Chop Em Out; ??) [promo; BASF CSS] ?:?? Single-Bilingual [faded out] ?:?? Se A Vida E [faded out] VHS: 1996 UK (Parlophone/Steve Hayes; GB-040-06-0118-0) [promo; PAL] 3:35 Single-Bilingual [Remixers: Single-Bilingual] [Baby Doc] 5:45 Single-Bilingual (baby doc mix) 5:33 Single-Bilingual (original baby doc mix) [Remixers: Discoteca] [Pet Shop Boys] 7:02 Discoteca (psb extended mix) [Ian Masterson (Trouser Enthusiasts)] 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) [Baby Doc] 8:31 Discoteca (full length baby doc mix) 7:19 Discoteca (baby doc mix) [Promotional Items: Single-Bilingual] 6"x4" postcard; front: Neil in orange seat, back: tracklisting (UK) 12"x12" display flat; tracks, date, N+C, green border, one side (UK) Video; (D: Howard Greenhalgh, Prod: Megan Hollister for Why Not Films Ltd) ------------------------------------------------------------------------------ Pet Shop Boys: Saturday Night Forever [1996] unreleased single CD-R: 1996 UK (Parlophone; ??) [possibly as few as two copies made] 3:42 Saturday Night Forever (love to infinity mix) [Remixers: Saturday Night Forever] [Andy and Pete Lee, Louise Bailey (Love To Infinity)] 3:42 Saturday Night Forever (love to infinity mix) ------------------------------------------------------------------------------ Pet Shop Boys: A Red Letter Day [17 Mar 1997] single CD-R: 1997 UK (Abbey Road Studios; n/a) [test pressing "by Tracey Jackson"; dated 24 Jan 1997] 4:33 Red Letter Day CD5: 1997 UK (Parlophone; CDRDJ 6460) [promo; Feb 97] 4:33 A Red Letter Day 5:45 The Boy Who Couldn't Keep His Clothes On CD5: 1997 NL (Parlophone; 7243-8-83712-2 3) [red ps; slim jewelbox; 3 Mar] CD5: 1997 NL (Parlophone; 7243-8-83713-2 2) [cardboard sleeve; 3 Mar] CD5: 1997 IT (EMI; 883713-2) [card sleeve] 4:28 A Red Letter Day (7" remix) 5:43 The Boy Who Couldn't Keep His Clothes On CD5: 1997 UK (Parlophone; CDR 6460) CD5: 1997 NL (Parlophone; 7243-8-83714-2 1) [different ps; some stkrd; 3 Mar] 4:28 A Red Letter Day (7" remix) 5:42 The Boy Who Couldn't Keep His Clothes On 5:00 Delusions Of Grandeur 5:34 A Red Letter Day (moscow mix) CD5: 1997 UK (Parlophone; CDRS 6460) [double sleeve; room for CD1] CD5: 1997 NL (Parlophone; 7243-8-83715-2 0) [different ps; some stkrd; 3 Mar] 9:59 A Red Letter Day (autoerotic decapitation mix) 6:54 A Red Letter Day (motiv-8 twelve inch master mix) 6:47 A Red Letter Day (basement jaxx vocal mix) 5:35 A Red Letter Day (psb extended edit) 8:01 A Red Letter Day (congo dongo dubstramental) 12": 1997 UK (Parlophone; 12R 6460) [double sleeve; N+C on inner; red vinyl] 6:07 A Red Letter Day (basement jaxx nite dub) 8:06 A Red Letter Day (congo dongo dubstramental) 8:56 The Boy Who Couldn't Keep His Clothes On (the far away dub) CD5: 1997 AU (Parlophone; 7243-8-83747-2 9) [red jewelbox; 18 Apr 97] 4:33 A Red Letter Day (radio edit) 5:42 The Boy Who Couldn't Keep His Clothes On 5:00 Delusions of Grandeur 10:04 A Red Letter Day (autoerotic decapitation mix) 6:58 A Red Letter Day (motiv 8 twelve inch master mix) 12": 1997 AU (EMI; ??) 12": 1997 IT (Parlophone; 883794-6) [white slv; no pictures] 9:59 A Red Letter Day (autoerotic decapitation mix) 6:47 A Red Letter Day (basement jaxx vocal mix) 8:01 A Red Letter Day (enthusiasts congo dongo dubstramental) 5:35 A Red Letter Day (psb extended mix) 12": 1997 UK (Parlophone; 12RDJ 6460) [promo; Feb 97] 9:58 A Red Letter Day (autoerotic decapitation mix) 7:59 A Red Letter Day (congo dongo dubstrumental) 2x12": 1997 UK (Parlophone; 12RDJ[X/Z] 6460) [promo; Feb 97] [12" #1 (Parlophone; 12RDJX 6460):] 6:46 A Red Letter Day (basement jaxx vocal mix) 7:07 A Red Letter Day (motiv 8 cyber dub mix) 10:21 The Boy Who Couldn't Keep His Clothes On (on stage at twilo) [12" #2 (Parlophone; 12RDJZ 6460):] 6:52 A Red Letter Day (motiv 8 12" master mix) 6:05 A Red Letter Day (basement jaxx nite dub) 5:35 A Red Letter Day (psb extended edit) 8:50 The Boy Who Couldn't Keep His Clothes On (the far away dub) [These seem to be frequently split up but they were issued as a double-pack.] VHS: 1997 UK (Parlophone/Steve Hayes; GB-040-96-0113) [promo; PAL; 17 Feb] 4:31 A Red Letter Day CS: 1997 UK (Abbey Road Studios; n/a) [studio tape; custom slv; dated 21 Mar 1997] 12": 1997 UK (Parlophone; 12BOYDJ 101) [promo x300; neon orange slv; Apr 97][ 12": 1997 UK (Parlophone; 12BOYDJ101) [bootleg; black slv; no space in the cat.#] 5:44 The Boy Who Couldn't Keep His Clothes On (main vocal) 6:06 The Boy Who Couldn't Keep His Clothes On (international club mix) 4:44 The Boy Who Couldn't Keep His Clothes On (banji girlfriend beats) 10:21 The Boy Who Couldn't Keep His Clothes On (on stage at twilo) 3:28 The Boy Who Couldn't Keep His Clothes On (radio edit) [Remixers: A Red Letter Day] [Steve Rodway (Motiv 8)] 6:52 A Red Letter Day (motiv 8 12" master mix) 7:07 A Red Letter Day (motiv 8 cyber dub mix) [Ian Masterson (Trouser Enthusiasts)] 9:58 A Red Letter Day (autoerotic decapitation mix) 7:59 A Red Letter Day (congo dongo dubstrumental) [Felix Radcliffe & Simon Buxton (Basement Jaxx)] 6:46 A Red Letter Day (basement jaxx vocal mix) 6:05 A Red Letter Day (basement jaxx nite dub) [Remixers: The Boy Who Couldn't Keep His Clothes On] [Pet Shop Boys] 5:44 The Boy Who Couldn't Keep His Clothes On (main vocal) 3:28 The Boy Who Couldn't Keep His Clothes On (radio edit) 6:06 The Boy Who Couldn't Keep His Clothes On (international club mix) [Danny Tenaglia] 4:44 The Boy Who Couldn't Keep His Clothes On (banji girlfriend beats) 10:21 The Boy Who Couldn't Keep His Clothes On (on stage at twilo) [Promotional Items: A Red Letter Day] 12"x4" postcard; front: red on red - "17 March Is A Red Letter Day" back: 3 b&w pictures of PSB and tracklisting (UK) 12"x12" display flat; red w/white text, six b&w pictures (UK) Video; (D: Howard Greenhalgh, P: Kate Thorne for Why Not Films Ltd) ------------------------------------------------------------------------------ Pet Shop Boys: Originals [7 Apr 1997] box set 3xCD: 1997 NL (Parlophone; 7243 856073-2 5) ["Please", "Actually", and "Behaviour" in miniature LP-style (inner and outer) sleeves, housed in a custom box.] ------------------------------------------------------------------------------ Pet Shop Boys: It Always Comes As A Surprise [1997] promo-only single CD5: 1997 BR (Parlophone; PP 0180-2) [card sleeve] 6:05 It Always Comes As A Surprise 5:10 A Red Letter Day ------------------------------------------------------------------------------- Pet Shop Boys: Talk [1997] promotional interview album CD5: 1997 UK (Parlophone; PSB 97) [w/12 pages booklet; "Pet Shop Boys Talk"] 24:34 24-track interview produced by Robin Ross ["Neil and Chris talk about Bilingual their latest album, what keeps them together and about The boy who couldn't keep his clothes on" on back] ------------------------------------------------------------------------------ Pet Shop Boys: Somewhere [23 Jun 1997] single CD-R: 1997 UK (Abbey Road Studios; n/a) [test pressing; "by Dee Batten"; dated 22 May 1997] CSS: 1997 UK (Parlophone; TCR 6470) [card pic slv] CD5: 1997 UK (Parlophone; CDRDJ 6470) [promo; grey outer slv] 4:44 Somewhere (7" version) 4:44 Somewhere (orchestral version) 3:45 The View From Your Balcony [Sticker on promos: "Released 23rd June / For their first live UK dates in 6 years the PSB's play at London's Savoy Theatre for 15 nights: 5th June - 21st June Excluding 8th and 15th. 'Bilingual' and a remix album will be released on 9th July. They are currently writing their first stage musical with playwright Jonathan Harvey, to be staged late 1998"] CD5: 1997 UK (Parlophone; CDRS 6470) [blue CD] CD5: 1997 NL (Parlophone; 7243-8-84275-2 4) [blue CD, full Chris ps] CD5: 1997 AU (Parlophone/EMI; 884275-2) 4:44 Somewhere 3:45 The View From Your Balcony 7:00 To Step Aside (ralphi's old school dub - edit) 9:24 Somewhere (forthright vocal mix) CD5: 1997 UK (Parlophone; CDR 6470) [yellow CD] CD5: 1997 NL (Parlophone; 7243-8-84276-2 3) [yellow CD, full Neil ps] 4:44 Somewhere (orchestral version) 4:06 Disco Potential 10:39 Somewhere (trouser enthusiasts mix) 5:34 Somewhere (forthright dub) 7": 1997 UK (Parlophone; RLH 6470) [black label jukebox promo] 4:44 Somewhere 4:01 Se A Vida E (That's The Way Life Is) 12": 1997 IT (EMI; 7423-8-84296-6 5) [white sleeve with holes] 10:55 Somewhere (extended mix) 3:43 The View From Your Balcony 4:41 Somewhere (7" edit) 4:41 Somewhere (orchestral version) CD5: 1997 IT (EMI; 84262-2) [blue cd; card pic slv] CD5: 1997 NL (Parlophone; 7243-8-84262-2 0) [blue cd; glossy cardb slv] 4:40 Somewhere (7" version) 4:40 Somewhere (orchestral version) CD5: 1997 JP (EMI/Toshiba; TOCP-40062) [10 Sep 97; white logo ps; w/lyrics] 4:42 Somewhere (single version) 4:41 Somewhere (orchestral version) 9:22 Somewhere (forthright vocal mix) ["forthright vocal version"] 10:37 Somewhere (trouser enthusiasts mix) 9:22 Somewhere (forthright vocal mix) ["forthright club mix"] 10:53 Somewhere (extended mix) 5:32 Somewhere (forthright dub) [the forthright vocal mix and the forthright club mix are indentical] 12": 1997 US (WEA Manufacturing; DMD-2429) [test pressing] 10:37 Somewhere (trouser enthusiasts mix) 4:40 Somewhere (orchestral version) 9:22 Somewhere (forthright vocal mix) ["forthright club mix"] 5:32 Somewhere (forthright dub mix) 2x12": 1997 US (Atlantic; DMD-2429) [promo; Aug? 97; silver stkr w/blue text] 2x12": 1997 US (Atlantic; 84033-0) [28 Oct 97] [12" #1 ({STDM 86838-29-1}/{STDM 86840-41-1}):] 10:37 Somewhere (trouser enthusiasts mix) 4:40 Somewhere (orchestral version) 9:22 Somewhere (forthright vocal mix) ["forthright club mix"] 5:32 Somewhere (forthright dub mix) [12" #2 ({STDM 86844-45-1}/{STDM 86842-43-1}):] 6:57 A Red Letter Day (motiv 8 12" master mix) 6:50 A Red Letter Day (basement jaxx vocal mix) 5:38 A Red Letter Day (psb extended edit) ["psb extended"] 10:04 A Red Letter Day (trouser enthusiasts autoerotic decapitation mix) ["10:59"] CD5: 1997 US (Atlantic; 2-84033) [full ps with pics of N+C; 28 Oct 97] 4:44 Somewhere (7" version) ["album version"] 10:39 Somewhere (trouser enthusiasts mix) 4:28 A Red Letter Day (7" remix) ["album version"] 10:04 A Red Letter Day (trouser enthusiasts autoerotic decapitation mix) 3:45 The View From Your Balcony 5:00 Delusions Of Grandeur 2x12": 1997 UK (Parlophone; 12RDJD 6470) [promo; "Remixed"; psb logo slv] [12" #1:] 9:16 Somewhere (forthright club mix) 10:39 Somewhere (trouser enthusiasts mix) 7:50 To Step Aside (brutal bill mix) [12" #2:] 7:34 Somewhere (forthright dub - full length) 7:37 To Step Aside (ralphi's old school dub) 7:30 To Step Aside (davidson ospina dub) CD5: 1997 UK (Metropolis Mastering; n/a) [test pressing titled "For Approval"; dated 17 Apr 1997] CSS: 1997 UK (Abbey Road Studios; n/a) [studio tape] 4:39 Somewhere (7" version) 4:39 Somewhere (orchestral mix) 10:54 Somewhere (extended mix) 3:43 The View From Your Balcony ["Copied in Real Time by Adam Nunn at Abbey Road Studios on 28/04/97."] 12": 1997 US (Parlophone; BOO 1001) [bootleg; iffy sound quality] 10:39 Somewhere (trouser enthusiasts mix) 7:34 Somewhere (forthright dub - full length version) 7:33 To Step Aside (ralphi's old school dub) 7:30 To Step Aside (davidson ospina dub) CD5: 1997 FR (Parlophone/EMI; SPCD 2134) [promo; yellow card slv] 4:05 Somewhere (orchestra-free edit) CD-R: 1997 UK (Metropolis Mastering; n/a) [for approval CD 1&2; dated 22 May 1997] 4:39 Somewhere (7" version) 3:43 The View From Your Balcony 7:00 To Step Aside (ralphi's old school dub - edit) 9:22 Somewhere (forthright vocal mix) 4:39 Somewhere (orchestral mix) 4:06 Disco Potential 10:39 Somewhere (trouser enthusiasts mix) 5:32 Somewhere (forthright dub mix) CD-R: 1997 DE (Parlophone; n/a) [Maarweg Studios] 3:22 Somewhere (radio edit) ??: 1997 ?? (??; ??) [Early mix with "Hand On Heart"] [Remixers: Somewhere] [Pet Shop Boys] 4:44 Somewhere (7" version) 10:53 Somewhere (extended mix) [Ian Masterson (Trouser Enthusiasts)] 10:39 Somewhere (trouser enthusiasts mix) [Pete Gleadall (Forthright)] 9:24 Somewhere (forthright vocal mix) 5:34 Somewhere (forthright dub) [the forthright vocal mix and the forthright club mix are indentical!!!] [Promotional Items: Somewhere] 12x12" display flat; black w/color N+C pics, white text, one side (UK) 60x40" poster; black w/color N+C pics, title, release date (UK) ------------------------------------------------------------------------------ Pet Shop Boys: Bilingual - The Special Edition [7 July 1997] album 2xCD: 1997 UK (Parlophone; CDPCSDX 170) [slimline double jewelbox in sleeve] 2xCD: 1997 NL (Parlophone; 7243-8-59258-2 5) [14 Jul 97] 4:37 Discoteca 3:48 Single 4:03 Metamorphosis 4:58 Electricity 4:00 Se A Vida E (That's The Way Life Is) 6:05 It Always Comes As A Surprise 5:10 A Red Letter Day 4:16 Up Against It 4:30 The Survivors 4:32 Before 3:48 To Step Aside 3:59 Saturday Night Forever [Bonus CD:] 10:53 Somewhere (extended mix) 9:59 A Red Letter Day (trouser enthusiasts autoerotic decapitation mix) 7:30 To Step Aside (brutal bill mix) 7:56 Before (classic paradise mix) 6:06 The Boy Who Couldn't Keep His Clothes On (international club mix) 5:37 Se A Vida E (pink noise mix) 9:30 Discoteca (trouser enthusiasts adventure beyond the stellar empire mix) 2xCD: 1997 JP (Parlophone/EMI; TOCP 50307/08) [sleeved slimline box; lyrics; 3 Sep] [CD #1 (TOCP-50307):] 4:37 Discoteca 3:49 Single 4:04 Metamorphosis 4:58 Electricity 4:01 Se A Vida E (That's The Way Life Is) 6:08 It Always Comes As A Surprise 5:09 A Red Letter Day 4:17 Up Against It 4:30 The Survivors 4:33 Before 3:48 To Step Aside 4:00 Saturday Night Forever [CD #2 (TOCP-50308):] 10:53 Somewhere (extended mix) 10:04 A Red Letter Day (trouser enthusiasts' autoerotic decapitation mix) 7:50 To Step Aside (brutal bill mix) 7:56 Before (classic paradise mix) 6:06 The Boy Who Couldn't Keep His Clothes On (international club mix) 5:37 Se A Vida E (pink noise mix) 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) 7:02 Discoteca (psb extended mix) 7:47 Paninaro 95 (tin tin out mix) CS: 1997 UK (Parlophone; n/a) [promo; custom printed inlay] 10:53 Somewhere (extended mix) 10:04 A Red Letter Day (trouser enthusiasts' autoerotic decapitation mix) 7:30 To Step Aside (brutal bill mix) 7:56 Before (classic paradise mix) 6:04 The Boy Who Couldn't Keep His Clothes On (international club mix) 5:35 Se A Vida E (pink noise mix) 9:30 Discoteca (trouser enthusiasts' adventures beyond the stellar empire mix) ------------------------------------------------------------------------------ Pet Shop Boys: Somewhere - Pet Shop Boys In Concert - Live At Savoy Theatre [1997] live video VHS: 1997 UK (Game Entertainment Group; GEG 201) VHS: 1997 DE (Eagle Rock; 74321537453) VHS: 1997 JP (??; ??) DVD: 1997 DE (MAWA Film & Medien; 4-009750-300145) [5" jewel box; reg 2; "HiFi Stereo"] DVD: 1998 DE (MAWA Film & Medien; 4-020974-400787) [5" jewel box diff ps; reg 2] DVD: 1998 DE (MAWA Film & Medien; 40068) [Amray keepcase] DVD: 1999 US (Eagle Rock; ID 9069 EREDVD22)) DVD: 1999 HK (??; ISRC CN-K03-99-0022-00/V.J6) [NTSC; bootleg; codefree] 2xVCD: 1998 HK (Panorama; PMVCD-808063) The Dress Rehearaal Opening Night Yesterday, When I Was Mad The Truck Driver And His Mate Se A Vida E (That's The Way Life Is) Hallo Spaceboy To Step Aside Go West The Theatre It's A Sin/I Will Survive Discoteca Can You Forgive Her? Somewhere Rent Being Boring Left To My Own Devices. Interview [Recorded live at the Savoy Theatre, June 1997] VHS: 1997 UK (Parlophone/Steve Hayes; GB-040-97-0044) [promo; PAL] VHS: 1997 UK (Parlophone/Klones; GB-040-97-0044) [promo; PAL] VHS: 1997 UK (Pirate prods./Psbp Ltd.; GB-040-97-0044) [promo; PAL] 5:02 Somewhere (tour promo) [Interviews with the cast and crew, not a performance of the song. D: Annie Griffith, P: Caroline Levy for Pirate Productions] ------------------------------------------------------------------------------- Pet Shop Boys: About Pet Shop Boys [1997] interview double album 2xCD: 1997 UK (Pet Shop Boys Partnership Ltd.; PSBFC01A/PSBFC01B) [CD #1:] 61:20 BBC Radio One Interview (part one) [CD #1:] 60:28 BBC Radio One Interview (part two) [Pet Shop Boys Fan Club released; paper trifold sleeve] ------------------------------------------------------------------------------ Pet Shop Boys: It Doesn't Often Snow At Christmas [Dec 1997] fanclub single CD5: 1997 UK (Pet Shop Boys Partnership; PSB97) [fan club members only] 3:57 It Doesn't Often Snow At Christmas 4:00 It Doesn't Often Snow At Christmas (instrumental) [A 5" clear disc with silver 3" CD embedded in centre. Silver area has artwork to look like a snowflake. Clear area contains the message "Happy holidays from Pet Shop Boys" in small white lettering] CD-R: 1997 UK (Chop 'Em Out; n/a) [test pressing; custom ps] 3:57 It Doesn't Often Snow At Christmas ["radio mix 1"] 4:00 It Doesn't Often Snow At Christmas ["radio mix 2"; no greetings; "4:06"] ------------------------------------------------------------------------------ Pet Shop Boys: The Greatest [29 Apr 1998] unreleased compilation album CD: 1998 JP (Toshiba-EMI; TOCP-51059) [all information unconfirmed] 3:47 Opportunities (original 7 inch mix) 6:26 In The Night (remix) 4:42 Domino Dancing (alternate version) 4:39 Paninaro (original version) 10:39 Being Boring (psb disco mix) 3:35 Two Divided By Zero (lp version) 6:29 West End Girls (original dance version) 6:48 Love Comes Quickly (stephen hague mix) 4:48 That's My Impression (original mix) 7:06 Rent (12 inch mix) 4:46 It's Alright (10 inch mix) 4:46 Left To My Own Devices (single remix) 6:47 We All Feel Better In The Dark (12 inch mix) 5:19 It Couldn't Happen Here (lp version) [Announced, but never released; Essential came out instead.] ------------------------------------------------------------------------------ Pet Shop Boys: Essential [31 Mar 1998] compilation album CD-R: 1998 US (Metropolis Mastering; n/a) [test pressing x6; "Early"; by Evren Goknar] CD: 1998 US (EMI/EPROP; 72434-93688-2-8) [ltd edn; custom packaging] CD: 1998 JP (Toshiba/EMI; TOCP-51059) [promo; 29 Apr 1998; ltd edn; gatefold/obi] 4:42 Domino Dancing (alternate version) 6:29 West End Girls (dance mix) 3:47 Opportunities (original 7 inch version) 4:39 Paninaro (7-inch version) 4:48 That's My Impression (7" inch version) 6:47 We All Feel Better In The Dark (extended mix) 5:19 It Couldn't Happen Here 4:20 It's Alright (trever horn mix) 4:46 Left To My Own Devices (7" inch version) 6:26 In The Night (extended mix) 3:35 Two Divided By Zero 6:48 Love Comes Quickly (dance mix) 10:39 Being Boring (extended version) [Called "Early" in US promotional material; this title does not appear on the final packaging.] ------------------------------------------------------------------------------ Pet Shop Boys: I Don't Know What You Want But I Can't Give It Any More [19 Jul 1999] single CSS: 1999 UK (Parlophone; ??) [promo; 3 Jun 1999] 11:25 I Don't Know What You Want... (the morales club mix) 7:37 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 7:36 I Don't Know What You Want... (the morales dub mix) 5:21 I Don't Know What You Want... (the morales reprise) 7:38 I Don't Know What You Want... (thee drum drum mix) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) CD-R: 1999 UK (Parlophone; n/a) [promo; title inlay slv] CD5: 1999 UK (Parlophone; CDRDJ 6523) [promo; clear tray in brown slipcase] 4:28 I Don't Know What You Want... (radio edit) CSS: 1999 UK (Parlophone; TCR 6523) [19 Jul 1999] 4:28 I Don't Know What You Want... (radio edit) 3:35 Silver Age 4:58 Screaming CD5: 1999 UK (Parlophone; CDRDJX 6523) [promo; x500; 3 Jun 1999; custom ps w/outer title slip-case] 12": 1999 UK (Parlophone; 12R 6523) 12": 1999 FR (Parlophone; 7243-8-87494-6 6) 7:48 I Don't Know What You Want... (the morales remix) 7:38 I Don't Know What You Want... (the morales dub mix) 4:07 I Don't Know What You Want... (the morales radio fade) 7:38 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 7:41 I Don't Know What You Want... (thee drum drum mix) 5:35 I Don't Know What You Want... (thee 2 blak ninja mix) 2x12": 1999 UK (Parlophone; 12RDJX 6523) [promo; custom gatefold ps w/dayglo pink inner slvs + press release] 7:48 I Don't Know What You Want... (the morales remix) 7:38 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 7:36 I Don't Know What You Want... (the morales dub mix) 4:06 I Don't Know What You Want... (the morales radio fade) 7:40 I Don't Know What You Want... (thee drum drum mix) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) CD5-E: 1999 UK (Parlophone; CDRS 6523) [slim jb; "CD1 - Enhanced CD"] 4:28 I Don't Know What You Want... (radio edit) 3:35 Silver Age 4:58 Screaming [CD-ROM content (all audio is mono):] 4:28 I Don't Know What You Want... (radio edit) 7:48 I Don't Know What You Want... (the morales remix) 3:35 Silver Age 4:58 Screaming 4:28 I Don't Know What You Want... (video) Photo Gallery CD5-E: 1999 NL (Parlophone; 7243-8-87479-0 5) ["CD1 - Enhanced CD"] CD5-E: 1999 ZA (EMI; 887479-0 5 CDEMS WS 167) 4:28 I Don't Know What You Want... (radio edit) 7:48 I Don't Know What You Want... (the morales remix) 3:35 Silver Age 4:58 Screaming [CD-ROM content (all audio is mono):] 4:28 I Don't Know What You Want... (radio edit) 7:48 I Don't Know What You Want... (the morales remix) 3:35 Silver Age 4:58 Screaming 4:28 I Don't Know What You Want... (video) Photo Gallery CD5: 1999 TW (EMI; ??) 7:48 I Don't Know What You Want... (the morales remix) 3:35 Silver Age 4:58 Screaming CD5: 1999 UK (Parlophone; CDR 6523) [slim jb; "CD2 - The Mix CD"] CD5: 1999 NL (Parlophone; 7243-8-87496-2 6) CD5: 1999 CA (Parlophone; 887496-2 6) [canadian import of european release] 7:48 I Don't Know What You Want... (the morales remix) 7:39 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 4:14 Je T'Aime...Moi Non Plus CD5: 1999 NL (Parlophone; 7243-8-87481-2 4) [2-trk; card sleeve] 4:28 I Don't Know What You Want... (radio edit) 3:35 Silver Age CD5: 1999 DE (EMI; 7243-8-87494-2 8) [slim jb; CD2] 7:36 I Don't Know What You Want... (the morales dub mix) 7:48 I Don't Know What You Want... (the morales remix) 7:39 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 4:14 Je T'Aime...Moi Non Plus CD5: 1999 AU (Parlophone/EMI; 887594-2) [27 Sep 1999] 4:28 I Don't Know What You Want... (radio edit) 7:48 I Don't Know What You Want... (the morales remix) 8:39 I Don't Know What You Want... (the psb extension) 4:58 Screaming 4:14 Je T'Aime...Moi Non Plus CD-R: 1999 UK (Metropolis Mastering; 12RDJX 6523) [n/a; dated 21 Jun 1999] 7:48 I Don't Know What You Want... (the morales remix) 7:39 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 7:36 I Don't Know What You Want... (the morales dub mix) 4:06 I Don't Know What You Want... (the morales radio fade) 7:40 I Don't Know What You Want... (thee drum drum mix) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) [handwritten across the inlay "CD ref of 12" promo double pack"] 2x12": 1999 UK (Metropolis Mastering; 12RDJX 6523 [??]) [acetate; dated 17 Jun 1999] 7:36 I Don't Know What You Want... (morales dub mix) 4:06 I Don't Know What You Want... (morales radio fade) 7:40 I Don't Know What You Want... (thee drum drum mix) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) CD-R: 2000 US (Sire; ??) [Studio CDR "Internal Review Copy"] 10:30 I Don't Know What You Want... (peter rauhofer roxy anthem) 7:37 I Don't Know What You Want... (peter rauhofer roxy dub) [misslabeled 6:45] 10:40 I Don't Know What You Want... (the young collective remix) 7:12 I Don't Know What You Want... (thee drum mix re-edit) 7:38 I Don't Know What You Want... (thee maddkatt courtship 80 whitness mix) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) 7:49 I Don't Know What You Want... (the morales mix) [misslabeled 7:58] 7:39 I Don't Know What You Want... (the morales dub mix) 8:39 I Don't Know What You Want... (the psb extension) [CDR with labels and red front insert, no back insert] 12": 2000 US (Sire; PRO 500008-0) [in plain sleeve; this is considered IDK US Promo #1] 10:30 I Don't Know What You Want... (peter rauhofer roxy anthem) 7:37 I Don't Know What You Want... (peter rauhofer roxy dub) [misslabeled 6:45] 12": 2000 US (Sire; PRO 500008-0) [in plain sleeve; this is considered IDK US Promo #2] 10:40 I Don't Know What You Want... (the young collective remix) 7:12 I Don't Know What You Want... (thee drum drum re-edit) 2x12": 2000 US (Sire; 35021-0) [US single sleeve double vinyl - lacks radio edits and PSB Extension Mix as CD] 10:30 I Don't Know What You Want... (peter rauhofer roxy anthem) 10:40 I Don't Know What You Want... (the young collective remix) 7:31 I Don't Know What You Want... (peter rauhofer roxy dub) [misslabeled 6:45] 7:12 I Don't Know What You Want... (thee drum mix re-edit) CD5: 2000 US (Sire; 35022-2) [US CD w/exclusive mixes; double sided fold out picture insert] 3:10 I Don't Know What You Want... (peter rauhofer radio edit) 3:47 I Don't Know What You Want... (the young collective radio edit) 10:30 I Don't Know What You Want... (peter rauhofer roxy anthem) 7:31 I Don't Know What You Want... (peter rauhofer roxy dub) [misslabeled 6:45] 10:40 I Don't Know What You Want... (the young collective remix) 7:12 I Don't Know What You Want... (thee drum mix re-edit) 8:39 I Don't Know What You Want... (the psb extension) 12": 2000 US (??; ??) [states "unreleased promo only mainstream club"; April 2000] 6:14 I Don't Know What You Want... (peter rauhofer roxy mixshow anthem edit) [Remixers: I Don't Know What You Want] [David Morales] 11:25 I Don't Know What You Want... (the morales club mix) 7:48 I Don't Know What You Want... (the morales remix) 7:36 I Don't Know What You Want... (the morales dub mix) 6:21 I Don't Know What You Want... (the morales reprise) 4:06 I Don't Know What You Want... (morales radio fade) 4:28 I Don't Know What You Want... (radio edit) [Pet Shop Boys] 8:39 I Don't Know What You Want... (the psb extension) [Felix Stallings Jr. (Thee Artist Formerly Known As Felix Da Housecat)] 7:38 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 7:40 I Don't Know What You Want... (thee drum drum mix) 7:12 I Don't Know What You Want... (thee drum mix re-edit) 5:33 I Don't Know What You Want... (thee 2 blak ninja mix) [Peter Rauhofer (Club 69)] 3:10 I Don't Know What You Want... (peter rauhofer radio edit) 10:30 I Don't Know What You Want... (peter rauhofer roxy anthem) 7:31 I Don't Know What You Want... (peter rauhofer roxy dub) [misslabeled 6:45] 6:14 I Don't Know What You Want... (peter rauhofer roxy mixshow anthem edit) [Tracy Young (The Young Collective)] 3:47 I Don't Know What You Want... (the young collective radio edit) 10:40 I Don't Know What You Want... (the young collective remix) [Promotional Items: I Don't Know What You Want] Video; (D: Pedro Romhanyi, P: ??) in two versions "Nighttime version" and edited "Daytime/Kids version". [The 'night time' version of IDK is the proper version of the video that's included on the CD single. The 'daytime' version is exactly the same, only the 'needle' scene has been edited out.] ------------------------------------------------------------------------------ Pet Shop Boys: New York City Boy [27 Sep 1999] single CD5: 1999 UK (Parlophone; CDRDJ 6525) [promo; 31 Aug 1999; clear tray in green slipcase; w/tour dates] 4:21 New York City Boy (radio edit) CD5: 1999 NL (Parlophone; 7243-8-87725-2 5) [2-trk; card sleeve] 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself 12": 1999 UK (Parlophone; 12RDJ 6525) [promo; 31 Aug 1999] 9:42 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) 12": 1999 UK (Parlophone; 12DJX 6525) [promo; 31 Aug 1999] 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) CD5: 1999 UK (Parlophone; CDRDJX 6525) [promo; x500; 14 Sep 1999; double card ps] 5:13 New York City Boy (album version) 6:47 New York City Boy (the almighty man on a mission mix) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) 9:42 New York City Boy (superchumbo's uptown mix) 12": 1999 UK (Parlophone; 12RDJY 6525) [promo; 21 Sep 1999] 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (thunderpuss 2000 club mix) 12": 1999 UK (Parlophone; 12RDJZ 6525) [promo; one-sided; 21 Sep 1999] 12": 1999 UK (Parlophone; 12RDJZ 6525) [w/l promo; one-sided] 12": 1999 UK (Abbey Road; ??) [w/custom label acetate; one-sided; "Reference #dels25479"] 7:06 New York City Boy (the lange mix) 4x12": 1999 UK (Parlophone; 12RDJS 6525) [promo; x200; special labels; sleeves and outer sleeve] [12" #1 (12RDJS 6525-1):] 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) [12" #2 (12RDJS 6525-2):] 9:42 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) [12" #3 (12RDJS 6525-3):] 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (thunderpuss 2000 club mix) [12" #4 (12RDJS 6525-4):] 7:06 New York City Boy (the lange mix) CD5-E: 1999 UK (Parlophone; CDRS 6525) [CD1] CD5-E: 1999 NL (Parlophone; 7243-8-87723-0-3) [CD1; EMI UDEN; 8877330 @ 1] 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself 6:29 New York City Boy (the almighty definitive mix - edit) [CD-ROM content:] 4:21 New York City Boy (video) CD5-E: 1999 UK (Parlophone; CDR 6525) [CD2] CD5-E: 1999 NL (Parlophone; 7243-8-87724-0-2) [CD2; EMI UDEN; 8877320 @ 1] 5:19 New York City Boy (album version) 4:38 Casting A Shadow 9:46 New York City Boy (superchumbo's uptown mix) [CD-ROM content:] 4:38 Casting A Shadow (video) CSS: 1999 UK (Parlophone; TCR 6525) ["TCR 6523"] 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself 6:29 New York City Boy (the almighty definitive mix - edit) 2x12": 1999 UK (Parlophone; 12R 6525) [4 Oct 1999; ltd edn; grey gatefold title slv w/picture inner sleeves] 10:54 New York City Boy (the morales club mix) 6:47 New York City Boy (the almighty man on a mission mix) 7:06 New York City Boy (the lange mix) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:40 New York City Boy (superchumbo's downtown dub) CD-R: 1999 UK (Abbey Road Studios; n/a) [test pressing; by "LM"; dated 27 Jul 1999] 9:46 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) CD-R: 1999 UK (Parlophone; ??) [promo; plastic sleeve paper insert; apogee electronics] 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) 9:42 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) [contains all mixes from the three UK 12" promos; matrix: 9189 2122 2520] CD-R: 1999 UK (Parlophone; ??) [promo; plastic sleeve paper insert; tape to tape mastering] 5:19 New York City Boy (album version) 6:29 New York City Boy (the almighty definitive mix - edit) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) 9:46 New York City Boy (superchumbo's uptown mix) CD5: 1999 US (Sire; PRO 74687-2) [one track promo with unique back insert] 3:31 New York City Boy (us radio edit) 12": 1999 US (Sire; ??) [London NYC Boys -A-B; sire white label promo in plain white sleeve] 10:54 New York City Boy (the morales club mix) 4:21 New York City Boy (radio edit) 10:52 New York City Boy (thunderpuss 2000 club mix) 5:17 New York City Boy (album version) 12": 1999 US (Sire; PET SHOP BOYS 2) [promo] 5:13 New York City Boy (the morales dub mix - edit) [exclusive to this promo!!!!] 10:52 New York City Boy (thunderpuss 2000 club mix) [really the club mix ???] [sire white label hand written "PSB Dubs" promo in plain white sleeve] DAT: 1999 US (Atlantic Records; n/a) [studio DAT cassette, black/red slv.] 7:14 New York City Boy (the morales dub mix) 12": 1999 US (Sire; 64344-35013-23) [9 Nov 1999] 9:43 New York City Boy (superchumbo's uptown mix) 6:29 New York City Boy (the almighty definitive mix - edit) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:06 New York City Boy (lange mix) CD5: 1999 US (Sire; 35013-2) [9 Nov 1999] 3:31 New York City Boy (us radio edit) 9:42 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) 10:52 New York City Boy (the thunderpuss 2000 club mix) 8:18 New York City Boy (the thunderpuss 2000 dub mix) 10:54 New York City Boy (the morales club mix) 7:06 New York City Boy (the lange mix) CD5: 2000 US (Sire; 64344-35017-2) [2-trk; jevel case; 13 Jan 2000] CSS: 2000 US (Sire; 64344-35017-4) [2-trk; cassette in paper back] 3:31 New York City Boy (us radio edit) 4:40 Lies CD5: 1999 FR (EMI; 7243-8-88013-2 4) [french 3 track CD] 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself 10:52 New York City Boy (the thunderpuss 2000 club mix) CD5: 1999 JP (Toshiba/EMI; PCD-2193) [promo; remix 99 special] 4:08 New York City Boy (the almighty definitive mix radio edit) 6:47 New York City Boy (the almighty man on a mission mix) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (the thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) 9:43 New York City Boy (superchumbo's uptown mix) [mislabeled as superchumbo's downtown dub] 4:21 New York City Boy (radio edit) [rare japanese promo CD with almighty radio edit] CD5: 1999 JP (Toshiba/EMI; TOCP-401261) [22 Sep 1999] 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself 4:38 Casting A Shadow 6:29 New York City Boy (the almighty definitive mix - edit) 9:46 New York City Boy (superchumbo's uptown mix) [no OBI but clear sticker on wrapping, lyrics sheet] 12": 1999 US (??; n/a) [promo] CD5: 1999 MX (EMI; 200 1153) [limited promo; cardboard sleeve; unique edit and artwork] 3:47 New York City Boy (radio edit) 5:13 New York City Boy (album version) [picture disc; unique disc motive - part of Berlin map and p/s - part of Berlin map a hammer & compasses sign of former GDR on rear; red numbered inside] CD5: 1999 BR (EMI; PP 0485 2) [promo; jevel case] 4:21 New York City Boy (radio edit) 6:29 New York City Boy (the almighty definitive mix - edit) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (the thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) CD-R: 1999 UK (Parlophone; ??) [one-track Abbey Road CD-R; 27 Jul 1999] 3:55 New York City Boy (single version) [matrix number: 9526 3104 185] CD-R: 1999 UK (Almighty Records Limited; ??) [test pressing] 8:51 New York City Boy (the almighty definitive mix - full version) CD-R: 1999 UK (Almighty Records Limited; ??) [test prerssing] 6:29 New York City Boy (the almighty definitive mix) 6:47 New York City Boy (the almighty man on a mission mix) CD-R: 1999 US (Sire; ??) [promo; custom printed silver disc w/b&w printed studio/title inlay slv] 3:31 New York City Boy (US radio edit) ["New Edit"] CD-R: 1999 US (Sire; ??) [Studio CDR of new edit proposed, front back text sleeve] 3:31 New York City Boy (us radio edit) CD-R: 1999 US (Sire; ??) [Studio CDR of two proposed edits, front back text sleeve] CD5: 1999 CA (Sire; DPRO-1935) 3:19 New York City Boy (edited version #1) 3:48 New York City Boy (edited version #2) [apparently this second edit was PSB's response as a US edit] CD-R: 1999 US (Sire; ??) [Whitfield Studios CD-R Acetate] 9:46 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) 6:29 New York City Boy (the almighty definitive mix - edit) 6:47 New York City Boy (the almighty man on a mission mix) 10:54 New York City Boy (the morales club mix) 10:52 New York City Boy (the thunderpuss 2000 club mix) 7:06 New York City Boy (the lange mix) [lists the 12" Promos and the lange mix; in PVC sleeve; slik screened CD] CD-R: 1999 US (UK (Almighty Records; NYC Boy) [Studio CD-R Acetate; the almighty mixes] 4:08 New York City Boy (the almighty definitive mix radio edit) 6:29 New York City Boy (the almighty definitive mix - edit) 8:51 New York City Boy (the almighty definitive mix - full version) 6:47 New York City Boy (the almighty man on a mission mix) [CD-R possibly done by remixer] CD-R: 1999 US (??; ??) [Studio CD-R Acetate #2; the thunderpuss 2000 mixes] 4:18 New York City Boy (the thunderpuss 2000 radio edit) 10:52 New York City Boy (the thunderpuss 2000 club mix) 8:21 New York City Boy (the thunderpuss 2000 dub mix) 8:11 New York City Boy (the thunderpuss 2000 tribe-a-pella) [CD-R possibly done by remixer] CD-R: 1999 US (??; ??) [Studio CD-R Acetate #3; the morales mixes] 3:31 New York City Boy (us radio edit) 3:48 New York City Boy (edited version #2) 4:21 New York City Boy (radio edit) 5:19 New York City Boy (album version) 10:54 New York City Boy (the morales club mix) 7:10 New York City Boy (the morales dub mix) [CD-R possibly done by remixer] [Remixers: New York City Boy] [David Morales] 10:54 New York City Boy (the morales club mix) 7:10 New York City Boy (the morales dub mix) 3:31 New York City Boy (us radio edit) 5:13 New York City Boy (album version) 4:21 New York City Boy (radio edit) 3:47 New York City Boy (radio edit #2) [Tom Stephan (Superchumbo)] 9:46 New York City Boy (superchumbo's uptown mix) 7:40 New York City Boy (superchumbo's downtown dub) [Martyn Norris & Jon Dixon (The Almighty)] 4:08 New York City Boy (the almighty definitive mix radio edit) 6:29 New York City Boy (the almighty definitive mix - edit) 8:51 New York City Boy (the almighty definitive mix - full version) 6:47 New York City Boy (the almighty man on a mission mix) [Chris Cox & Barry Harris (Thunderpuss 2000)] 4:18 New York City Boy (the thunderpuss 2000 radio edit) 10:52 New York City Boy (the thunderpuss 2000 club mix) 8:21 New York City Boy (the thunderpuss 2000 dub mix) 8:11 New York City Boy (the thunderpuss 2000 tribe-a-pella) [Simon Langelann (Lange)] 7:06 New York City Boy (the lange mix) [Promotional] Video; (D: Howard Greenhalgh, P: ??) in two versions "Nighttime version" and edited "Daytime/Kids version". [The 'night time' version is the proper version of the video that's included on the CD single. The 'daytime' version is exactly the same, only the scene with the street hookers has been edited out.] ------------------------------------------------------------------------------ Pet Shop Boys: Nightlife [11 Oct 1999] album CD-R: 1999 UK (Metropolis Mastering; n/a) [test pressing; by "JML"; dated 17 Jun 1999] CD-R: 1999 UK (??; ??) [labeled "To Be Confirmed"; ref. by T. Jackson; dated 18 Jun 1999] CD-R: 1999 UK (??; ??) [labeled at the bottom "The Mitch Clark Company"] CD-R: 1999 UK (Masterpiece; n/a) [promo's in jewel case with paper inlay; 11 Oct 1999] LP: 1999 UK (Parlophone; 7243-5-21858-7) [with inner sleeve, first vinyls was badly warped] CS: 1999 UK (Parlophone; ??) [promo; in card sleeve] CS: 1999 UK (Parlophone; ??) [promo; in plastic sleeve] CD: 1999 UK (Parlophone; NIGHT01) [promo; in cardboard with clear tray card slipcase] CD: 1999 UK (Parlophone; 7243-5-23064-2) [ltd edn; 28pp booklet] CD: 1999 UK (Parlophone; 7243-5-23064-2) [ltd edn; 28pp booklet; imported for EMI Canada] CS: 1999 UK (Parlophone; 7243-5-21857-4) MD: 1999 UK (Parlophone; 7243-5-21857-9) CD: 1999 NL (Parlophone; 31086-2) CD: 1999 NL (Parlophone; 31086-SP) [promo] CD: 1999 US (Sire; 31086-2P) [advance promo CD orange disc + grey/black; back inlay only slv] CD: 1999 US (Sire; 6434-4-31086-2 1) [2 Nov 1999; 28pp booklet; stickered] CD: 1999 CA (EMI; DPRO 1894) [promo; jewel case front insert only, w/dogs from IDK cover; unique sleeve; x50] CD: 1999 CA (EMI; 7243-5-21857-2-6) [28pp booklet; insert for PSB catalogue] CD: 1999 JP (EMI; TOCP-65333) [promo sticker on back] CD: 1999 JP (EMI; TOCP-65207) [8 Oct 1999] CD: 1999 JP (EMI; TOCP-65333) [ltd; tri-fold digipak, held in printed PVC slipcase] CD: 1999 FR (EMI; 7243-5-23064-2 8) [ltd edn; 28pp booklet; tracks unconfirmed] MD: 1999 FR (EMI; 7243-5-21857-8 8) CS: 1999 HU (EMI; 7243-5-21857-4 0) [printed in Hungary] CD: 1999 TW (EMI; 7243-5-23064-2 8) [Taiwan; large OBI with 'dogs' pic on back] CD: 1999 TW (EMI; 7243-5-23064-2 8) [Taiwanese ltd CD in tri-fold digipak; large unique wrap-round OBI w/vampire pic on back] CD: 1999 SP (EMI; 7243-5-21857-2 6) [singapore ltd set; standard EU CD with white or brown drunk t-shirt] CD: 1999 HK (Sony Music/BMG; 70025) [w/large OBI; titled "Nightlve"; withdrawn] CD: 1999 SK (??; EKPD 0817) [South Korea] 5:12 For Your Own Good 4:07 Closer To Heaven 5:09 I Don't Know What You Want But I Can't Give It Any More 3:48 Happiness Is An Option 3:12 You Only Tell Me You Love Me When You're Drunk 4:43 Vampires 3:32 Radiophonic 4:21 The Only One 5:10 Boy Strange 3:20 In Denial 5:16 New York City Boy 4:24 Footsteps 2xCD: 1999 UK (Parlophone; 7243-5-21857-2 6) [insert for PSB catalogue] 2xCD: 1999 US (Sire; 6344-35012-24) [double digipak; ltd x20,000; 9 Nov 1999] [CD#1 ("Nightlife"):] 5:12 For Your Own Good 4:07 Closer To Heaven 5:09 I Don't Know What You Want But I Can't Give It Any More 3:48 Happiness Is An Option 3:12 You Only Tell Me You Love Me When You're Drunk 4:43 Vampires 3:32 Radiophonic 4:21 The Only One 5:10 Boy Strange 3:20 In Denial 5:16 New York City Boy 4:24 Footsteps [CD#2 (bonus disc "Nightlife Extra"):] 4:02 The Ghost Of Myself 4:36 Casting A Shadow 4:14 Je T'aime...Moi Non Plus 3:30 Silver Age 4:51 Screaming 7:44 I Don't Know What You Want... (morales remix) 7:37 I Don't Know What You Want... (thee maddkatt courtship 80 witness mix) 9:43 New York City Boy (superchumbo's uptown mix) 6:29 New York City Boy (the almighty definitive mix - edit) 10:52 New York City Boy (thunderpuss 2000 club mix) 7:06 New York City Boy (lange mix) CD: 1999 UK (Parlophone; CD-IN-126) [promo; slim slip-case picture with cues on the back] 0:59 For Your Own Good 2:00 Closer To Heaven 4:16 I Don't Know What You Want But I Can't Give It Any More 2:35 Happiness Is An Option 1:49 You Only Tell Me You Love Me When You're Drunk 2:01 Vampires 2:02 Radiophonic 1:47 The Only One 1:46 Boy Strange 2:04 In Denial 3:43 New York City Boy 1:46 Footsteps [track-by-track interview discussing the album; elapsed time - 26:52] CD+VCD: 1999 HK (EMI; 7243-5-21857-2-6) [ltd. 2CD set; with VideoCD; large plastic sleeve] [CD#1 ("EU CD"):] 5:12 For Your Own Good 4:07 Closer To Heaven 5:09 I Don't Know What You Want But I Can't Give It Any More 3:48 Happiness Is An Option 3:12 You Only Tell Me You Love Me When You're Drunk 4:43 Vampires 3:32 Radiophonic 4:21 The Only One 5:10 Boy Strange 3:20 In Denial 5:16 New York City Boy 4:24 Footsteps [CD#2 (bonus video disc 7243 5218572-6V):] 5:09 I Don't Know What You Want But I Can't Give It Any More 5:16 New York City Boy 3:12 You Only Tell Me You Love Me When You're Drunk CD: 1999 RU (Parlophone; 7243-5-23064-2 8) [bootleg; +5 bonus tracks] 5:12 For Your Own Good 4:07 Closer To Heaven 5:09 I Don't Know What You Want But I Can't Give It Any More 3:48 Happiness Is An Option 3:12 You Only Tell Me You Love Me When You're Drunk 4:43 Vampires 3:32 Radiophonic 4:21 The Only One 5:10 Boy Strange 3:20 In Denial 5:16 New York City Boy 4:24 Footsteps [bonus tracks] 4:04 Suburbia 3:59 It's A Sin 3:34 Rent 3:55 Always On My Mind 4:18 Domino Dancing [CD and cover artwork states 'Made in EU'; probably copied from the regular european release.] CD: 1999 RU (Parlophone; 7243-5-23064-2 8) [bootleg; +7 bonus tracks] 5:12 For Your Own Good 4:07 Closer To Heaven 5:09 I Don't Know What You Want But I Can't Give It Any More 3:48 Happiness Is An Option 3:12 You Only Tell Me You Love Me When You're Drunk 4:43 Vampires 3:32 Radiophonic 4:21 The Only One 5:10 Boy Strange 3:20 In Denial 5:16 New York City Boy 4:24 Footsteps [bonus tracks] 3:34 Rent 3:31 Silver Age 4:03 Suburbia 4:10 Paninaro 3:04 I Wouldn't Normally Do This Kind Of Thing ["I Wouldn't Normaly Do This Kind Of Things"] 4:07 Before 4:54 Screaming [CD and cover artwork states 'Made in EU'; probably copied from the regular european release; w/ 'dogs walking' cover] CD: 1999 RU (??; 7243-8-87723-0 3) [bootleg; nightlife special edition] 4:19 New York City Boy (radio edit) 4:03 The Ghost Of Myself (single version) 4:27 I Don't Know What You Want But I Can't Give It Anymore 3:32 Silver Age 4:12 Je T'Aime... Moi Non Plus 4:36 Casting A Shadow 4:56 Screaming 4:32 Sail Away 5:17 New York City Boy (album version) 9:43 New York City Boy (superchumbo's uptown mix) 6:29 New York City Boy (the almighty definitive mix - edit) 7:37 I Don't Know What You Want But I Can't Give It Anymore (thee maddkatt courtship 80 witness mix) 7:47 I Don't Know What You Want But I Can't Give It Anymore (the morales remix) [Barcode 7243-8-87723-0 3 stolen from 'New York City Boy' NL CD1. Back of the CD has code BRA 149.] CD-R: 1999 UK (Masterpiece; n/a) [5 Track promo Sampler in jewel case] 5:09 I Don't Know What you Want But I can't Give it anymore 3:49 Happiness Is An Option 3:14 You Only Tell Me You Love Me When You're Drunk 5:15 New York City Boy 4:15 Footsteps [Printed on the cover is the following : "A selection from the forthcoming Pet Shop Boys album Nightlife to be released on October 11th" CD5: 1999 DE (Parlophone; CDRDJ 6525) [promo] 4:21 New York City Boy (radio edit) [PSB Folder and Book with German Tour Dates, Promo Pics, Biography] CD3: 1999 US (Sire; 7204-LJ21-V500) [promo] [given at US Shows, with samples, links to websites, interview egg] Box: 1999 UK (Parlophone; ??) [promo, x200] [Custom box, 10.25"x10.25"x2", brown with clear NIGHTLIFE / PET SHOP BOYS slipcover; includes comprehensive 8-page chronology also holding promo album and interview CDs, special custom spiral- bound career overview, three press photos; Electronic Press Kit videotape w/5-minute onscreen interview] Box: 1999 JP (??; ??) [With large promotional poster, etc.] CD-R: 1999 UK (Metropolis Mastering; n/a) [dated 30 Mar 1999; titled "Night Life" (For Approval); 11 tracks] 5:12 For Your Own Good [fade out] 3:12 You Only Tell Me You Love Me When You're Drunk 4:06 Closer to Heaven 3:20 In Denial [pre release version] 5:08 Boy Strange 4:34 I Don't Know What You Want [single version) 3:31 Radiophonic 4:20 The Only One 4:42 Vampires 5:15 New York City Boy 4:13 Footsteps [pre release version] [Promotional Items: Nightlife] ?? ------------------------------------------------------------------------------ Pet Shop Boys: You Only Tell Me You Love Me When You're Drunk [3 Jan 2000] single CD-R: 1999 UK (Abbey Road Studios; 7243-8-88172-2-6) [test pressing; by "Brian Fifield"; 7 Dec 1999] CD5: 2000 NL (Parlophone; 7243-8-88172-2-6) [cardsleeve] 3:16 You Only Tell Me You Love Me... (album version) 4:02 Always On My Mind (live) CD5: 1999 UK (Parlophone; CDRDJ 6533) [promo; 15 Dec 1999; clear tray in brown slipcase] 3:16 You Only Tell Me You Love Me... (album version) 2x12": 1999 UK (Parlophone; 12RDJD 6533) [promo; 15 Dec 1999; titled "Drunk" with inner sleeves] 2x12": 1999 UK (Parlophone; 12RDJD 6533) [promo; white label testpressing; w/press release; no slv.) [12" #1:] 9:52 You Only Tell Me You Love Me... (brother brown's newt mix) 7:52 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix) [12" #2:] 8:05 You Only Tell Me You Love Me... (the t-total mix) 7:33 You Only Tell Me You Love Me... (brother brown's newt dub) CD5: 1999 UK (Parlophone; CDRDJX 6533) [promo; x500; 15 Dec 1999; double cardboard sleeve] 9:52 You Only Tell Me You Love Me... (brother brown's newt mix) 7:52 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix) 8:05 You Only Tell Me You Love Me... (the t-total mix) 7:33 You Only Tell Me You Love Me... (brother brown's newt dub) CD5: 2000 UK (Parlophone; CDRDJY 6533) [one track promo; cardsleeve] 4:04 You Only Tell Me You Love Me... (brother brown's newt edit) [UK one track for radio to increase radio play] CD-R: 1999 UK (Metropolis Mastering; ??) CD5-E: 2000 UK (Parlophone; CDRS 6533) [CD1] CD5-E: 2000 NL (Parlophone; 7243-8-88116-0-6) [CD1] 3:16 You Only Tell Me You Love Me... (album version) 4:42 Lies 4:37 Sail Away [CD-ROM content:] 3:16 You Only Tell Me You Love Me... (video) CD5: 2000 UK (Parlophone; CDRX 6533) [CD2] CD5: 2000 NL (Parlophone; 7243-8-88117-2-9) [CD2] 5:00 You Only Tell Me You Love Me... (the t-total mix - edit) 10:00 You Only Tell Me You Love Me... (brother brown's newt mix) 4:57 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix - edit) CD5: 2000 UK (Parlophone; CDR 6533) [CD3] CD5: 2000 NL (Parlophone; 7243-8-88138-2-2) [CD3] 2:34 You Only Tell Me You Love Me... (live) 4:02 Always On My Mind (live) 6:46 Being Boring (live) [recorded live at the aerial theater, houston/texas, october 25th 1999] 2x12": 1999 UK (Parlophone; 12R 6533) [10 Jan 2000; labeled with full title on sleeve] [12" #1:] 9:52 You Only Tell Me You Love Me... (brother brown's newt mix) 7:52 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix) [12" #2:] 8:05 You Only Tell Me You Love Me... (the t-total mix) 7:33 You Only Tell Me You Love Me... (brother brown's newt dub) 3xCD: 2000 UK (Parlophone; ??) [3 CD set in slipcase with postcard] [CDRS 6533 CD #1; Sticker front "Enhanced CD" with mailer reply card:] 3:16 You Only Tell Me You Love Me... (album version) 4:42 Lies 4:37 Sail Away [CD-ROM content:] 3:16 You Only Tell Me You Love Me... (daytime version) [CDRX 6533 CD #2; sticker front "Mix CD":] 5:00 You Only Tell Me You Love Me... (the t-total mix - edit) 10:00 You Only Tell Me You Love Me... (brother brown's newt mix) 4:57 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix - edit) [CDR 6533 CD #3; stickered front "Live CD" recorded in houston:] 2:34 You Only Tell Me You Love Me... (live) 4:02 Always On My Mind (live) 6:46 Being Boring (live) [slip case was sent to UK people on EMI mailing list who had returned reply cards included in past PSB CD singles, you could not buy slipcase in stores] CD5: 2000 BR (EMI; PP 05462) [promo; brazilian promo CD with exclusive remixes] 3:16 You Only Tell Me You Love Me... (album version) 3:01 You Only Tell Me You Love Me... (hitmakers brasil radio edit) 5:08 You Only Tell Me You Love Me... (hitmakers brasil extended mix) 8:05 You Only Tell Me You Love Me... (the t-total mix) 9:52 You Only Tell Me You Love Me... (brother brown's newt mix) 7:33 You Only Tell Me You Love Me... (brother brown's newt dub) CD5: 2000 ES (EMI; PE 99145) [2 trk promo; labeled "Drunk", ltd. edition spain only; double sleeve] 2:34 You Only Tell Me You Love Me... (live) 4:04 You Only Tell Me You Love Me... (brother brown's newt edit) CD-RE: 1999 UK (Metropolis Mastering; 7243-8-88116-0 6) [glas master; dated 8 Dec 1999] 3:16 You Only Tell Me You Love Me... (album version) 4:42 Lies 4:37 Sail Away [CD-ROM content:] 3:16 You Only Tell Me You Love Me... (video) [autographed by Neil Tennant; wrong multimedia part] [Remixers: You Only Tell Me You Love Me When You're Drunk] [Henrik Olsen und Atle Thorberg (Brother Brown)] 4:04 You Only Tell Me You Love Me... (brother brown's newt edit) 9:52 You Only Tell Me You Love Me... (brother brown's newt mix) 7:33 You Only Tell Me You Love Me... (brother brown's newt dub) [Paul Ingall und Alec Greenhough (Attaboy)] 7:52 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix) 4:57 You Only Tell Me You Love Me... (attaboy still love you when you're sober mix - edit) [Tasty Tim] 8:05 You Only Tell Me You Love Me... (the t-total mix) 5:00 You Only Tell Me You Love Me... (the t-total mix - edit) [Rodrigo Kuster & Fabio Tabach (Hitmakers)] 3:01 You Only Tell Me You Love Me... (hitmakers brasil radio edit) 5:08 You Only Tell Me You Love Me... (hitmakers brasil extended mix) [Promotional] Video; (D: Pedro Romhanyi, P: ??) in two versions "Nighttime version" and edited "Daytime/Kids version". [The 'night time' version is the proper version of the video that's included on the CD single. There is a small scene, between two flashes, you can see a couple completely naked people, hugging each other. On the "daytime version" this has been edited out.] ------------------------------------------------------------------------------ Pet Shop Boys: Mini [23 Feb 2000] compilation album CD-R: 2000 JP (Abbey Road Studios; TOCP-61035) [test pressing; by "Kathy Bryan"; dated 22 Dec 1999] CD5: 2000 JP (EMI; TOCP-61035) [promo; w/lyrics; japanese only release with OBI and unique packaging] CSS: 2000 JP (EMI; ??) [promo; a few copies only in custom slv] CSS: 2000 JP (Toshiba/EMI; TOCP) [promo; in pink cover; labeled "not for sale"] 4:07 Closer To Heaven 4:42 Lies 4:37 Sail Away 2:34 You Only Tell Me You Love Me... (live) 4:02 Always On My Mind (live) 6:46 Being Boring (live) 10:54 New York City Boy (the morales club mix) ------------------------------------------------------------------------------ Pet Shop Boys: Private Talks [2000] interview (bootleg?) CD: 2000 DE (Sonotec; S1133) [shape picture disc] 18:52 Neil and Chris talking about Behaviour [Limited and numbered to 10.000 copies] ------------------------------------------------------------------------------ Pet Shop Boys: Lively Tracks [Mai 2001] compilation vinyl 2x12": 2001 FR (EMI; 7243-8-79718-6 8) [promo; white label test pressing; custom stickered slv] 2x12": 2001 FR (EMI; 7243-8-79718-6 8) [france only; pressed exclusively by Discofrance for EMI; unique ps] [12" #1:] 9:09 Go West (1992 1244 mix) [also known as "Full Length Extended Dance Mix"] 6:31 West End Girls (dance mix) 8:07 Always On My Mind (extended dance version) [12" #2:] 6:44 Where The Streets Have No Name (I Can't Take My Eyes Off You) (extended mix) 4:18 It's Alright (original 7" version) 4:07 Paninaro '95 2x12": 2001 FR (EMI; ??) [2nd france only vinyl; white sleeve blue title] [12" #1:] 9:09 Go West (full length extended dance mix) ["1992 1244 mix"] 6:31 West End Girls (dance mix) [12" #2:] 6:44 Where The Streets Have No Name (I Can't Take My Eyes Off You) (extended mix) 4:18 It's Alright (original 7" version) ------------------------------------------------------------------------------ Pet Shop Boys: The Back Catalog - Please / Actually / Introspective / Behaviour / Very / Bilingual [6 Jun 2001] re-issued albums [US release date of remastered Bilingual: 24 Aug] CD5: 2001 UK (Parlophone; PSB 001) [promo; 13-trk; dual sleeve] 4:36 Opportunities (Let's Make Lots Of Money) (full length original seven-inch) [previously unreleased] 5:14 Why Don't We Live Together? (original New York mix) [previously unreleased] 5:11 King's Cross 6:00 I Want To Wake Up (breakdown mix) [previously unreleased] 4:17 Domino Dancing 5:17 So Sorry I Said (demo for Liza) [previously unreleased] 5:18 My October Symphony 10:40 Being Boring (extended mix) 5:10 The Theatre 9:09 Go West (1992 twelve-inch mix) [previously unreleased] 4:30 The Survivors 5:14 Discoteca (single version) [previously unreleased] 2:04 Always On My Mind (dub mix) [previously unreleased on CD] [w/sticker on sleeve "For Radio Promotional Use Only"] 2xCD: 2001 UK (Parlophone; 7243-5-30504-2 9) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30504-2 9) [w/sticker EMI Canada containing 5 remastered albums] [Disc 1: Please (digital remastered):] 3:32 Two Divided By Zero 4:41 West End Girls 3:43 Opportunities (Let's Make Lots Of Money) 4:18 Love Comes Quickly 5:07 Suburbia 0:32 Opportunities (reprise) 4:30 Tonight Is Forever 4:27 Violence 4:04 I Want A Lover 2:44 Later Tonight 4:44 Why Don't We Live Together [Disc 2: Further listening 1984-1986 (bonus CD):] 4:11 A man could get arrested (twelve-inch b-side) 4:36 Opportunities (Let's Make Lots Of Money) (full length original seven-inch) [previously unreleased]* 4:51 In The Night 7:00 Opportunities (Let's Make Lots Of Money) (original twelve-inch mix) [previously unreleased on CD]** 5:14 Why Don't We Live Together? (original New York mix) [previously unreleased] 6:39 West End Girls (dance mix) ["full length dance mix"]*** 4:51 A man could get arrested (seven-inch b-side) [previously unreleased on CD] 6:50 Love Comes Quickly (dance mix) 5:19 That's My Impression (disco mix) 5:17 Was That What It Was? 8:58 Suburbia (the full horror) 4:32 Jack The Lad 8:38 Paninaro (italian remix) [* 49 seconds longer than the original 7" version; different passages ** 12 seconds longer as the dance mix; small changes at 4:29 to the standard recording from 1986 *** 10 seconds longer as the dance mix from 1985] 2xCD: 2001 NL (Parlophone; 7243-5-30506-2 7) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30506-2 7) [w/sticker EMI Canada containing 5 remastered albums] [Disc 1: Actually (digital remastered):] 5:28 One More Chance 4:17 What Have I Done To Deserve This? 3:37 Shopping 5:09 Rent 4:44 Hit Music 5:17 It Couldn't Happen Here 4:59 It's A Sin 5:09 I Want To Wake Up 3:58 Heart 5:11 King's Cross [Disc 2: Further listening 1987-1988 (bonus CD):] 6:00 I Want To Wake Up (breakdown mix) [previously unreleased] 4:12 Heart (shep pettibone version) [previously unreleased] 5:51 You Know Where You Went Wrong 3:49 One More Chance (seven-inch mix) [previously unreleased] 7:41 It's A Sin (disco mix) 6:50 What Have I Done To Deserve This? (extended mix) 8:39 Heart (disco mix) 4:56 A New Life 4:04 Always On My Mind (demo version) [previously unreleased]* 3:36 Rent (seven-inch mix) 4:59 I Want A Dog 8:13 Always On My Mind (extended dance mix) 5:16 Do I Have To? 2:04 Always On My Mind (dub mix) [previously unreleased on CD] [* also known as "Love Me Tender Version"] 2xCD: 2001 NL (Parlophone; 7243-5-30507-2 6) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30507-2 6) [w/sticker EMI Canada containing 5 remastered albums] [Disc 1: Introspective (digital remastered):] 8:10 Left To My Own Devices 6:15 I Want A Dog 7:41 Domino Dancing (disco mix) 7:23 I'm Not Scared 9:05 Always On My Mind/In My House 9:24 It's Alright [Disc 2: Further listening 1988-1989 (bonus CD):] 5:35 I Get Excited (You Get Excited Too) (full length version)* 4:22 Don Juan (demo version) [previously unreleased on CD] 4:47 Domino Dancing (demo version) [previously unreleased on CD] 4:52 Domino Dancing (full length alternative version) ["alternative version"]** 5:13 The Sound Of The Atom Splitting 3:26 What Keeps Mankind Alive? 7:35 Don Juan (disco mix)*** 6:09 Losing My Mind (disco mix) 4:51 Nothing Has Been Proved (demo for Dusty) [previously unreleased] 3:26 So Sorry I Said (demo for Liza) [previously unreleased] 4:47 Left To My Own Devices (seven-inch mix) 4:47 It's Alright (extended dance mix) ["ten-inch version"] [previously unreleased on CD] 3:56 One Of The Crowd 4:20 It's Alright (seven-inch version) 2:18 Your Funny Uncle [* unique ending to the known version of this track ** 24 sec longer outro as the version from 1988 *** one kick more at 4:50 to the standard recording from 1988] 2xCD: 2001 NL (Parlophone; 7243-5-30513-2 7) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30513-2 7) [w/sticker EMI Canada containing 5 remastered albums] [Disc 1: Behaviour (digital remastered):] 6:48 Being Boring 5:30 This Must Be The Place I Waited Years To Leave 5:33 To Face The Truth 3:54 How Can You Expect To Be Taken Seriously? 4:18 Only The Wind 5:18 My October Symphony 3:56 So Hard 4:06 Nervously 4:43 The End Of The World [wrong index; track starts 4 sec. to late] 4:47 Jealousy [Disc 2: Further listening 1990-1991 (bonus CD):] 4:26 It Must Be Obvious 6:38 So Hard (extended dance mix) 4:07 Miserablism 10:40 Being Boring (extended mix) 4:30 Bet She's Not Your Girlfriend 6:48 We All Feel Better In The Dark 6:46 Where The Streets Have No Name (Can't Take My Eyes Off You) (extended mix) 7:58 Jealousy (extended version) 0:14 Generic Jingle [previously unreleased]* 6:53 DJ Culture (extended mix) 7:15 Was It Worth It? (twelve-inch mix) 6:13 Music For Boys (ambient mix) [previously unreleased on CD]** 4:26 DJ Culture (seven-inch mix)*** [* from the morning show with the boys on BBC radio one ** this is the regular "Part Two" version *** with an longer outro as on the normal single version] 2xCD: 2001 NL (Parlophone; 7243-5-30511-2 9) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30511-2 9) [w/sticker EMI Canada containing 5 remastered albums] [Disc 1: Very (digital remastered):] 3:53 Can You Forgive Her? 3:03 I Wouldn't Normally Do This Kind Of Thing 4:05 Liberation 3:25 A Different Point Of View 4:19 Dreaming Of The Queen 3:55 Yesterday, When I Was Mad 5:10 The Theatre 3:30 One And One Make Five 4:45 To Speak Is A Sin 4:49 Young Offender 3:53 One In A Million 5:00 Go West [indexed with following two tracks:] 2:07 [silence] 1:14 Postscript [I Believe In Ecstasy] [Disc 2: Further listening 1992-1994 (bonus CD):] 9:09 Go West (1992 twelve-inch mix) [previously unreleased]* 5:44 Forever In Love [previously unreleased] 4:47 Confidential (demo for Tina) 3:06 Hey, Headmaster 5:04 Shameless 4:25 Too Many People 4:45 I Wouldn't Normally Do This Kind Of Thing (seven-inch version) 5:00 Violence (Hacienda version) 4:38 Falling (demo for Kylie) [previously unreleased]** 3:55 Decadence 3:00 If Love Were All 3:46 Absolutely Fabulous (single version) 4:30 Euroboy 6:34 Some Speculation 4:01 Yesterday When I Was Mad (single version) 4:55 Girls And Boys (live in Rio) [* same version as the "Full Length Extended Dance Mix" mixed by Stent ** complete different to the version on the album of Kylie] 2xCD: 2001 NL (Parlophone; 7243-5-30512-2 8) [re-issued; 36pp booklet] 2xCD: 2001 CA (Parlophone; 7243-5-30512-2 8) [w/sticker EMI Canada containing 5 remastered albums] 2xCD: 2001 US (Sire; ??) [24 Aug 2001; 36pp booklet] [Disc 1: Bilingual (digital remastered):] 4:37 Discoteca 3:48 Single 4:03 Metamorphosis 4:58 Electricity 4:00 Se A Vida E (That's The Way Life Is) 6:05 It Always Comes As A Surprise 5:10 A Red Letter Day 4:16 Up Against It 4:30 The Survivors 4:32 Before 3:48 To Step Aside 3:59 Saturday Night Forever [Disc 2: Further listening 1995-1997 (bonus CD):] 4:11 Paninaro '95 4:18 In The Night (1995) 3:33 The Truck-driver And His Mate 4:07 Hit And Miss 4:38 How I Learned To Hate Rock'n'Roll 5:20 Betrayed 5:04 Delusions Of Grandeur 5:14 Discoteca (single version) [previously unreleased] 2:48 The Calm Before The Storm 3:47 Discoteca (new version) 6:09 The Boy Who Couldn't Keep His Clothes On [indentical to the "International Club Mix] 5:36 A Red Letter Day (expanded single version) [previously unreleased] 3:44 The View From Your Balcony 4:07 Disco Potential 10:55 Somewhere (extended mix) [Promotional Items: Back Catalog] ------------------------------------------------------------------------------ Pet Shop Boys: Montage [5 Nov 2001] live video VHS: 2001 UK (Parlophone; 7243-4-92616-3 1) DVD: 2001 UK (Parlophone; 7243-4-92616-9 3) DVD: 2001 NL (Parlophone; 7243-4-92616-9 3) [labeled EMI UDEN on disc] DVD: 2001 FR (??; ??) DVD: 2001 HK (??; ISRC CN-E15-00-311-01/V.J6) [NTSC; bootleg; codefree] West End Girls Discoteca / One Day We'll Be Free Being Boring Closer To Heaven Can You Forgive Her? Only The Wind What Have I Done To Deserve This? New York City Boy Left To My Own Devices Young Offender Vampires You Only Tell Me You Love Me When You're Drunk Was It Worth It? Se A Vida É I Don't Know What You Want But I Can't Give It Any More Always On My Mind Shameless Opportunities (Let's Make Lots Of Money) It's A Sin / I Will Survive It's Alright Footsteps Go West [Bonus Video's on DVD:] I Don't Know What You Want But I Can't Give It Any More (video) New York City Boy (video) You Only Tell Me You Love Me When You're Drunk For your own good [hidden track on DVD] [filmed and mixed from concerts of the Nightlife tour in 1999/2000. Sound is recorded on February 10 2000 Dortmund/Germany.] ------------------------------------------------------------------------------ Pet Shop Boys: Peter Rauhofer + Pet Shop Boys = The Collaboration [Mar 2002] promo vinyl 2x12": 2002 UK (Parlophone; 12RDJ 6574) [promo] [12" #1 (12RDJ 6574-1):] 7:31 Break 4 Love (classic club mix) 9:29 Break 4 Love (mike monday kit kat dub) [12" #2 (12RDJ 6574-2):] 7:39 Break 4 Love (friburn & urik hi-pass mix) 10:44 Break 4 Love (friburn & urik tribal mix) 7:38 Break 4 Love (ralphie's dub for love) 2:55 Home And Dry (acapella version) [states "Peter Rauhofer + Pet Shop Boys = The Collaboration" on slv] [Remixers: Break 4 Love] [Peter Rauhofer (Club 69)] 3:26 Break 4 Love (uk radio mix) 3:31 Break 4 Love (us radio mix) 9:52 Break 4 Love (usa club mix) 3:34 Break 4 Love (classic radio Mix) 7:31 Break 4 Love (classic club mix) 3:20 Break 4 Love (chill radio mix) 8:03 Break 4 Love (tribeca dub) [?? (Friburn & Urik)] 3:50 Break 4 Love (hi-pass radio mix) 7:37 Break 4 Love (friburn & urik hi-pass mix) 10:44 Break 4 Love (friburn & urik tribal mix) [Richard Morel] 7:24 Break 4 Love (richard morel's pink noize club mix) 7:17 Break 4 Love (richard morel's pink noize dub) [Michael Moog] 6:47 Break 4 Love (michael moog club mix) 6:43 Break 4 Love (michael moog dub) [Ralphie (Ralph Rosario] 7:38 Break 4 Love (ralphie's dub for love) [Mike Monday] 9:29 Break 4 Love (mike monday kit kat dub) [?? (Laroz & Amdursky)] 5:01 Break 4 Love (laroz & amdursky mix) [Sunshi Moriwaki] 3:50 Break 4 Love (2 step radio mix) 5:26 Break 4 Love (sunshi moriwaki's 2 step remix) ------------------------------------------------------------------------------ Pet Shop Boys: Home And Dry [18 Mar 2002] single Chart: UK #14, Germany #12, Japan #1 CD-R: 2002 UK (Parlophone; ??) [titled "Pet Shop Boys - Home And Dry"] CD5: 2002 UK (Parlophone; CDRDJ 6572) [promo; 4 Feb 2002] CD5: 2002 BR (EMI; 000894 2) [promo; cardboard slv] 3:56 Home And Dry (radio edit) CD5: 2002 NL (Parlophone; 7243-5-50736-2 4) [cardboard ps] 4:03 Home And Dry (radio edit) 3:37 Sexy Northerner CD5: 2002 UK (Parlophone; CDRS 6572) [CD1] CD5: 2002 NL (Parlophone; 7243-5-50531-2 1) [CD1] 3:58 Home And Dry (radio edit) 3:37 Sexy Northerner 5:02 Always CD5: 2002 UK (Parlophone; CDR 6572) [CD2] CD5: 2002 NL (Parlophone; 7243-5-50532-2 0) [CD2] 5:25 Home And Dry (ambient mix) 3:29 Break For Love (uk radio edit) 7:39 Break For Love (friburn & urik hi-pass mix) DVD: 2002 NL (Parlophone; DVDR 6572/7243-4-90091-9 6) 3:58 Home And Dry (video) 3:56 Nightlife 9:53 Break For Love (usa club mix) CD-R: 2002 DE (n/a; ??) [Feb 2002; blank & jones studio acetate] 3:37 Home And Dry (blank & jones radio edit) 6:39 Home And Dry (blank & jones remix) ["blank & jones vocal"] 6:50 Home And Dry (blank & jones dub mix) ["blank & jones dub"] 3:56 Home And Dry (radio edit) 12": 2002 DE (n/a; 12P 000 683) [w/l promo] 6:39 Home And Dry (blank & jones remix) 6:50 Home And Dry (blank & jones dub mix) [a few of the vinyls have handwritten mixnames, some are stamped on one side and some on both sides on label] 12": 2002 ?? (??; 12DJSP 249) [promo] 12": 2002 IT (EMI; 550532-6) [13 may 2002] 12": 2002 DE (EMI; 7243-5-50532-6 8) [27 may 2002] 6:50 Home And Dry (blank & jones dub mix) 3:33 Home And Dry (blank & jones radio edit) 5:25 Home And Dry (ambient mix) 2:55 Home And Dry (acapella version) CD5: 2002 JP (EMI; TOCP-65960) [16 Mar 2002; slimline CD case; w/OBI + lyric sheet] 3:58 Home And Dry (radio edit) 3:37 Sexy Northerner 5:02 Always 7:39 Break For Love (friburn & urik hi-pass mix) 5:25 Home And Dry (ambient mix) 12": 2002 US (Sanctuary; SANDJ-85534-1) [promo #1] 6:39 Home And Dry (blank & jones remix) 5:25 Home And Dry (ambient mix) 12": 2002 US (Sanctuary; SANDJ-85532-1) [promo #2] 4:21 Home And Dry (album version) 3:33 Home And Dry (blank & jones radio edit) CD5: 2002 US (Sanctuary; SANDJ 85533-2) [promo] 4:21 Home And Dry (album version) 3:33 Home And Dry (blank & jones radio edit) 6:39 Home And Dry (blank & jones remix) 5:25 Home And Dry (ambient mix) CD-R: 2002 FR (Parlophone; n/a) [titled Pet Shop Boys "Home And Dry" CD1/CD2] 3:58 Home And Dry (radio edit) 3:37 Sexy Northerner 5:02 Always 5:25 Home And Dry (ambient mix) 3:29 Break For Love (uk radio edit) 7:39 Break For Love (friburn & urik hi-pass mix) [Remixers: Home And Dry] [Piet Blank & Jaspa Jones (Blank & Jones)] 3:33 Home And Dry (blank & jones radio edit) 6:39 Home And Dry (blank & jones remix) 6:50 Home And Dry (blank & jones dub mix) [Promotional Items: Home And Dry] ------------------------------------------------------------------------------ Pet Shop Boys: Release [1 Apr 2002] album [JP release date: 21 Mar 02; US release date: 23 Apr 02] Chart: UK #7, Germany #3, US #? CD-R: 2002 UK (Abbey Road Acetate; ??) [?? Nov 2001; by ??] CD-R: 2002 UK (Abbey Road Acetate; ??) [in PVC slv and logo; from Abbey Road Studios; Jan 18th 2002 by SP in Room 13] CD-R: 2002 UK (Parlophone; ??) [silver 10th Planet CD-R w/promo sheet; titled "Pet Shop Boys - Release"] CD-R: 2002 FR (Parlophone; n/a) [titled "Pet Shop Boys Album"; w/imprinted red EMI logo] CD-R: 2002 US (Sanctuary; n/a) [promo] CD: 2002 UK (Parlophone; RELEASE01) [promo; in cardboard sleeve and wrap around sticker] CD: 2002 UK (Parlophone; RELEASE01) [in 9" x 9" promo folder pamphlet for promotional purposes; w/promo CD] LP: 2002 UK (Parlophone; 7243-5-38150-1 1) [8 Apr 2002; LP in white vinyl w/colored inner slv.] CS: 2002 UK (Parlophone; 7243-5-38150-4 2) [packed in a white box similar to the lim. ed. CDs] CD: 2002 UK (Parlophone; 7243-5-40023-2) [??; CD in white case w/colored red/white slv.] CD: 2002 NL (Parlophone; 7243-5-38598-2 4A) [ltd. edn white CD box in gray 'Poppy' slipcase] CD: 2002 NL (Parlophone; 7243-5-38598-2 4B) [ltd. edn white CD box in blue 'Tulip' slipcase] CD: 2002 NL (Parlophone; 7243-5-38598-2 4C) [ltd. edn white CD box in red 'Orchid' slipcase] CD: 2002 NL (Parlophone; 7243-5-38598-2 4D) [ltd. edn white CD box in pink 'Rose' slipcase] CD: 2002 UK (Parlophone; 7243-5-38598-2 4) [ltd. edn; imported for EMI Canada] MD: 2002 UK (Parlophone; ??) CD: 2002 NL (Parlophone; 7243-5-38150-2 8) CD: 2002 US (Sanctuary/BMG; ??) [promo] CD: 2002 US (Sanctuary/BMG; 0607 6 84553 2 0) [23 Apr] CD: 2002 CA (EMI; 7243-538150-2-8) [imported from EU for EMI Canada] CD: 2002 JP (EMI/Toshiba; TOCP-65977) [ltd edn card sleeve/white case + obi) CS: 2002 JP (??; ??) [promo) CD: 2002 TW (EMI; 7243-5-38150-2 8) [Taiwan; w/OBI] CD: 2002 ZA (EMI; CDPCSJ) [south africa] CD: 2002 AU (EMI; ??) [released 22 Apr] CS: 2002 IN (EMI; ??) [India] 4:21 Home And Dry 5:50 I Get Along 6:27 Birthday Boy 3:47 London 3:55 E-Mail 4:18 The Samurai In Autumn 4:50 Love Is A Catastrophe 3:16 Here 5:05 The Night I Fell In Love 3:11 You Choose 2xCD: 2002 US (Sanctuary/BMG; 0607 6 84554 2 9A) [ltd. edn white CD box in gray 'Poppy' slipcase; 23 Apr] 2xCD: 2002 US (Sanctuary/BMG; 0607 6 84554 2 9B) [ltd. edn white CD box in blue 'Tulip' slipcase; 23 Apr] 2xCD: 2002 US (Sanctuary/BMG; 0607 6 84554 2 9C) [ltd. edn white CD box in red 'Orchid' slipcase; 23 Apr] 2xCD: 2002 US (Sanctuary/BMG; 0607 6 84554 2 9D) [ltd. edn white CD box in pink 'Rose' slipcase; 23 Apr] 2xCD: 2002 HK (EMI; 7243-5-41486-0 6) [ltd. edn white CD box in white slipcase; 25 July] [CD#1 ("Release"):] 4:21 Home And Dry 5:50 I Get Along 6:27 Birthday Boy 3:47 London 3:55 E-Mail 4:18 The Samurai In Autumn 4:50 Love Is A Catastrophe 3:16 Here 5:05 The Night I Fell In Love 3:11 You Choose [CD#2 ("Bonus Disc":] 5:29 Home And Dry (ambient mix) 3:40 Sexy Northerner 5:06 Always 6:30 Closer To Heaven (slow version) 3:56 Nightlife 3:26 Friendly Fire (studio version) 3:33 Break 4 Love (us radio mix) 6:38 Home And Dry (blank & jones remix) ["2nd trance mix"] [CD-ROM content:] Home And Dry (Video) 2xCD: 2002 FR (EMI; 7243-5-40313-0) [ltd. edn; 11 Jun] [CD#1 ("Release"): 540313-0] 4:21 Home And Dry 5:50 I Get Along 6:27 Birthday Boy 3:47 London 3:55 E-Mail 4:18 The Samurai In Autumn 4:50 Love Is A Catastrophe 3:16 Here 5:05 The Night I Fell In Love 3:11 You Choose [CD#2 ("Extra-CD": 5 51003 2] 6:30 Closer To Heaven (slow version) 3:29 Break For Love (uk radio edit) CD: 2002 UK (Parlophone; Release02) [promo; in cardboard sleeve and wrap around sticker; w/cue sheet] [21-track interview discussing the album; elapsed time - 41:04] CD-R: 2002 US (Cinram Mastering; n/a) [x3; titled "Pet Shop Boys Release - Enhanced CD"; dated 4 Feb 2002] 5:29 Home And Dry (ambient mix) 3:40 Sexy Northerner 5:06 Always 6:30 Closer To Heaven (slow version) 3:56 Nightlife 3:26 Friendly Fire (studio version) 3:33 Break 4 Love (us radio mix) 6:38 Home And Dry (blank & jones remix) ["blank & jones mix"] [CD-ROM content:] Home And Dry (Video) [Promotional Items: Release] Video; Rare EMI Greece 8-trk promo compilation (42mins); in a custom stamped PET SHOP BOYS-MINOS/EMI Greece -NOT FOR BROACAST card case with Home & Dry (video clip) Home & Dry (performance on HERE COMES THE BRITS 16/02/02 Home & Dry (TOP OF THE POPS performance 29/03/02 Home & Dry (+Being Boring+Love Is A Catastrophe+ West End Girls performance on LATER WITH JOOLS HOLLAND-BBC2 12/04/02) Release (promo EPK-interview 13 mins 18/03/02) (GR) This video was sent from EMI greece to journalists -NOT FOR BROADCAST PURPOSES- along with a tshirt,a RELEASE promo CD,promo photographs and a press release all housed in a custom EMI folder....but now you are bidding only for the Video. Promo set; 8 black and white promo photos for 'Release'. There are in total 15 different promo photos for 'Release' most of which have not appeared on any magazine or publication. Promo set; 7 full colour promo photos for 'Release'. Each photo is 8"x10" and has the Parlophone logo and catalogue number plus information about the photographer of each shot. There are in total 15 different promo photos for 'Release' most of which have not appeared on any magazine or publication. Japanese promo-only press kit; featuring 10-track promo sample CD in digipak picture sleeve with obi-strip, cassette album, running time 44:58, instore NTSC video for Release with Home & Dry clip + superb 34-page promo-only booklet featuring release information, official interview, remixers, art and voice, discography and biography all in Japanese text and album artwork picture cover, in custom black and white titled glossy paper carrier bag. ------------------------------------------------------------------------------ Pet Shop Boys: I Get Along [15 Jul 2002] single Chart: UK #18, Germany #31 CD-R: 2002 FR (EMI; n/a) [promo + A4 glossy folder; cardboard] 5:51 I Get Along (album version) CD5: 2002 NL (Parlophone; CDRDJ 6581) [promo; cardboard; "EMI UDEN @ 1 1-1-1-NL"; May 2002] 4:09 I Get Along (radio edit) CD5: 2002 NL (Parlophone; 7243-5-5????-? ?) [cardboard slv] 4:09 I Get Along (radio edit) 3:28 Searching For The Face Of Jesus CD5-E: 2002 UK (Parlophone; CDRS 6581) [CD1] 4:09 I Get Along (radio edit) 3:28 Searching For The Face Of Jesus 5:14 Between Two Islands [CD-ROM content:] 4:19 I Get Along (the video) CD5-E: 2002 NL (Parlophone; 7243-5-51211-0 3) [CD1] 4:09 I Get Along (radio edit) 3:28 Searching For The Face Of Jesus 5:14 Between Two Islands 6:39 Home And Dry (blank & jones remix) ["blank and jones vocal"] [CD-ROM content:] 4:19 I Get Along (the video) CD5: 2002 UK (Parlophone; CDR 6581) [CD2] CD5: 2002 NL (Parlophone; 7243-5-51192-2 3) [CD2] 4:46 I Get Along (live) 3:47 A Red Letter Day (live) 5:05 Love Comes Quickly (live) DVD: 2002 UK (Parlophone; DVDR 6581) 4:19 I Get Along (video) 3:23 Friendly Fire 6:39 Home And Dry (blank & jones remix) ["blank and jones vocal"] DVD: 2002 NL (Parlophone; ??) 4:19 I Get Along (video) 3:23 Friendly Fire CD5: 2002 JP (EMI; TOCP-61067) [17 Jul 2002; CD jewel case; w/OBI + lyric sheet] 4:09 I Get Along (radio edit) 3:28 Searching For The Face Of Jesus 5:14 Between Two Islands 3:23 Friendly Fire 6:39 Home And Dry (blank & jones remix) 12": 2002 IT (EMI; ??) [?? Aug 2002] 12": 2002 DE (EMI; ??) [?? Aug 2002] ?:?? I Get Along (??) 12": 2002 UK (Parlophone; ??) [promo; ?? Aug 2002] ?:?? Sexy Northerner (??) ?:?? Sexy Northerner (??) ?:?? Sexy Northerner (??) [Promotional Items: I Get Along] ------------------------------------------------------------------------------ ::: Compilation. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - audio compilation appearances [A Red Letter Day] [on Various: Dancemania 3] CD: 1997 PL (Pomaton EMI; 0 7243-857623-2 1) 6:57 A Red Letter Day (motiv 8 twelve inch master mix) [A Red Letter Day] [on Various: Midnight Sun - Circuit Grooves 3] CD: 1997 US (Go Girl!; ??) [x1000] A Red Letter Day (trouser enthusiasts mix) [Absolutely Fabulous] [on Various: Absolute Dance 5] CS: 1994 SE (EVA; EVAMC 5019) CD: 1994 SE (EVA; EVACD 5019) [on Various: Classic Hi-NRG Hits] 2CD: 199? ?? (??; ??) [on Various: Now, That's What I Call Music 28] LP: 1994 UK (EMI; NOW 28) CD: 1994 UK (EMI; CD NOW 28) CS: 1994 UK (EMI; TC NOW 28) [on Various: Now Dance Summer 94] CS: 1994 ZA (EMI; STARC 6149) CD: 1994 ZA (EMI; STARCD 6149) 3:45 Absolutely Fabulous [Always On My Mind] [on Various: Now, That's What I Call Music 11] LP: 1987 UK (EMI; NOW 11) CD: 1987 UK (EMI; CD NOW 11) CS: 1987 UK (EMI; TC NOW 11) [on Various: Het Beste Uit De Top 40 Van 't Jaar 1988] 2xLP: 1988 NL (EVA; ??) CD: 1988 NL (EVA; PD 71988) ["vol. 1"] [on Various: The Best Of 1980-1990 Volume 1] 3xLP: 1990 DE (EMI; 152-794147-1) 3xCD: 1990 DE (EMI; 652-794147-2) 2xCS: 1990 DE (EMI; 452-794147-4) [on Various: Always On Our Minds] CD: 199? UK (??; ??) [Elvis tribute] [on Various: The 80's Collection - 1987] 2xCD: 1994 NL (Time Life; 544/10) 2xCD: 1994 UK (Time Life; 544/10) 3:55 Always On My Mind [Always On My Mind] [on Various: New Maxi Dog No. 2] LP: 1988 DE (EMI; 1C 058 790214-1) CD: 1988 DE (EMI; CDP 566-790214-2) CS: 1988 DE (EMI; 1C 258 790214-4) 5:55 Always On My Mind (Phil Harding Remix) [Always On My Mind] [on Various: Le Sampler] CD: 2001 FR (EMI; ??) [cardboard ps] 4:04 Always On My Mind (demo version) [compilation sampler from EMI France; track comes together with 5 other songs from other artists/groups] [Before] [on Dancefloor July 1996] CD: 1996 US (??; ??) [12 trk compilation] Before (extended mix) [Before] [on Danny Tenaglia: Colour Me Danny] CD: 199? ?? (??; ??) Before (dt underground mix 2) [Being Boring] [on Various: Absolute Music 11] LP: 1991 SE (EVA; 30-4149) CD: 1991 SE (EVA; 35-4149) CS: 1991 SE (EVA; 50-4149) 4:53 Being Boring [Can You Forgive Her?] [on Various: MTV's Greatest Hits] CD: 1993 UK (EMI; 827584-2) CS: 1993 UK (EMI; ??) [on Various: Beats & Pieces 2] CD: 1993 SE (EMI; PCD 17) [promo] [on Various: EMI Music Canada - July 1993] CD: 1993 CA (EMI; CDPRO Volume 13) [promo] 3:56 Can You Forgive Her? [Can You Forgive Her?] [on Various: 100% Dance Hits] CD: 199? CA (PolyTel; 516 749-2) [mix unknown] [Domino Dancing] [on Various: ??] 12": 1988 AR (EMI; DIFLP 019) [promo] [on Various: EMI Christmas CHR Sampler] CD: 1988 US (EMI; DPRO-04217) [promo; + "Left To My Own Devices"] [on Various: (two-artist promo)] 7": 19?? PL (STOMUR; DJ 19) [promo] 4:17 Domino Dancing [Domino Dancing] [on Various: The Essential DPRO] CD: 1998 US (EMI/EPROP; DPRO 70876-12129-2 1) [promo; card ps] 4:42 Domino Dancing (alternate version) [Go West] [on Various: Absolute Music 16] CD: 1991 SE (EVA; AMCD 1016) CS: 1991 SE (EVA; AMMC 1016) [on Various: The Greatest Hits '93 Volume 4] CD: 1993 NL (Magnum; 516565-2) 5:03 Go West [Go West] [on Various: Tour De Trance] CD: 199? DE (??; ??) [21 trks] 6:54 Go West (keven saunderson trance mix) [Go West] [on Various: ??] 12": 1993 ?? (DisCocaine; DK002) [bootleg] 6:40 Go West (unauthorized bootleg dub 2) ["Gone West"] [c/w "Anytime You Need A Mix" by Mariah Carey] [Heart] [on Various: The Best Of 1980-1990 Volume 6] 2xCD: 1992 DE (EMI; 686-0777 799633-2 4) 2xCS: 1992 DE (EMI; 286-0777 799632-4 9) [on Various: The 80's Collection - 1988] 2xCD: 1994 UK (Time Life; 544/06) 4:16 Heart [I Get Along] [on Various: EMI WOW 7] CD: 2002 UK (EMI; ESOUND01) [promo; 18 tracks; digipack pic slv] 4:09 I Get Along (radio edit) [I Wouldn't Normally Do This Kind Of Thing] [on Various: EMI WOW 7] CD: 199? ?? (EMI; CDWOW7) [16 tracks] I Wouldn't Normally Do This Kind Of Thing (radio mix) [In The Night] [on Various: Record Mirror EP] 7": 1986 UK (Record Mirror; RM 1) [8 Feb 86] 4:50 In The Night [Given away on the front of 'Record Mirror'] [It Always Comes As A Surprise] [on Various: Flavour 7 - Globetrotters] CD: 1996 UK (Parlophone; CDWK 56) [promo] 6:04 It Always Comes As A Surprise [It's A Sin] [on Various: Absolute Music 3] LP: 1991 SE (EVA; 30-3143) CD: 1991 SE (EVA; 35-3143) CS: 1991 SE (EVA; 50-3143) [on Various: The Best Of 1980-1990 Volume 5] 2xLP: 1992 DE (EMI; 186-798848-1) 2xCD: 1992 DE (EMI; 686-798848-2) 2xCS: 1992 DE (EMI; 286-798848-4) [on Various: Now That's What I Call Music 1987] CD: 1993 UK (EMI; CD NOW 1987) [on Various: The Ultimate Eighties] CD: 1994 UK (Polygram TV; 516831-2) CS: 1994 UK (Polygram TV; 516831-4) 4:59 It's A Sin [It's Alright] [on Various: Supermix 3] CD: 1990 DE (CBS; 465947-2) 3:24 It's Alright [edit] [It's Alright] [on Various: Now That's What I Call Music 15] LP: 1989 UK (EMI; NOW 15) CD: 1989 UK (EMI; CD NOW 15) CS: 1989 UK (EMI; TC NOW 15) [on Various: Absolute Music 7] LP: 1989 SE (Virgin; 30-3611) CD: 1989 SE (Virgin; 35-3611) CS: 1989 SE (Virgin; 50-3611) 4:20 It's Alright [Je T'aime...Moi Non Plus] [on Various: Candy] 3:30 Je T'aime...Moi Non Plus (edit) [Jealousy] [on Various: The Incredible Sound Machine] CD: 1990 UK (Capitol/Parlophone; ISM 1) [promo; 6x6" white card box] 4:47 Jealousy [Left To My Own Devices] [on Various: EMI Christmas CHR Sampler] CD: 1988 US (EMI; DPRO-04217) [promo; + "Domino Dancing"] 4:45 Left To My Own Devices ["edit"] [Liberation] [on Various: A Very Parlophone Cassette (for your car)] CS: 1993 UK (Chop Em Out; ??) [promo for EMI conference; custom ps] [on Various: Girls + Boys - Compilation March 1994] CD: 1994 UK (Parlophone; VERY 2) 4:04 Liberation [Liberation] [on Various: B.U.D #1] CD: 1994 CA (EMI Canada; CDPROBUD1) [promo; May 1994] 12:33 Liberation (e-Smoove mix) [Love Comes Quickly] [on Various: Wow, That's What I Call Music 3] LP: 1986 SE (EMI; 261 048-1) [on Various...] LP: 198? BR (EMI; Brazil??) [promo] (+"Opportunities") 4:18 Love Comes Quickly [New York City Boy] [on Various: Almighty Downunder] CD: 2000 US (??; ??) 4:18 New York City Boy (the thunderpuss 2000 radio edit) [New York City Boy] [on Various: Almighty Downunder] 2xCD: 2001 AU (Universal Australia; ??) 4:08 New York City Boy (the almighty definitive mix radio edit) [One More Chance] [on Various: The Best Of Bobby Orlando Productions] LP: 1986 DE (ZYX; 20053) (+"Pet Shop Boys"/"West End Girls") [on Various: B.L.A.S.T Modern Rock Program #22] CD: 1996 US (Pellegrino Promotions; ALTSIN-CD 22) 3:26 One More Chance (kordak remix) [One More Chance] [on Various: (no title, includes Girly & Devine tracks)]ULTIMATE DANCE PARTY 2000 12": 1984 CA (Unidisc 12 BOB 07) 5:34 One More Chance (remix) [Opportunities] [on Various: The Previews--July 85 previews] LP: 1985 UK (Record Mirror; RMC-60) 3:15 Opportunities (Let's Make Lots Of Money) (edit) [Excludes Neil's speaking part from the end] [Opportunities] [on Various: Spool's Paradise] CSS: 1985 UK (Record Mirror; RMC-60) 3:28 Opportunities (Let's Make Lots Of Money) [Opportunities] [on Various: Now This Is Music 6] 2xLP: 1987 NL (EVA; 303.072) CD: 1987 NL (EVA; 285.337) CS: 1987 NL (EVA; 503.072) 3:37 Opportunities (7" mix) [Opportunities] [on Various...] LP: 198? BR (EMI Brazil; ??) [promo] (+"Love Comes Quickly") [on Various: The Essential DPRO] CD: 1998 US (EMI/EPROP; DPRO 70876-12129-2 1) [promo] 3:45 Opportunities (Let's Make Lots Of Money) [Opportunities] [on Various: Now That's What I Call Music 7] LP: 1986 UK (EMI; NOW 7) [mix unconfirmed] CS: 1986 UK (EMI; TC NOW 7) [mix unconfirmed] 3:20 Opportunities (Let's Make Lots Of Money) [Pet Shop Boys] [on Various: The Best Of Bobby Orlando Productions] LP: 1986 DE (ZYX; 20053) (+"West End Girls"/"One More Chance") 5:10 Pet Shop Boys [Rent] [on Various: Now That's What I Call Music 10] LP: 1987 UK (EMI; NOW 10) CD: 1987 UK (EMI; CD NOW 10) CS: 1987 UK (EMI; TC NOW 10) [on Various: Het beste uit de Top 40 van't jaar '87] All: 1987 NL (EMI/Virgin/BMG Ariola (EVA); 7488112) [on Various: ??] 12": 1987 AR (EMI; DIFLP 001) [promo; "Renta"] Rent [mix unknown] [Screaming] [on Various: Psycho (soundtrack)] CD: 1999 UK (Geffen; GED 25313) CD: 1999 CA (Geffen; GESSD-25313) 4:54 Screaming [Se A Vida E] [on Various: Now That's What I Call Music 35] [on Various: Now That's What I Call Music 01 PL] CD: 1996 PL (Pomaton EMI/Polygram Polska; 7243 855014-2 5) [on Various: Monthly Power Picks 1996.9-10] CD: 1996 JP (Toshiba-EMI; PCD-0776) [promo; booklet w/psb page] 4:02 Se A Vida E (album version) [Se A Vida E] [on Various: Bigmix No. One] 2xCD: 1997 AU (EMI; 814917-2) [+ boxed promo with 10trk video] 7:58 Se A Vida E (mark picchiotti's deep & dark vocal) [So Hard] [on Various: Now That's What I Call Music 18] LP: 1990 UK (EMI; NOW 18) CD: 1990 UK (EMI; CD NOW 18) CS: 1990 UK (EMI; TC NOW 18) [on Various: Music That Travels The World] 2xCD: 1990 US (EMI; DPRO-79679) [promo; 34 tracks; EMI staff only!]] [on Various: EMI September Pop Sampler] CD: 1990 US (EMI; ??) [promo; mix unconfirmed] 3:56 So Hard [Somewhere] [on Promo Only: September 1997 Club Issue] CD: 1997 US (Promo Only; ?) 10:37 Somewhere (trouser enthusiasts mix) [Suburbia] [on Various: Now That's What I Call Music 8] LP: 1986 UK (EMI; NOW 8) CD: 1986 UK (EMI; CD NOW 8) CS: 1986 UK (EMI; TC NOW 8) [on Various: Het beste uit de Top 40 van 1986] 2xLP: 1986 NL (EVA; ??) [on Various: Holiday Sampler] 12": 1986 US (EMI; SPRO 9883184) [promo] [on Various: Pop & Wave vol. 3] 2xCD: 1993 DE (Sony Music Entertainment; 473862-2) 4:30 Suburbia [That's My Impression] [on Various: 7up Music Machine 1986] CS: 1986 UK (Stiletto; SMMC 149) [ltd edn] (+"West End Girls") 4:45 That's My Impression [To Face The Truth] [on Various: The Capitol/Parlophone Preview Tape] CS: 199? UK (Capitol/Parlophone; no cat #) [promo; green ps] 5:33 To Face The Truth [To Step Aside] [on Various: Millennium 2000 CD 1] 2xCD: 1997 US (2841 Corporation Inc.; n/a) 10:13 To Step Aside (house piano edit) [Unique mix created by/for Boston leather club The Ramrod. Contact info: 2841 Corporation Inc, 56 Charlesgate East, Suite 133, Boston MA 02215, Phone 617-247-2713, Fax 617-262-6076] [Was It Worth It?] [on Various: Absolute Music 13] LP: 1991 SE (EVA; 30-4520) CD: 1991 SE (EVA; 35-4520) CS: 1991 SE (EVA; 50-4520) 4:23 Was It Worth It? [Was That What It Was?] [on Various: Disco Power '87] LP: 1987 HK (EMI; COMP-16) [West End Girls] [on Various: Los 100 Mayores Exitos De los 80] 4xCD: 199? ?? (Arcade; ??) [+ Eighth Wonder: I'm Not Scared] 3:23 West End Girls (original single version?) [West End Girls] [on Various: Now This Is Music 4] 2xLP: 1986 NL (EVA; 158-2610003) CD: 1986 NL (EVA; CDP 7462772) 3:58 West End Girls (7" mix) [West End Girls] [on Various: 7up Music Machine 1986] CS: 1986 UK (Stiletto; SMMC 149) [ltd] (+"That's My Impression") [on Various: The Best Of 'O' Records Volume 2] CD: 1989 ?? ('O' Records/HOT Productions; HTCD 2) [on Various: Pop & Wave Volume 2] 2xCD: 1992 DE (Columbia; 472423-2) [on Various: Now, That's What I Call Music 1985] CD: 1993 UK (EMI; CD NOW 1985) [on Various: Euro-Disco Vol.1] CD: 1994 DE (PWG; 54507) ["first hit mix"] [on Various: Into the 80's] CD: 19?? DE (Pop Music; 50009) 4:45 West End Girls [West End Girls] [on Various: Maxi Smash Hits] LP: 1986 DE (CBS; 24 067) 4:57 West End Girls [exact mix unknown] [West End Girls] [on Various: The Best Of Bobby Orlando Productions] LP: 1986 DE (ZYX; 20053) (+"One More Chance"/"Pet Shop Boys") [on Various: Charts On Fire] LP: 19?? US (Priority; SL-9366) [on Various: Best of the Eighties - Volume 1] CD: 19?? UK (QED/MCPS; QED181) 5:18 West End Girls [bobby 'o' version] [West End Girls] [on Various: Dance Mix, Dance Hits - Volume 4] LP: 1984 UK (EPIC; DM4) 6:30 West End Girls [Alan Coulthard mix] [West End Girls] [on Various: On The Beat] 2xLP: 1992 DE (EMI; 469207-1) 2xCD: 1992 DE (EMI; 469207-2) 2xCS: 1992 DE (EMI; 469207-4) 7:15 West End Girls (montreal 12" remix) [West End Girls] [on Various: Hit That Perfect Beat Volume 2] CD: 1995 US (Oglio/MCA Special Markets; 81584-2 (MSD-358888)) 7:48 West End Girls (original bobcat version) [West End Girls] [on Various: Club Classics] 12": 2001 DE (ZYX; GDC 0010-12) 5:00 West End Girls (bobby 'o' version) [West End Girls] [on Various: Now Dance] CD: 1985 DE (EMI/Virgin/RCA-Ariola; 257.626) 8:09 West End Girls (shep pettibone mastermix) [mixlabeled "dance mix" with wrong time] [West End Girls] [on Various: Music Shop] LP: 198? DE (Ariola; ??) [promo sampler] 9:04 West End Girls [dance mix] [West End Girls] [on Various: Clubline] 2xCD: 19?? DE (??; ??) [25 trks] [West End Girls] [on Various: Glad To Be Gay II] CD: 1994 ?? (??; ??) [West End Girls] [on Various: Liebe Sunde] 2xCD: 19?? DE (??; ??) [37 trks] [West End Girls] [on Various: New Rock 1] LP: 19?? GR (??; 260921-1) [Greek; picture & biography on slv] [What Have I Done To Deserve This?] [on Dusty Springfield: Selections From The Dusty Springfield Anthology] CD: 1997 US (Mercury; MECD 148) [10-trk promo; stickered slim jb] [on Dusty Springfield: The Dusty Springfield Anthology] 3xCD: 1997 US (Mercury; ??) [box set in cardboard outer slv] 4:19 What Have I Done To Deserve This? [Where The Streets Have No Name] [on Various: Now That's What I Call Music 20] LP: 1991 UK (EMI; NOW 20) CD: 1991 UK (EMI; CD NOW 20) CS: 1991 UK (EMI; TC NOW 20) [on Various: Hello Kitty Dancing] CD: 1997 JP (Toshiba/EMI; TOCP-50348) 4:33 Where The Streets Have No Name... [Yesterday, When I Was Mad] [on Various: Mixing In Action Hits] CD: 1994 IT (EMI; 831834-2) [15 tracks] 6:39 Yesterday, When I Was Mad (r.a.f. zone mix) [Yesterday, When I Was Mad] [on Various: Sure Shots] 2xCD: 1994 UK (Parlophone; SURE CD 1) [promo; 21 tracks] 4:02 Yesterday, When I Was Mad [includes 24pg colour booklet with a full page on the PSBs - release dates, info & colour photo] [You Only Tell Me You Love Me When You're Drunk] [on Various: After Party Dance 2000] CD: 2000 BR (EMI; 527506 2) [14 tracks] 3:01 You Only Tell Me You Love Me... (hitmakers brasil radio edit) [track unknown] [on Various: Culture Dance 4] 2xCD: 19?? FR (??; ??) [21 trks] [track unknown] [on Various: Dance Hits 12" Mixes] 2xCD: 19?? DE (??; ??) [track unknown] [on Various: Get The Hits] CD: 19?? ?? (??; ??) [track unknown] [on Various: El Sabor Alternativo] CD: 19?? MX (EMI; 200652) [promo] [track unknown] [on Various: EMI 100 Anglo Abril 1997] 2xCD: 1997 AR (EMI; ?) [promo] [track unknown] [on Various: Super Top 88] LP: 1988 MX (EMI; SLEM 1573) [with photo on back cover] [track unknown] [on Various: Super Top Hits 5] LP: 19?? MX (EMI; SLEM 1491) [track unknown] [on Various: Super Top Hits 4] LP: 19?? MX (EMI; SLEM 1420) [track unknown] [on Various: Xenk Radio Vol 4] LP: 19?? MX (?; ?) [promo] ------------------------------------------------------------------------------ Pet Shop Boys - video compilation appearances [Absolutely Fabulous] [on Various: Rock Video Monthly - Pop Edition, Nov 1994] VHS: 1994 US (Warner Music Enterprises; ??) [Absolutely Fabulous] [on Telegenics Video Service] VHS: 1994 US (Telegenics; 138D) [September 1994; NTSC; promo] 3:45 Absolutely Fabulous [114 bpm] [Absolutely Fabulous] VHS: 1994 US (Telegenics; 139D) [October 1994; NTSC; promo] 5:30 Absolutely Fabulous (Direct Hit 12" mix) [134 bpm] [video edited to fit Direct Hit remix service mix] [Always On My Mind] [on Various: Now, That's What I Call Music 11] VHS: 1988 UK (Virgin/PMI; MVNOW 11) [Before] [on ZTV Video Service] VHS: 1996 US (ZTV; HitLine June 96) [+SVHS, 3/4", Betamax; promo] [Can You Forgive Her] [on Various: MTV's Greatest Hits] VHS: 1993 UK (??; ??) [Can You Forgive Her?] [on Telegenics Video Service] VHS: 1993 US (Telegenics; 124D) [July 1993; NTSC; promo] 3:54 Can You Forgive Her? [116 bpm] [Can You Forgive Her?] VHS: 1993 US (Telegenics; 125D) [August 1993; NTSC; promo] 6:00 Can You Forgive Her? (12" mix) [132 bpm] [video edited to fit Rollo remix] [Go West] [on Various: The Best Of The Brit Awards] VHS: 1995 UK (??; ??) Go West (live at the 1994 brit awards) [Go West] [on Telegenics Video Service] VHS: 1993 US (Telegenics; 127D) [October 1993; NTSC; promo] 4:52 Go West [120 bpm] [How Can You Expect To Be Taken Seriously?] [on Various: untitled promo] VHS: 1991 US (EMI Video; n/a) 4:08 How Can You Expect To Be Taken Seriously? ["Seriously"] [I Wouldn't Normally Do This Kind Of Thing] [on Telegenics Video Service] VHS: 1994 US (Telegenics; 130D) [January 1994; NTSC; promo] 4:39 I Wouldn't Normally Do This Kind Of Thing [128 bpm] [It's Alright] [on Various: Now That's What I Call Music 15] VHS: 1989 UK (Virgin/PMI/PMV; CMV 1134/MVNOW 15) [Liberation] [on Telegenics Video Service] VHS: 1994 US (Telegenics; 135D) [June 1994; NTSC; promo] 4:00 Liberation [108 bpm] [Liberation] [on Various: Computer Animation Festival] VHS: 1996 US (??; ??) DVD: 1997 US (??; ??) [Love Comes Quickly] [on Various: Hot Frames Volume 11 (EMI 31 Promo Compilation-Feb 86)] VHS: 1986 UK (??; ??) (+"West End Girls") [promo] [Opportunities] [on Various: Now That's What I Call Music 7] VHS: 1986 UK (EMI/Virgin/PMI; MVNOW 7) [Opportunities (2nd version)] [on Various: The MTV Video Music Video Awards Collection] VHS: 199? ?? (Warner Music Video; 938130-3) [Also includes clip of PSB anncouncing award for director Zbigniew Rybczynski.] [Opportunities (2nd release)] [on Telegenics Video Service] VHS: 1986 US (Telegenics; 40A) [July 1986; NTSC; promo] 3:44 Opportunities [120 bpm] [Paninaro 95] [on ETV Video Service] VHS: 1995 US (ETV; 192) [August 1995; NTSC; promo] 4:08 Paninaro 95 [126 bpm] [Rent] [on Various: Now That's What I Call Music 10] VHS: 198? UK (EMI/Virgin/PMI; MVNOW 10) [Se A Vida E] [on ETV Video Service] VHS: 1996 US (ETV; 1508) [November 1996; NTSC] 6:09 Se A Vida E (etv bonus mix) [122 bpm] [So Hard] [on Various: Now That's What I Call Music 18] VHS: 1990 UK (??; MVP 991260-3) [Song For Guy/Believe] [on Various: An Audience With Elton John] VHS: 1997 UK (Telstar; TVE 5033) [Collaboration with Elton John. Special appeared on UK television on 29 Sep 1997] [Suburbia] [on Various: Now That's What I Call Music 8] VHS: 198? UK (EMI/Virgin/PMI; MVNOW 8) [Was It Worth It?] [on Telegenics Video Service] VHS: 1992 US (Telegenics; 106D) [NTSC; promo] 4:18 Was It Worth It? [127 bpm] [West End Girls] [on Various: Now That's What I Call Music 6] VHS: 19?? UK (??; MVNOW 6) [on Various: Smash Hits - Now That's What I Call Music] VHS: 19?? UK (??; VVD 267) [on Various: The 80's] VHS: 19?? UK (PMI; MVP 991201-3) [West End Girls (scratch version)] [on Various: Hot Frames Volume 11 (EMI 31 Promo Compilation-Feb 86)] VHS: 1986 UK (??; ??) (+"Love Comes Quickly") [promo] [Where The Streets Have No Name] [on Various: n/a] VHS: 1991 US (EMI; n/a) [promo] [Video also has Huey Lewis and Atooz tracks] [Where The Streets Have No Name] [on Telegenics Video Service] VHS: 1991 US (Telegenics; 98D) ["Dance Plus"; NTSC; promo] 4:25 Where The Streets Have No Name [130 bpm] [Yesterday, When I Was Mad] [on Telegenics Video Service] VHS: 1994 US (Telegenics; 139D) [October 1994; NTSC; promo] 3:59 Yesterday, When I Was Mad [148 bpm] [tracks unknown] [on African Skies II] VHS: 1994 US (Interplanetary Productions; No. 216 or No. 42) [Uses PSB music. D: Dug Rotstein] ------------------------------------------------------------------------------ ::: Underground. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys: 1982 demos [1982] early demos 3:08 Bubadubadubadum ["All My Wasted Time"] 4:15 Dead Of Night 3:23 Oh Dear ["Walking Down The High Street"] ------------------------------------------------------------------------------ Pet Shop Boys: undated early-80s demos [198?] demos CS: 198? UK (no label; no cat #) 4:50 Opportunities (Let's Make Lots Of Money) 4:23 I Get Excited You Get Excited Too 3:48 Two Divided By Zero 3:40 Rent 5:08 It's A Sin 4:58 In The Club Or In The Queue 6:32 I Want A Lover 2:45 Later Tonight ------------------------------------------------------------------------------ Pet Shop Boys: Why Don't We Live Together (Abbey Road Studios Demos) [198?] demos 1:00 Why Don't We Live Together (various beats) 0:37 Why Don't We Live Together (chorus v1) 0:31 Why Don't We Live Together (chorus v2) 0:09 Why Don't We Live Together (chorus v3) 0:21 Why Don't We Live Together (snares) 0:19 Why Don't We Live Together (snares/claps) 0:39 Why Don't We Live Together (snares/drums/background beat) 2:42 Why Don't We Live Together (version 1; intro+outroless) 3:32 Why Don't We Live Together (version 2; intro+outroless) 0:54 Why Don't We Live Together (altered voices v1) 1:38 Why Don't We Live Together (1st verse/chorus/2nd verse) 0:08 Why Don't We Live Together (background beat) 5:14 Why Don't We Live Together (instrumental v1) 0:26 Why Don't We Live Together (snares/drums/claps) 5:53 Why Don't We Live Together (version 3; w. intro; dif. lyrics) 0:34 Why Don't We Live Together (chorus v4) 1:42 Why Don't We Live Together (chorus/unused verse/chorus/outro) 1:35 Why Don't We Live Together (chorus/unused verse/ch./outro v2) 1:34 Why Don't We Live Together (organ/backingvocals/outro) 1:34 Why Don't We Live Together (mouth-organ/backingvocals/outro) 2:07 Why Don't We Live Togather (altered voices v2) [35:00 Abbey Road Studio tape including three different versions recorded as the track was slowly built; features different lyrics and music.] ------------------------------------------------------------------------------ Pet Shop Boys: 1987 live studio demos [1987] demo tapes You Know Where You Went Wrong Why Don't We Live Together ------------------------------------------------------------------------------ Pet Shop Boys: Sarm West Studio Tape 1 [198?] demos 5:54 Always On My Mind (version 1) [master drums only] 5:31 Always On My Mind (version 2) [synth backing track] 0:06 Always On My Mind (version 3) [intro only] 6:38 Always On My Mind (version 4) [seq strings, drums, percussion] 5:35 Always On My Mind (version 5) [bass, seq, new drums] 5:43 Always On My Mind (version 6) ["moog bass dub mix"; Snare skips, Strings, Kit] 4:36 Always On My Mind (version 7) ["moog new dub mix"; New snare kit, strings, new synth bass] 4:42 One More Chance (version 1) [basic & seq, vox, kit] 4:20 One More Chance (version 2) [moog bass, keys, kit] 4:17 One More Chance (version 3) [PPG seq keys, seq moog] 4:01 One More Chance (version 4) [PPH seq2 moog, keys] 3:46 One More Chance (version 5) [KBD filter mix reverse] 3:45 One More Chance (version 6) [bass seq dub, keys, vox] 3:51 One More Chance (version 7) [UFO KBD mix - Chris Lowe ideas] 3:43 One More Chance (version 8) [Chris Newman ideas] 3:47 One More Chance (version 9) [Neil Tennant and Chris Newman ideas] 1:06 One More Chance (version 10) ------------------------------------------------------------------------------ Pet Shop Boys: Sarm West Studio Tape 2 [198?] demos 4:09 Opportunities (fairlight backing track) 3:45 Opportunities (day 1 version 2) 3:45 Opportunities (day 2, very rough, new bass; rough bracking track) 3:45 Opportunities (day 2 version 2, new mode, bass version) 8:07 West End Girls (day 1 fairlight, rough backing track) 4:03 Opportunities (day 2 version 1, new keys, bass, rough mix) 3:56 One Of The Crowd (day 1 version 1, backing track) 3:58 One Of The Crowd (day 2 version 2, kbd seqs "in and out", shake it all about Monitor Mix") 3:53 One Of The Crowd (bubble mix) 3:55 One Of The Crowd ("the 2 chris' mix") 3:58 One Of The Crowd (day 3 version 5 "the lowe and behold monitor mix") 4:44 Don Juan (advision studios day 1) 4:44 Don Juan (advision studios "freaky friday dub monitor mix") ------------------------------------------------------------------------------ Pet Shop Boys: Sarm West Studio Tape 3 [198?] demos 5:07 It's A Sin (version 1) Synth Seq, Orch, Drums 5:13 It's A Sin (version 2) As Above 5:06 It's A Sin (version 3) No Lead Line 5:12 It's A Sin (version 4) String, ARP, Oboe, Kit 5:16 It's A Sin (version 5) String, ARP, Keys, Drum 4:27 It's A Sin (version 6) 4:28 It's A Sin (version 7) 4:27 It's A Sin (version 8) 4:30 It's A Sin (version 9) 4:25 It's A Sin (version 10) Chris Lowe Synth Mix 5:06 Rent (version 1) Keys, Seq, Vox, Sample Kit 5:08 Rent (version 2) Keys, Seq, Drums, Strings 5:09 Rent (version 3) Kit, Keys, Bass, Vox Lines 5:10 Rent (version 4) Rub-A-Dub Mix 5:54 Always On My Mind (master drums only) 4:31 Losing My Mind (day 1 "monitor mix" rak) 4:33 Losing My Mind ("can't be bothered" monitor mix) 4:36 Losing My Mind (version 3) [Some copies apparently omit "It's A Sin" (version 8)" and "Losing My Mind" (version 3).] ------------------------------------------------------------------------------ Pet Shop Boys: Sarm West Studio Tape 4 [198?] demos 4:05 Heart (version 1 day 1) Backing Track 4:17 Heart (version 2 day 2) Dub Backing Track 4:16 Heart (version 3 day 3) Drum Skip - New Sequence 3:47 Heart (version 4 day 3) Chris Lowe "Monitor Mix" 4:20 Heart (version 5 day 3) Backing Track 3:34 It's Alright (version 1) 5:16 Nothing Has Been Proved (version 1) ------------------------------------------------------------------------------ Pet Shop Boys: Domino Dancing demos [198?] demos 4:47 Domino Dancing (spanish mix) 4:23 Domino Dancing (spanish radio mix) ?:?? Domino Dancing (suave mix) 7:40 Domino Dancing (extended version) ------------------------------------------------------------------------------ Pet Shop Boys: Abbey Road demos [1991] demo bootleg LP: 1991 UK (Domino Records; DR2) [bootleg] CD: 199? ?? (??; ??) 4:59 It's A Sin 5:21 Rent 6:03 You Know Where You Went Wrong 5:54 I Want To Wake Up 4:12 What Have I Done To Deserve This? 5:03 It Couldn't Happen Here 3:44 One More Chance 2 5:00 King's Cross 3:48 Jealousy (dead of night) 5:17 James Bond 1 (instrumental) ["James Bond 2 (instrumental)"] CD: 1991 IT (??; 92-EF-11-102) [bootleg; b&w Neil ps] 4:59 It's A Sin 5:21 Rent 6:03 You Know Where You Went Wrong 3:49 One More Chance (mix 166) 5:54 I Want To Wake Up 4:12 What Have I Done To Deserve This? 5:03 It Couldn't Happen Here 3:44 One More Chance 2 5:00 King's Cross 3:48 Jealousy (dead of night) 5:17 Living Daylights 1 [This Must Be The Place...(instrumental)] 3:41 Living Daylights 2 [instrumental] ------------------------------------------------------------------------------ Pet Shop Boys: (Demo Compilation) [19??] demos CS: 19?? ?? (??; ??) 4:59 It's A Sin (abbey road demo) 4:28 Rent 5:21 Rent (abbey road demo) 3:49 One More Chance (mix 166) 6:08 You Know Where You Went Wrong 6:03 You Know Where You Went Wrong (abbey road demo) 5:54 I Want To Wake Up (abbey road demo) 4:15 Dead of Night (Jealousy) 4:12 What Have I Done To Deserve This? (abbey road demo) 5:03 It Couldn't Happen Here 4:56 Hit Music 3:44 One More Chance 2 (abbey road demo) 5:00 King's Cross 3:48 Jealousy (dead of night) 5:17 James Bond 1 3:41 James Bond 2 3:08 All My Wasted Time (Bubadubadum) 3:23 Oh Dear (Walking Down The High Street) ------------------------------------------------------------------------------ Pet Shop Boys - Closer To Heaven (The Pet Shop Boys Musical) [1998-2001] demo compilations (all tracks performed by Neil Tennant) [See also Collaboration & Promotion.] CD-R: 1998 UK (??; ??) [handwritten label; July 1998] 3:46 For your own good (demo)** 3:19 Something special (demo)** 3:37 A little black dress (demo)** 2:23 In denial part 1 (demo)** 4:35 Closer to heaven (demo)** 3:15 Drunk (demo) [98 outake]** 3:57 Call me old fashioned (demo)** 3:06 Hedonism (demo)** 3:23 Friendly fire (demo)** 2:24 In denial part 2 (demo)** 2:06 Tall thin men (demo)** 3:59 Vampires (demo)** 4:13 The only one (demo)** 4:21 For all of us (demo)** 3:53 Night life (demo)** CD-R: 1999 UK (Metropolis Mastering; ??) [handwritten "PSB - The Musical"; 16 June 1999] 2:12 Tall Thin Men (studio version)** 5:18 For Your Own Good [Nightlife version with full fade] 3:18 Something Special (demo) 3:38 A Little Black Dress (demo) 3:20 In Denial [Nightlife version] 3:57 Call Me Old Fashioned (demo) 3:22 Friendly Fire (new version)** 2:23 In Denial Part 2 (demo) 4:43 Vampires [Nightlife version] 3:57 The Only One [Nightlife version] 4:20 Night Life (studio version)** 4:21 For All Of Us (studio version)** 4:06 Closer To Heaven [Nightlife version] [Handwritten track names on CD, sleeve is printed with tracklisting and the back has footnote 'This CDR is for reference purposes only, it is not to be used for CD manufacturing'] CD-R: 2000 UK (IT Records/10th Planet; ??) [titled "Closer To Heaven"] 2:13 Tall Thin Men (studio version) 5:20 For Your Own Good [Nightlife version with full fade] 3:20 Something Special (demo) 3:39 A Little Black Dress (demo) 3:20 In Denial [Nightlife version] 3:39 Nine Out Of Ten (slow version)** 3:58 Call Me Old Fashioned (demo) 5:03 Shameless [Alternative version] 3:23 Friendly Fire (new version) 2:25 In Denial Part 2 (demo) 4:43 Vampires [Nightlife version] 4:21 The Only One (new version) [Nightlife version] 3:58 Night Life (studio version) 4:22 For All Of Us (studio version) 4:05 Closer To Heaven [Nightlife version] [Some demo versions from the 98 session are mixed with previously released tracks and studio versions of new tracks chosen for the musical] CD-R: 2000 UK (RUG/10th Planet; ??) [19 track CD-R; titled "Closer To Heaven"] 5:20 For Your Own Good [Nightlife version with full fade] 3:20 Something Special (demo) 3:39 A Little Black Dress (demo) 3:20 In Denial [Nightlife version] 5:03 Shameless [Alternative version] 3:05 Nine Out Of Ten (demo)** 3:58 Call Me Old Fashioned (demo) 3:43 This is just my little tribute to Caligula, darling (demo)** 3:06 Hedonism (studio version) 3:23 Friendly Fire (new version) 2:25 In Denial Part 2 (demo) 2:13 Tall Thin Men (studio version) 4:43 Vampires [Nightlife version] 4:21 The Only One [Nightlife version] 4:44 Out of my system (demo)** 6:00 K-hole (extended demo)** 4:22 For All Of Us (studio version) 4:05 Closer To Heaven [Nightlife version] 4:26 Positive role model (demo)** [Some demo versions from the 98 session are mixed with previously released studio versions and some new tracks chosen for the musical, which were new and sound very demo-ish. Several copies of these CD-Rs were prepared for the actors in the musical so they could hear the musical tracks] CD-R: 2000 UK (??; ??) [existance unconfirmed] 4:35 Closer to heaven (demo) 3:56 My Night (edit) 4:50 For All Of Us [Feb 01; different version; piano version] 2:06 Tall thin men (demo) 4:44 Something Special/Home [Feb 01; two tracks mixed together] 3:22 Friendly Fire (new version) 3:02 Nine Out Of Ten (slow version) 3:59 Vampires (demo) 4:07 Closer To Heaven (alternative version) [Nightlife version] 3:15 Drunk (demo) [98 outake] 4:22 For All Of Us [new version] 4:51 You've got to start somewhere [outake] 4:13 The Only One (new version) [98 demo mix] 8:48 My Night (full length) 4:21 For all of us (demo) 3:58 Closer To Heaven (act 1 scene 16) CD-R: 2001 UK (PSBP/RUG/10th Planet; ??) [Feb 2001] 4:02 My Night (edit)** 8:48 My Night (full length)** 4:44 Something Special/Home [two tracks medley]** 4:51 You've got to start somewhere ** [After some parts of the musical were already completed, Neil & Chris were asked for a new opening number for the show. The result was a track called "My Night" which is compiled with other tracks on two different CD-Rs.] CD-R: 2001 UK (PSBP/RUG/10th Planet; ??) ["Closer To Heaven - Four Songs"; Feb 2001] 8:48 My Night (full length) 4:21 For All Of Us (studio version) 4:05 Closer To Heaven [Nightlife version] 3:23 Friendly fire (new version) CD-R: 2001 UK (IT Records/10th Planet; ??) ["Closer To Heaven - Four Songs"; Feb 2001] 3:56 My Night (edit) 3:58 Closer To Heaven (act 1 scene 16)** 4:44 Something Special/Home [Feb 01; two tracks medley] 4:50 For All Of Us [Feb 01; different version; piano version]** CD-R: 2001 UK (PSBP/RUG/10th Planet; ??) [x160; "Five titles from Closer To Heaven"; Apr 2001] 4:04 Positive Role Model (studio version) 3:23 Friendly fire (new version) 5:03 Shameless [Alternative version] 4:38 K-Hole (demo version) 4:21 For All Of Us (studio version) [These CD-Rs were produced for the UK press and theatre critics. Features three unreleased studio tracks from the musical ‘Closer To Heaven’ as performed by Pet Shop Boys] [with ** marked tracks are new/unique on that CD-R those appear.] ------------------------------------------------------------------------------ Pet Shop Boys: Domino Dancing: Best of US Tour, Live '89-91 [1993] live bootleg 2CD: 1993 DE (High Quality Limited HQLCD 1114/15) [CD1:] 6:27 This Must Be The Place I Waited Years To Leave 4:57 Where The Streets Have No Name 5:07 It's A Sin 4:45 Rent 3:39 Shopping 4:01 Losing My Mind 6:06 What Have I Done To Deserve This? 5:00 Always On My Mind 6:54 We All Feel Better In The Dark 4:53 Domino Dancing 5:45 How Can You Expect To Be Taken Seriously? 5:33 Jealousy 5:10 West End Girls [CD2:] 4:17 It's Alright 4:46 Kings Cross 5:14 It's A Sin [US '89] 5:57 My October Symphony 6:04 What Have I Done To Deserve This? [same as CD1 trk7] 2:19 Your Funny Uncle 1:38 The Sound Of The Atom Splitting 3:12 So Sorry, I Said 4:09 Suburbia 4:00 So Hard 3:56 Opportunities 6:36 One More Chance [remix, not live] 5:08 Where The Streets Have No Name [same as CD1 trk2] 4:10 Suburbia [same as CD2 trk9] 3:59 Rent [US '89] [Excellent sound quality; but some tracks seem to be pulled from Performance and Highlights. This is a corrected track listing; the sleeve listing is wrong.] ------------------------------------------------------------------------------ Pet Shop Boys: Live At Wembley 1989 [1989] live bootleg 2xCS: 1989 UK (??; ??) [bootleg] One More Chance / Opportunities / Left To My Own Devices / Rent / Heart / Paninaro / Love Comes Quickly / Later Tonight / Nothing Has Been Proved / The Sound Of The Atom Splitting / It's A Sin / Shopping / Domino Dancing / Kings Cross / Always On My Mind / West End Girls / It's Alright ------------------------------------------------------------------------------ Pet Shop Boys: Watching My Mind (Wembley Arena, 1989; Birmingham NEC, March 1991) [199?] live bootleg CD: 199? ?? (Vampire VR 50003) 6:23 This Must Be The Place I Waited Years To Leave 5:08 It's A Sin 4:40 Rent 5:06 Always On My Mind 4:58 Domino Dancing 5:38 Jealousy 5:10 West End Girls 4:15 It's Alright 4:48 King's Cross 4:10 Suburbia 4:05 So Hard 3:58 Opportunities 6:35 One More Chance 3:12 So Sorry, I Said 3:37 Shopping 5:50 How Can You Expect To Be Taken Seriously 1:40 The Sound Of The Atom Splitting [Excellent sound quality, but compiled from Performance and Highlights. This is a corrected track listing; the sleeve listing is wrong.] ------------------------------------------------------------------------------ Pet Shop Boys: Performance '91 [1991] live bootleg CS: 1991 UK (??; ??) [bootleg; live in Birmingham] This Must Be The Place I Waited Years To Leave / It's A Sin / Losing My Mind / This Must Be The Place I Waited Years To Leave (instrumental) / What Have I Done To Deserve This? / My October Symphony / I'm Not Scared / We All Feel Better In The Dark / So Sorry I Said / Suburbia / So Hard / Opportunities / How Can You Expect To Be Taken Seriously / Rent / Where The Streets Have No Name / West End Girls / Jealousy / Always On My Mind / Your Funny Uncle ------------------------------------------------------------------------------ Pet Shop Boys: Performance '91 [1991] live bootleg 2xLP: 1991 UK (Bored Records; BR01) [bootleg; Wembley Arena, 7 Jun 1991] This Must Be The Place I Waited Years To Leave / It's A Sin / Losing My Mind / This Must Be The Place I Waited Years To Leave (instrumental) / What Have I Done To Deserve This? / My October Symphony / I'm Not Scared / We All Feel Better In The Dark / So Sorry I Said / Suburbia / So Hard / Opportunities / How Can You Expect To Be Taken Seriously / Rent / Where The Streets Have No Name / West End Girls / Jealousy / Always On My Mind / Your Funny Uncle ------------------------------------------------------------------------------ Pet Shop Boys: Birmingham '91 [1991] live bootleg 2LP: 1991 UK (Nymph Records; SBJ322) [bootleg; live in Birmingham] [Disc 1:] This Must Be The Place I Waited Years To Leave / It's A Sin / Losing My Mind / This Must Be The Place I Waited Years To Leave (instrumental) / What Have I Done To Deserve This? / My October Symphony / I'm Not Scared / We All Feel Better In The Dark / So Sorry I Said / Suburbia [Disc 2:] So Hard / Opportunities / How Can You Expect To Be Taken Seriously / Rent / Where The Streets Have No Name / West End Girls / Jealousy / Always On My Mind / [Speech] / Your Funny Uncle [Poor sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Tour 1991 [199?] live bootleg [These two CDs are sometimes sold separately.] 2CD: 199? ?? (SMURF; PSB1/PSB2) [Disc 1 (Smurf PSB2; "Tour 1991, Part I"):] 6:25 This Must Be The Place I Waited Years To Leave 5:01 It's A Sin 4:53 Losing My Mind 7:00 What Have I Done To Deserve This? 5:52 My October Symphony 6:49 I'm Not Scared 6:49 We All Feel Better In The Dark 3:09 So Sorry I Said 3:58 Suburbia 3:58 So Hard 3:52 Opportunities (Let's Make Lots Of Money) 5:41 How Can You Expect To Be Take Seriously? 4:32 Rent [Disc 2 (Smurf PSB2; "Tour 1991, Part II"):] 5:12 Where The Streets Have No Name 5:22 West End Girls 6:27 Jealousy 7:09 Always On My Mind 2:33 Your Funny Uncle 1:39 The Sound Of The Atom Splitting 5:18 It's A Sin 3:40 Shopping 4:35 Love Comes Quickly 4:52 Domino Dancing 4:49 Rent 4:48 Kings Cross 4:28 It's Alright 5:02 Where The Streets Have No Name [Direct bootleg of the soundtracks to the Performance and Highlights videos. Disc 1 and Disc 2 tracks 1-5+14 are from Performance and Disc 2 tracks 6-13 are from Highlights. (Tracks 1 and 14 of disc 2 are in fact identical; the crowd noise is edited off the end of track 14.] ------------------------------------------------------------------------------ Pet Shop Boys: Signed, Sealed, and Delivered, I'm Yours (Minneapolis, April 3rd 1991) [199?] live bootleg CD: 1993 US (Rockwrock Records; RW 3304) 4:58 It's A Sin 6:04 What Have I Done To Deserve This? 3:51 So Hard 5:14 Where The Streets Have No Name 5:26 West End Girls 4:52 Always On My Mind 6:09 Losing My Mind 5:47 My October Symphony 7:10 I'm Not Scared 3:40 So Sorry, I Said 4:07 Suburbia [Time listing on CD is wrong; these are the correct times. Very poor sound quality.] ------------------------------------------------------------------------------ Pet Shop Boys: Live Wires (Wembley Arena, London, 9 Jun 1991) [1992] live bootleg LP: 1992 ?? (Vinyl Virus; 0017-LP) CD: 1992 IT (Kiss The Stone; KTS 040) 5:30 This Must Be The Place I Waited Years To Leave 5:22 It's a Sin 6:12 What Have I Done To Deserve This 6:04 My October Symphony 4:15 Suburbia 3:42 So Hard 4:09 Opportunities 5:12 Where the Streets Have No Name 5:33 West End Girls 6:50 Jealousy 5:31 Always On My Mind [Good sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Live [199?] live bootleg CD: 199? AU (Mojo Records; MOJO-039 / 57144XK1) 4:16 Opportunities 5:09 Where the Streets Have No Name 6:03 My October Symphony 4:16 Suburbia 5:56 Jealousy 5:36 This Must Be the Place I Waited Years To Leave 5:17 It's a Sin 3:43 So Hard 5:24 West End Girls 6:19 What Have I Done To Deserve This? 5:19 Always on My Mind [Cover: ps of band (not psb) with tickets: "MOJO MUSIC / PET SHOP BOYS / LIVE IN CONCERT / 32 ROW AA SEAT 2" / "PET SHOP BOYS, LIVE, UNAPPROVED"; poor sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: NEC Birmingham, June 1991 (Radio 1 FM) [199?] radio bootleg CS: 199? UK (??; ??) [green ps] This Must Be The Place I Waited Years To Leave / It's A Sin / What Have I Done To Deserve This? / My October Symphony / Suburbia / So Hard / Opportunities (Let's Make Lots Of Money) / Where The Streets Have No Name (Cant Take My Eyes Off Of You) / West End Girls / Jealousy / Always On My Mind [Excellent sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Heaven (Heaven Nightclub, London) [15 Oct 1991] live bootleg LP: 1992 UK (Dolby Records; BSP-451) [bootleg; bowler hats ps] CD: 1992 UK (Dolby Records; CDBSP 451) [bootleg] 1:12 [Derek Jarman Introduction] 2:29 Music For Boys 5:19 Where The Streets Have No Name 4:11 Domino Dancing 4:22 DJ Culture 4:24 So Hard 4:32 Was It Worth It? 1:05 [Computer screwup, Neil rambles...] 7:13 It's Alright 5:27 Being Boring [Good but not excellent quality] ------------------------------------------------------------------------------ Pet Shop Boys: Live In The USA 1991 [1994] live bootleg This Must Be The Place I Waited Years To Leave It's A Sin Rent Always On My Mind Domino Dancing Jealousy West End Girls It's Alright King's Cross Suburbia So Hard Opportunities One More Chance So Sorry I Said Shopping How Can You Expect To Be Taken Seriously? The Sound of the Atom Splitting [Compilation from other bootlegs] ------------------------------------------------------------------------------ Pet Shop Boys: U.S.A. 1991 [1994] live bootleg CD: 1994 IT (Live Storm; LSCD-51577) ["Recorded live in USA 1991"] 6:23 This Must Be The Place I've Waited Years To Leave 5:08 It's A Sin 4:40 Rent 5:06 Always On My Mind 4:58 Domino Dancing 5:38 Jealousy 5:10 West End Girls 4:15 It's Alright 4:48 Kings Cross 4:10 Suburbia 4:05 So Hard 3:58 Opportunities 6:35 One More Chance 3:12 So Sorry, I Said ["So Sorry, I Sayd"] 3:37 Shopping 5:50 How Can You Expect To Be Taken Seriously? 1:50 The Sound Of The Atom Splitting [Other sleeve typos corrected] ------------------------------------------------------------------------------ Pet Shop Boys: Forever In Love (Discovery Tour?) [1996] live bootleg CD: 1996 CZ (Blizzard; BLZD156) I Wouldn't Normally Do This Kind Of Thing Always On My Mind Domino Dancing One In A Million/Mr. Vain Paninaro '95 Rent (acoustic) Suburbia (acoustic) Kings Cross So Hard Left To My Own Devices/Rhythm Of The Night Absolutely Fabulous Liberation West End Girls Can You Forgive Her? Girls And Boys It's A Sin/I Will Survive Go West [Probably lifted from the Discovery concert video] ------------------------------------------------------------------------------ Pet Shop Boys: London City Boys [1997] live bootleg CD: 1997 ?? (??; ??) 4:01 Yesterday, when I was mad 3:46 The truck driver and his mate 4:17 Se a vida é 4:25 Hallo spaceboy 4:02 To step aside 4:59 Go West 4:?3 The theatre 5:30 It's a sin / I will survive 5:03 Discoteca 3:56 Can you forgive her? 4:48 Somewhere 2:58 Rent [this compilation not include "Being boring" & "Left to my own devices"; all songs are taken from video "Somewhere - Pet Shop Boys In Concert - Live At Savoy Theatre"] ------------------------------------------------------------------------------ Pet Shop Boys: Moscow [1998] live bootleg 2xCD: 1998 ?? (??; ??) [CD#1:] It's A Sin / I Will Survive I Wouldn't Normally Do This Kind Of Thing Se A Vida É Domino Dancing Hallo Spaceboy Before Left To My Own Devices Rent Where The Streets Have No Name [CD#2:] Can You Forgive Her? Love Comes Quickly Opportunities Always On My Mind West End Girls Somewhere Being Boring Go West [mini tour 1998 in Russia] ------------------------------------------------------------------------------ Pet Shop Boys: Creamfields 1999 [1999] live bootleg CD: 1999 ?? (??; ??) 7:53 Young Offender (Jam & Spoon remix version!) 4:48 Left To My Own Devices 3:49 Domino Dancing (Completely different House version!) 5:54 IDK (Exclusive Australian PSB Extension remix!) 6:25 It's A Sin / I Will Survive (RAVE version - 130+ bpm!) 4:50 The Man Who Has Everything (with Sylvia Mason-James) 5:14 I Wouldn't Normally Do This Kind Of Thing (Voxigen version but longer!) 3:57 Can You Forgive Her? 4:16 Before 4:39 West End Girls 5:05 Being Boring (Different sounding instruments!) 5:13 New York City Boy (Neil claiming "It's DISCO..") 6:00 Go West ------------------------------------------------------------------------------ Pet Shop Boys: Equality Rocks 2000 [2000] live bootleg CD: 2000 ?? (??; ??) 4:42 Homosexuality (cover of Modern Rocketry) 5:23 Being Boring 5:14 What Have I Done To Deserve This? (Duet with Melissa Etheridge) 5:45 New York City Boy 5:14 Go West [mini concert in Washington D.C.; at gay festival] ------------------------------------------------------------------------------ Pet Shop Boys: Livenight [2000] live bootleg 2xCD: 2000 AU (Central Station P/L Australia) [CD#1 PETS 1 - Central St. PRCD 2011-1:] 6:00 For your own good 4:37 West End girls 5:54 Discoteca 6:28 Being boring 3:39 Happiness is an option 4:28 Can you forgive her? 4:42 Only the wind 4:58 What have I done to deserve this? 5:04 New York City boy 4:45 Left to my own devices 5:50 Vampires 2:36 You only tell me you love me when you're drunk 3:47 Se a vida é 5:10 I don't know what you want but I can't give it anymore 4:05 Always on my mind 5:15 Shameless [CD#2 PETS 2 - Central St. PRCD 2011-2:] 3:21 Opportunities 5:18 It's a sin / I will survive 7:24 It's alright 2:47 Dialogue 6:14 Go West 3:29 Silver Age 4:48 Screaming 4:38 Lies 4:32 Sail Away 4:00 The ghost of myself 7:44 I don't know what you want... (David Morales Mix) 10:53 New York City boy (The Thunderpuss 2000 Club Mix) 9:57 You only tell me you love me... (Brother Brother Browns Remix) [Brother Brown's newt mix] [Not include "Young offender" that was played after "Left to my own devices"; Live at The Tabernacle, Atlanta, USA, Nightlife tour, 10 Oct 1999); for promotional use only by Factory Team.] ------------------------------------------------------------------------------ Pet Shop Boys: Barcelona City Boy - Pet Shop Noise [2000] live bootleg 2xCD: 2000 ES (??;??) [CD#1:] For your own good West End girls Discoteca Being boring * Closer to Heaven Can you forgive her? Only the wind * What have I done to deserve this? ** New York City boy Left to my own devices * [CD#2:] Young offender Vampires You only tell me you love me when you're drunk Se a vida é I don't know what you want but I can't give it anymore * Always on my mind Shameless Opportunities It's a sin / I will survive Go West (sampled intro) It's alright Footsteps Go West [Palau Dels Esports, Barcelona, Spain, Nightlife tour 21 Jan 2000. *titles songs are wrong written at cover back **non-stop, continued after "Only the wind"] ------------------------------------------------------------------------------ Pet Shop Boys: Glastonbury 2000 [2000] live bootleg CD: 2000 ?? (??; ??) 3:13 Interview With Neil And Chris (Prolog) 7:17 I Don't Know What You Want But I Can't Give It Anymore 4:06 Suburbia 4:10 Can You Forgive Her? 5:00 Left To My Own Devices 3:44 Se A Vida È 3:49 Rent 2:58 You Only Tell Me You Love Me When You're Drunk 3:57 Paninaro 5:16 New York City Boy 3:40 A Positive Role Model 5:01 What Have I Done To Deserve This? (with Cerys Matthews) 4:13 Always On My Mind 5:41 It's A Sin / I Will Survive 4:53 West End Girls 6:27 Go West 2:25 Interview After The Show (Epilog) [this compilation not include "Young Offender" and 'Being Boring".] ------------------------------------------------------------------------------ Pet Shop Boys: Closer to Heaven live at Arts theatre [2001] live bootleg 2xCD: 2001 ?? (??; ??) [CD#1 Part 1 (64:09):] 00:00 My Night (Billie, Dave, Shell, Vic, Flynn, Mile End Lee) 09:54 Dialogue 13:38 Closer To Heaven (Shell and Vic) 15:18 Something Special (Dave) 17:19 Dialogue 17:48 Positive Role Model [Instrumental] 20:01 Dialogue 24:04 Closer To Heaven (Shell and Dave) 26:08 Dialogue 27:40 In Denial (Vic and Shell) 30:08 Dialogue 30:37 Call Me Old-fashioned (Saunders) 33:54 Dialogue 46:15 Nine Out Of Ten (Shell and Dave) 49:23 Dialogue 49:52 It's Just My Little Tribute To Caligula, Darling (Billie) 53:17 Dialogue 63:08 Hedonism [Instrumental] [CD#2 Part 2 (57:06):] 00:00 Hedonism [Instrumental] 02:05 Dialogue 03:54 Friendly Fire (Billie) 06:45 Dialogue 09:37 In Denial (Dave and Shell) 12:06 Dialogue 12:27 Something Special [reprise] (Dave) 13:21 Shameless (Vile Celebrities) 16:18 Dialogue 18:47 Vampires (Vic) 23:51 Dialogue 24:48 Closer To Heaven (Dave and Mile End Lee) 28:19 Dialogue 29:38 Out Of My System (Shell and Billie) 34:16 K-Hole [Instrumental] 39:10 For All Of Us (Dave) 43:24 Dialogue 48:38 Positive Role Model (Dave) 53:03 My Night / Positive Role Model (The Company) ------------------------------------------------------------------------------ Pet Shop Boys: Alternative Discography - The Remixes [1995] remix compilation bootleg CD: 1995 ?? (Abstract Music Co.; AMCD 011) 7:12 Was It Worth It? (12") 5:46 DJ Culture (remixed by the grid) 7:59 Jealousy (extended version) 6:01 Absolutely Fabulous (rollo our tribe tongue-in-cheek mix) 4:15 I Wouldn't Normally... (beatmasters extended nude mix) 9:17 Yesterday, When I Was Mad (jam & spoon mix) 10:13 Go West (ming's gone west: first and second movements) 5:34 It's Alright (sterling void mix) 6:09 Liberation (e smoove 12" mix) ------------------------------------------------------------------------------ Pet Shop Boys: Alternative Discography 2 - The B-Side Collection [1995] remix compilation bootleg CD: 1995 ?? (Abstract Music Co.; AMCD 012) CD-R: 1998 ?? (Rottweiler; n/a) ["Rottweiler 1998"] 6:38 You Know Where You Went Wrong (rough mix) 5:19 We All Feel Better In The Dark (ambient) 4:57 Violence (hacienda version) 6:06 Losing My Mind (disco mix) 5:24 I Want To Wake Up 3:19 Decadence (unplugged mix) 5:33 Music for Boys (part 3) 4:27 Bet She's Not Your Girlfriend (original mix) 4:03 I Want A Dog (techno funk mix) 3:53 One of the Crowd 4:54 Can You Forgive Her? (swing version) 2:58 If Love Were All 5:01 Shameless 7:22 This Must Be the Place I Waited Years To Leave (extended mix) 4:15 Too Many People ------------------------------------------------------------------------------ Pet Shop Boys: Aurally 1 [1997] remix compilation bootleg CD: 1997 US (??; CDPSBDJ001) 6:46 Opportunities (Let's Make Lots of Money) (dance mix) 6:29 West End Girls (dance mix) 4:47 A Man Could Get Arrested (7" version) 6:44 Love Comes Quickly (dance mix) 9:52 Paninaro (ian levine mix) 8:30 What Have I Done To Deserve This? (shep pettibone remix) 5:38 Always On My Mind (shep's holiday mix) 8:10 Heart (remix) 4:20 Don Juan (demo) 4:44 Domino Dancing (demo) 7:39 Left To My Own Devices (device mix) [Absolutely top-notch sound quality.] ------------------------------------------------------------------------------ Pet Shop Boys: Aurally 2 [1997] remix compilation bootleg CD: 1997 US (??; CDPSBDJ002) [pink artwork] 6:57 West End Girls (10" version) 7:05 Suburbia (club vocal mix) 9:14 It's A Sin (phil harding latin vocal mix) ["miami mix"] 6:34 You Know Where You Went Wrong (rough mix) 5:56 Always On My Mind (remix) 5:53 Domino Dancing (base mix) 8:16 Left To My Own Devices (royal piano mix) 4:42 It's Alright (10" version) 5:44 I Want To Wake Up (groove mix) 6:01 Go West (unauthorized bootleg vocal one) 4:32 Liberation (deep vocal mix) 2:02 Always On My Mind (dub version) [Absolutely top-notch sound quality.] ------------------------------------------------------------------------------ Pet Shop Boys: Aurally 3 [2000] remix compilation bootleg 2xCD: 2000 HU (??; CDPSBDJ003) [yellow artwork] [Disc 1: "CDPSBDJ003A"] 4:54 Opportunities (Let's Make Lot's Of Money) (dub for money mix) 7:05 West End Girls (dub mix) 6:59 Love Comes Quickly (dub mix) 7:58 Suburbia (arthur baker dub) 8:18 It's A Sin (ian levine remix) 6:53 What Have I Done To Deserve This? (shep pettibone Dub) 4:04 Always On My Mind (7" instrumental) 6:12 I Get Excited (You Get Excited Too) (sarm west remix) 5:15 Heart (dub mix) 9:25 Left To My Own Devices (shep pettibone remix) 4:10 How Can You Expect To Be Taken Seriously? (new 7" mix) [Disc 2: "CDPSBDJ003B"] 10:32 It's Alright (extended dance mix) 5:00 So Hard (9" edit mix) 5:18 We All Feel Better In The Dark (after hours climax) 6:11 Music For Boys (part 2) 4:21 Go West (original mark stent mix) 5:51 Can You Forgive Her? (mk bicycle dub) 3:59 I Wouldn't Normally Do This Kind Of Thing (beatmasters radio edit) 3:58 Yesterday, When I Was Mad (junior vasquez body dub) 3:42 To Step Aside (quiet mix) 5:33 Single-Bilingual (original baby doc mix) 3:42 Saturday Night Forever (love to infinity mix) 6:21 I Don't Know What You Want But I Can't Give It Any More (morales reprise) 8:51 New York City Boy (the almighty definitive mix) 4:04 You Only Tell Me You Love Me... (brother brown's newt edit) [Absolutely top-notch sound quality.] ------------------------------------------------------------------------------ Pet Shop Boys: Best Of [199?] bootleg compilation album CD: 199? DE (??; 2-121496-1) 5:01 Go West 4:59 It's a sin 4:17 Domino dancing 3:58 So hard 3:59 West End girls 3:53 Always on my mind 3:53 Can you forgive her? 4:02 Suburbia 4:16 Heart 3:37 Opportunities 3:04 I wouldn't normally do this kind of thing 3:33 Rent 4:19 It's alright 4:30 Where the streets have no name 4:46 Left to my own devices 4:22 Was it worth it? 4:14 DJ Culture [Excellent sound quality, but pointless!] ------------------------------------------------------------------------------ Pet Shop Boys: Bilingual Remixes [1997] bootleg remix album CD: 1997 US (??; PSB 611116) 8:49 Discoteca + Single (echochamber mix) ["Discotheca"] 4:41 Metamorphosis (superfly mix) 4:56 Electricity (jungle mix) [mislabeled 6:15] 4:00 Se A Vida E (That's The Way Life Is) (enterprise mix) 7:07 It Always Comes As A Surprise (teatime mellow mix) 5:33 A Red Letter Day (sing and pray mix) 4:29 Up Against It (orbital mix) 5:11 Before (nice & easy mix) 4:15 To Step Aside (dream mix) 8:19 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) ["pitchers mix"] 9:17 Yesterday, When I Was Mad (jam & spoon mix) ["needle & pin mix"] ------------------------------------------------------------------------------ Pet Shop Boys: Can You Forgive Her? [1993] bootleg compilation album CD: 1993 ?? (??; ??) 3:56 Can You Forgive Her? ["video mix"] 3:06 Hey, Headmaster 4:59 It's A Sin 3:59 Always On My Mind 4:33 Where The Streets Have No Name (I Can't Take My Eyes Off You) 6:00 Can You Forgive Her? (rollo remix) 5:07 Suburbia 5:09 Rent 4:51 Can You Forgive Her? (rollo dub) ["rollo dub remix"] ------------------------------------------------------------------------------ Pet Shop Boys: Classic Beats Volume 1 [19??] remix compilation bootleg ------------------------------------------------------------------------------ Pet Shop Boys: The Classic Techno Mixes [1993] remix compilation bootleg CD: 1993 ?? (Techno Classix DJ Service; TC005) 6:58 West End Girls (10" mix) 7:40 Loves Comes Quickly (mastermix) 4:42 It's Alright (10" mix) 11:24 Left To My Own Devices (disco mix) 5:17 Thats My Impression (disco mix) 15:28 PSB Megamix (long) 11:28 PSB Megatrax megamix 13:00 PSB2 (new megamix) ------------------------------------------------------------------------------ Pet Shop Boys: Electro-Boys [1998] remix compilation bootleg CD: 1998 DE (n/a; n/a) 7:29 Before (st. tropez mix '98) 9:31 One Thing Leads To Another (grandmaster mix '98) 10:14 The Man Who Has Everything (hypnotizer-rmx) 10:38 Forever In Love (tribal mix) 9:53 We Came From Outerspace (space mix '98) 9:10 Kdx 125 (vangelis mix) 8:24 My Head Is Spinning (electro set mix) 4:32 Decadence (unity-mix '98) 3:25 Go West (f & h mix) ["12-inch relentless-promo remixes by DJ Stan The Man"; sound quality reportedly excellent] ------------------------------------------------------------------------------ Pet Shop Boys: Domino Dancing [199?] remix compilation bootleg CD: 1993 LU (??; Secret Service Vol. 1) 11:50 Pet Shoppibone (mega-mix) [on-usound] 15:32 Classic Menagerie Megamix [on-usound] 5:29 Domino Dancing (hot tracks) 6:31 It's Alright (art of mix) 6:46 Disappointed (hot tracks) 5:57 Music For Boys (hot tracks) 11:22 The Black Wax Medley ["tennant's extra"?] 4:56 It's Alright (black wax) [poorish quality] ------------------------------------------------------------------------------ Pet Shop Boys: For Boys - Volume 1 [199?] remix compilation bootleg CD: 199? ?? (Monada/Osa; PTSH 01) 5:48 Dj Culturemix ["6.52"] 9:31 This Must Be The Place I Waited Years To Leave (extended mix) ["8:31"] 4:03 So Hard (eclipse mix) 4:40 Where The Streets Have No Name (sound factory mix) 6:50 What Have I Done To Deserve This? (extended mix) 6:52 How Can You Expect To Be Taken Seriously? (momo remix) 9:26 It Must Be Obvious (ufo mix) 7:03 West End Girls (collectors edition original version) 5:31 Opportunities (version latina) 5:31 So Hard (the klf vs psb) 9:20 Young Offender (remix no.2) ------------------------------------------------------------------------------ Pet Shop Boys: For Boys - Volume 2 [199?] remix compilation bootleg CD: 199? ?? (Monada/Osa; PTSH 02) 13:03 On-Usound (the menagerie mixes mega mix) 11:42 On-Usound (petshoppibone mega mix) 1:43 Where The Streets Have No Name (eclipse mix) 6:29 How Can You Expect To Be Taken Seriously? (ragga zone remix) ["6:08"] 15:30 On-Usound (the classic mega mix) 8:12 What Have I Done To Deserve This (disco mix) 11:08 On-Usound (device remix-megamix) 4:31 Opportunities (reprise, remix by shep pettibone) ------------------------------------------------------------------------------ Pet Shop Boys: For Boys - Volume 3 - Thanks For The Memories [199?] remix compilation bootleg CD: 199? ?? (Monada/Osa; PTSH 03) [kissing fish ps; tracks unconfirmed] 6:25 Yesterday, When I Was Mad (hot tracks remix) 6:23 Losing my mind (hot tracks) 13:48 Before (direct hit)/Before (hot tracks) [mislabelled "3:49"] 6:25 Where the streets have no name (hot tracks) 6:12 What have I done to deserve this (hot tracks) 7:54 Westend girls (bobby orlando/bobcat version) 7:03 Being boring (remix) 6:45 Domino dancing (prime cuts mix) 10:32 Always on my mind (disconet mix) ------------------------------------------------------------------------------ Pet Shop Boys: Go West [1993] bootleg compilation album CS: 1993 PL (Poker; 1421) 5:03 Go West 6:00 Can You Forgive Her? (rollo remix) ["rollo re-mix"] 8:04 Megamix: West End-Sunglasses/One More Chance/West End Girls ["Megamix"] 4:35 Losing My Mind ["Loosing my mind (u.s. dance mix)"] 7:54 Jealousy (extended mix) ["U.S. dance mix"] 6:01 Go West (farley & heller disco mix) ["Farley & Heuer"] ------------------------------------------------------------------------------ Pet Shop Boys: Heart Beats [1992] remix compilation bootleg CD: 1992 DE (Bridgestone; ELSAR 031) 10:58 Left To My Own Voice (on-usound remix) 6:31 Heart (dmc remix) 6:35 One More Chance (hot tracks) 6:31 It's Alright (rhythm stick) 6:52 Where The Streets Have No Name (rhythm stick mix) 6:43 West End Girls (disconet remix) 7:41 Being Boring (hot tracks remix) 7:27 That's My Impression (hot tracks remix) 7:06 Always On My Mind (razormaid mix) 8:22 It's Alright (razormaid mix) [Very good sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Left To My Own Remixes 1 [199?] remix compilation bootleg CD: 199? ?? (??; ??) Left To My Own Devices (ivy league rythmn mix) Se A Vida E (nudelmix) Domino Dancing (ivy league edit) Metamorphosis (nudelmix) Red Letter Day (extended bootleg mix) Before (7" nudelmix) We All Fell Better In The Dark (nudelmix) It's Alright (ivy league 7" mix) Shameless (ivy league grandeur mix) Your Funny Uncle (nudelmix dub) Before (fancy extended nudelmix) Domino Dancing (dmc mix) ------------------------------------------------------------------------------ Pet Shop Boys: Left To My Own Remixes 2 [199?] remix compilation bootleg CD: 199? ?? (??; ??) Red Letter Day (ivy league paninari mix) Why Don't We Live Together ? (ivy league a.m. disco mix) Domino Dancing (ivy league 12" mix) A Man Could Get Arrested (icy league arrested in the suburbs mix) Don't Drop Bombs (ivy league steno pad mix) It's Alright (ivy league 12" mix) The Boy Who Couldn't Keep His Clothes On (ivy league nob hill male cinema mix) Left To My Own Devices (nudelman ultimate revox) Postscript (nudelmix edit) ------------------------------------------------------------------------------ Pet Shop Boys: Mix Culture [1992] remix compilation bootleg CD: 1992 US (Smurf; SMURCD 92-08) 7:34 Always On My Mine (prime cuts) 7:07 Where The Streets Have No Name (hot tracks) 6:24 Miserablism (hot tracks) 7:51 West End Girls (ultimix) 6:10 Music For Boys (hot tracks) 6:32 Losing My Mind (hot tracks) 6:36 It's A Sin (technopop mix) 7:14 Was It Worth It? (rhythm stick) 6:49 I Get Excited (You Get Excited Too) (razormaid) 6:21 Left To My Own Devices (razormaid) [Good sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Music For Boys [1993] remix compilation bootleg CD: 1993 US (??; MB-01) 3:32 One More Chance (demo) 7:35 Opportunities (disc drive remix) 5:43 West End Girls (razormaid remix) 6:55 Bet She's Not Your Girlfriend (art of mix) 7:00 Being Boring (pop mix) 6:20 Left To My Own Devices (art of mix) 7:36 So Hard (rhythm stick remix) 7:26 Where The Streets Have No Name (ultra hot razor cut mix) 8:42 West End Girls (ultra hot razor cut mix) 6:50 So Hard (razormaid remix) [Good sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys In A Mixed Up World [199?] remix compilation bootleg CD: 199? ?? (??; ??) The Wit & Wisdom Of Mr Tennant Before (and after dub) Discotecca (2000 mix) I Want A Dog (dacodance mix) Euroboy (russian mix) Betrayed (scab mix) Paninaro (eurogroove mix) Bilingually Speaking Forever In Love (x mix) Jealousy (junglistic mix) The Boy Who Couldn't Keep His Clothes On (sweat mix) The Wit & Wisdom Of Mr Lowe ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys In A Mixed Up World 2 [199?] remix compilation bootleg CD: 199? ?? (??; ??) The Wit & Wisdom Of Mr Tennant Part Two Disco Potential (lemon mix) Before (railroad mix) One Thing Could Lead To Another (follow on mix) Red Letter Day (anthem mix) Single (surf remix) Music For Boys (98 remix) Somewhere (anywhere mix) I Want A Dog (dancodance part two mix) PSB In A Mixed Up World Theme The Wit * Wisdom Of Mr Lowe Part Two ------------------------------------------------------------------------------ Pet Shop Boys: The Prize CD [1994] remix compilation bootleg CD: 1994 BE (Ostosis Production; PBCD 816) 8:16 Left To My Own Devices (frankie knuckles royal piano mix) 6:24 How Can You Expect To Be Taken Seriously (ragga zone mix) 4:18 Go West (mark stent original mix) 4:04 I Want A Dog (techno funk mix) 9:14 It's A Sin (phil harding latin vocal mix) ["miami mix"] 6:36 Losing My Mind (hot tracks club mix) 5:48 West End Girls (razormaid mix) 4:41 It's Alright (dj palmers symbiotic mix) 5:32 So Hard (double x mix) 6:56 Bet She's Not Your Girlfriend (art of mix) 3:26 Go West (recorded live at brits awards 1994) [First five tracks are from "Compiled" CD-R; see that entry for details. Sound quality marginal on tracks 1-5, poor on the rest.] ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys vs. Ray - Re:Bilingual [25 Aug 1997] remix compilation bootleg CS: 1997 ?? (Head Music; HML 1008-4) 5:09 Discoteca (star mix) 6:07 A Red Letter Day (rainy day remix) 5:31 Paninaro '95 (pani ewo mix) 3:15 Single-Bilingual (phactory dub) 5:01 Metamorphosis (overpack dub) 5:09 It Always Comes As A Surprise (media mix) 4:07 Before (aftertouch mix) 2:26 Up Against It (sweet mood dub) 6:16 To Step Aside (handmade mix) 4:19 Saturday Night Forever (thursday dub) 4:08 Se A Vida E (dark star mix) 5:42 A Red Letter Day (outer skies limit) 3:30 In Private (7" edit) CD: 1997 ?? (Head Music; HML 1008-2) 5:09 Discoteca (star mix) 6:07 A Red Letter Day (rainy day remix) 5:31 Paninaro '95 (pani ewo mix) 3:15 Single-Bilingual (phactory dub) 5:01 Metamorphosis (overpack dub) 5:09 It Always Comes As A Surprise (media mix) 4:07 Before (aftertouch mix) 2:26 Up Against It (sweet mood dub) 6:16 To Step Aside (handmade mix) 4:19 Saturday Night Forever (thursday dub) 4:08 Se A Vida E (dark star mix) 5:42 A Red Letter Day (outer skies limit) 4:37 Absolutely Fabulous (prime time mix) CD+CS: 1997 ?? (Head Music; ??) [CD (HML 1008-2):] 5:09 Discoteca (star mix) 6:07 A Red Letter Day (rainy day remix) 5:31 Paninaro '95 (pani ewo mix) 3:15 Single-Bilingual (phactory dub) 5:01 Metamorphosis (overpack dub) 5:09 It Always Comes As A Surprise (media mix) 4:07 Before (aftertouch mix) 2:26 Up Against It (sweet mood dub) 6:16 To Step Aside (handmade mix) 4:19 Saturday Night Forever (thursday dub) 4:08 Se A Vida E (dark star mix) 5:42 A Red Letter Day (outer skies limit) 4:37 Absolutely Fabulous (prime time mix) [CS (HML 1009-4):] 5:25 Go West (ray's own obvious instrumental) 4:20 Violence (first take) 5:15 In Private (album version) 3:37 (Rather Interesting) The Way You Wear That 5:10 In Private (12" mix) 7:30 In Private (ray's own discotheca mix) ------------------------------------------------------------------------------ Pet Shop Boys: Remix [1995] remix compilation bootleg CD: 1995 ?? (??; IPPY 02) 4:57 Violence (hacienda version) 7:40 West End Girls (sasha remix) 6:50 DJ Culture (extended mix) 8:26 Heart (disco mix) 8:42 It's Alright (extended version) 6:35 So Hard (extended dance mix) 8:19 I Wouldn't Normally Do This Kind Of Thing (wild pitch mix) 9:17 Yesterday, When I Was Mad (jam & spoon mix) 3:41 Go West (farley & heller mix) 10:14 Liberation (e smoove 12" mix) ------------------------------------------------------------------------------ Pet Shop Boys: To Step Aside [199?] remix bootleg CD: 1997 ?? (??; ??) 9:07 To Step Aside (ralphi's disco vox) 8:50 To Step Aside (hasbrouk heights mix) 7:30 To Step Aside (davidson ospina dub) 7:33 To Step Aside (ralphi's old school dub) 7:50 To Step Aside (brutal bill mix) 7:32 To Step Aside (raplhi's house vox ii) To Step Aside (live at the savoy) To Step Aside (dream mix) To Step Aside (recoil advance mix) To Step Aside (upbeat downtown mix) ------------------------------------------------------------------------------ Pet Shop Boys: Ultra Rare Trax Volume 1 [199?] remix compilation bootleg CD: 199? ?? (Ultra Rare Trax; PSB1) CD-R: 1998 ?? (Rottweiler; n/a) ["Rottweiler 1998"] 3:33 How Can You Expect To Be Taken Seriously? (eclipse mix) 6:07 In The Night (hot tracks) 6:31 Losing My Mind (hot tracks) 7:41 Being Boring (hot tracks) 7:14 Was It Worth It? (rhythm stick) 6:02 I Get Excited (You Get Excited Too) (sarm west remix) 6:55 Suburbia (club vocal mix) 6:34 It's A Sin (techno remix) 3:34 Opportunities (whistle test mix) 3:34 In The Night (german promo 7" version) ------------------------------------------------------------------------------ Pet Shop Boys: Ultra Rare Trax Volume 2 [1993] remix compilation bootleg CD: 1993 ?? (Ultra Rare Trax; PSB2) 4:55 Can You Forgive Her (ton up crew mix) 6:51 Bet She's Not Your Girlfriend (indictment mix) 8:15 So Hard (coarse textures mix) 7:48 Suburbia (dub mix) 7:20 Opportunities (prime cuts) 5:12 Paninaro (naughty italian house mix) ["house mix"] 4:05 How Can You Expect To Be Taken Seriously? (new 7" mix) ["def"] 6:24 Miserablism (hot tracks) 6:21 Left To My Own Devices (razormaid) 7:03 Always On My Mind (razormaid) ["OK" sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: The Very Best [1996] bootleg compilation album CD: 1996 BG ("EMI"; PSB-41096-VB / KJF-31-867) 4:01 Se A Vide E (That's The Way Life Is) 4:11 Paninaro '95 5:05 Go West 4:00 West End Girls 3:38 Opportunities (Let's Make Lots Of Money) 4:04 Suburbia 5:01 It's A Sin 4:20 What Have I Done To Deserve This? 3:34 Rent 3:55 Always On My Mind 4:17 Heart 4:18 Domino Dancing 4:48 Left To My Own Devices 3:54 Can You Forgive Her? 3:04 I Wouldn't Normally Do This Kind Of Thing 4:27 In The Night (arthur baker remix) 4:09 Before (single version) ------------------------------------------------------------------------------ Pet Shop Boys: Very Remixed [1994] bootleg remix album CD: 1994 UK (??; ??) 6:18 Can You Forgive Her (remix) 6:05 I Wouldn't Normally Do This Kind Of Thing (extended version) 8:46 The Theatre (special remixed version) 6:24 One And One Make Five (mad version) 4:46 To Speak Is A Sin (cosey mix) 8:43 Go West (new world mix) 6:01 Yesterday, When I Was Mad (special version) 7:24 One In A Million (1.000.000 version) 8:41 A Different Point Of View (ultimate version) 7:54 Liberation (take off version) ------------------------------------------------------------------------------ Pet Shop Boys: Very Remixed [199?] bootleg remix album CD-R: 199? ?? (??; ??) [confirmed, but may be one-off] 7:33 Can You Forgive Her? (the one and only 12" remix) 3:42 KDX 125 (the short cut) 5:54 I Wouldn't Normally Do This Kind Of Thing (the "but me mix") 3:23 Forever In Love (radio edit) 6:43 One In A Million (the european remix) 1:53 Yesterday, When I Was Mad (reprise) 6:33 Go West (eastern fade mix) 7:28 West End Girls (original 10" untitled remix) ["PSB / Very Remixed / limited edition / no. 014/00"] ------------------------------------------------------------------------------ Pet Shop Boys: You Are Always On My Mind [1994] remix compilation bootleg CD: 1994 ?? (Hot Tracks 1) 6:15 What Have I Done To Deserve This? (hot tracks mix) 6:42 Domino Dancing (prime cuts mix) 7:35 So Hard (red zone mix) 11:00 Device Megamix (on-usound) 10:39 Always On My Mind (disconet mix) 8:02 What Have I Done To Deservt This? (prime cuts mix) 6:53 So Hard (razormaid mix) 7:48 West End Girls (bobcat version) 5:25 One More Chance (benelux remix) [Good sound quality] ------------------------------------------------------------------------------ Pet Shop Boys: title unknown [199?] bootleg compilation album CS: 19?? ID (??; BA239) ["Actually" ps] [compilation of unk. tracks] ------------------------------------------------------------------------------ Various: Pet Shop Boys & Friends [199?] bootleg compilation album CS: 199? PL (Brawo; 101) 4:45 West End Girls 4:55 Dusty Springfield: Nothing Has Been Proved 4:10 Love Comes Quickly 3:35 Liza Minnelli: Don't Drop Bombs 5:05 Suburbia 4:20 What Have I Done To Deserve This? 5:10 Rent 4:10 Liza Minnelli: Losing My Mind 5:00 It's A Sin 3:50 Always On My Mind ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys & Friends [2000] Dance Remixes 2000 CD: 1999 SE (Dance music corporation; DMC 431) 9:44 New York City Boy (superchumbo's uptown mix) 7:48 I Don't Know What You Want... (the morales remix) 5:13 For Your Own Good (radio edit) 4:14 Je T'aime...Moi Non Plus (single track) 4:21 New York City Boy (radio edit) 4:04 The Ghost Of Myself (single track) 4:07 Closer To Heaven (single edit) 7:39 I Don't Know What You Want... (thee maddikatt mix) 3:31 Radiophonic (radio edit) 6:30 New York City Boy (the almighty definitive mix) 4:39 Casting A Shadow (single track) 5:34 Somewhere (fortright dub) 5:09 I Don't Know What You Want... ------------------------------------------------------------------------------ Pet Shop Boys: The Remix Collection of the Pet Shop Boys [2000] bootleg compilation album CD: 2000 RU (LAF Records; LAF 0001) 8:13 It's a sin (Ian Levine remix) 8:10 Always on my mind (extended dance version) 6:36 So hard (extended dance mix) 6:02 Rent (dub mix) 6:08 Heart (dance mix) 5:34 One more chance (Bobby Orlando remix) 4:44 It's allright (Julian Mendelsohn mix) 3:20 Two divided by zero (demo version '84) 9:51 Paninaro (Ian Levine mix) 3:28 West end girls (remix '86 single version) 8:08 What have I done to deserve this? (disco mix) 9:30 This must be the place I waited years to leave (extended mix) [Limited Edition compiled by L.A.F., incl. a small biography] ------------------------------------------------------------------------------ Pet Shop Boys: Ultra Hot Art Disc Four [2001] remix compilation bootleg CD: 2001 US (Atlantic Recording Company Inc.; ?? ??) 7:00 Opportune Medley (liz & essex mix) 7:16 Losing My Mind (outrospective mix) 5:05 Heart (english hit edit) 5:56 The Boy Who Couldn't Keep His Clothes On (machine mix) 9:33 Always On My Mind (bessie's house mix) 5:40 Where the Streets Have No Name (carr & edge mix) 5:09 Before (standard disco dub) 7:08 Go West (3-d rare version) 6:57 A Red-Letter Day (june 19th, 1995) 5:44 Paninaro (miles child mix) 5:11 New York City Boy (trans-europe mix) [This collection released by Art Of Mix features rare promo mixes. At cover front with image of Bette Davis; John M. Pillin (To Bette Davis).] ------------------------------------------------------------------------------ ::: Collaboration. (see also: Spaghetti.) :::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - production, remixes, and other work with other artists [Bizet Boys: Ride 'Em Carmen] The Pet Shop Boys have noticed from letters they have received that a lot of people are under the impression they were involved in 1989s single "Ride 'Em Carmen" by The Bizet Boys, released on Parlophone records. They would like to make clear that it was nothing to do with them whatsoever-it was made by their ex-manager Tom Watkins with Tony James, then of Sigue Sigue Sputnik. "What's more," they point out, "we don't think it's very good!" -- Literally, May 1990 [Bloodhound Gang: Mope] [on Bloodhound Gang: Mope] CD5: 2000 NL (Geffen Records; 497 378-2) [on Bloodhound Gang: The Ballad Of Chasey Lain] CD5: 2000 UK (Geffen Records; 497 381-2) 3:25 Mope (the pet shop boys 7" remix) [Bloodhound Gang: Mope] [on Bloodhound Gang: The Ballad Of Chasey Lain] 12": 2000 UK (Geffen Records; Chasey 3) [promo] 7:50 Mope (the pet shop boys extended remix) 4:54 Mope (the pet shop boys dub remix) [Bloodhound Gang: Mope] [on Bloodhound Gang: The Ballad Of Chasey Lain] CD5: 2000 UK (Geffen Records; 497 382-2) 7:50 Mope (the pet shop boys extended remix) [Blur: Girls And Boys] [on Blur: Girls And Boys] CSS: 1994 UK (Food; ??) CSS: 1994 US (SBK/EMI; 4KM-58155) ["radio edit"] [on Blur: In The End] CD5: 1994 UK (Food; CD FOOD 50) [CD #1] [on Various: Girls + Boys - Compilation March 1994] CD: 1994 UK (Parlophone; VERY 2) 3:59 Girls And Boys (psb 7" remix) [Blur: Girls And Boys] [on Blur: To The End] CD5: 1994 UK (Food; ??) [CD #2] [on Blur: Parklife] CD: 1994 CA (??; ??) [bonus trk] CD: 1994 JP (??; TOCP-8226) [bonus trk] [on Various: B.U.D #1] CD: 1994 CA (EMI Canada; CDPROBUD1) [promo; May 1994] 7:14 Girls And Boys (psb 12" version) [Blur: Girls And Boys] [on Blur: Girls And Boys] 12": 1994 UK (Food; 12 FOOD GB 47) [promo; reverses tracks] CD5: 1994 UK (Food; CDFOODDJ47) [promo; unique ps] 12": 1994 UK (Food; ??) CD5: 1994 UK (Food; ??) [CD #1] 12": 1994 IT (EMI; 881334 6) CD5: 1994 NL (Food; 7243-881334-2 5) [slim jb; +2 non-PSB tracks] CD5: 1994 ?? (Food; 7243-881334-2 5) [slim jb; "Australasia"] CD5: 1994 NL (Food; 7243-881335-2 4) [paper sleeve] CD5: 1994 ZA (EMI CDEMS (WS) 4 (8813342)) [+2 non-PSB tracks] 12": 1994 US (SBK/EMI; Y-58155) [orange wax; w/20"x30" poster] CD5: 1994 US (SBK/EMI; K2-58155) [+4 other tracks] CD5: 1994 US (SBK/ERG; DPRO-19844) [promo; no front insert] CD3: 1994 JP (??; TODP-2455) [on Blur: To The End] CD5: 1994 UK (Food; UKCDFOODDJ50) [promo] 12": 1994 UK (Food; 12FOODDJ50) [promo] 3:59 Girls And Boys (psb 7" remix) 7:14 Girls And Boys (psb 12" version) [Blur: Girls And Boys (remix)] [on Telegenics Video Service] VHS: 1994 US (Telegenics; 135D) [June 1994; NTSC; promo] 4:07 Girls And Boys (remix) [122 bpm] [video edited to fit PSB 7" remix] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] 12": 2001 US (Star 69 Records; starpromo1217) [promo; May 2001] 9:52 Break 4 Love (club 69 remix) ["Unlabeled Mix"] 8:03 Break 4 Love (tribeca dub) [in 4" die cut; yellow record company slv + Star69 sticker print] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] 2x12": 2001 US (Star 69 Records; starpromo1219) [promo; Aug 2001] [12" #1:] 7:24 Break 4 Love (richard morel's pink noize club mix) 7:17 Break 4 Love (richard morel's pink noize dub) [12" #2:] 6:47 Break 4 Love (michael moog club mix) 6:43 Break 4 Love (michael moog dub) [in 4" die cut; yellow record company slv] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] 2x12": 2001 US (Star 69 Records; star1217) [misslabeled part 1 of 2; 18 Sep 2001] [12" #1:] 9:52 Break 4 Love (usa club mix) 10:44 Break 4 Love (friburn & urik tribal mix) [12" #2:] 7:31 Break 4 Love (classic club mix) 9:29 Break 4 Love (mike monday kit kat dub) [yellow record company slv; large black sticker on top] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] 2x12": 2001 US (Star 69 Records; star1219) [labeled part 1 of 2; 2 Oct 2001] [12" #1:] 7:24 Break 4 Love (richard morel's pink noize club mix) 6:47 Break 4 Love (michael moog club mix) [12" #2:] 7:17 Break 4 Love (richard morel's pink noize dub) 8:03 Break 4 Love (tribeca dub) [yellow record company slv; large white sticker on top] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] 12": 2001 US (Star 69 Records; star1235) [labeled part 3 of 3; 20 Nov 2001] 7:37 Break 4 Love (friburn & urik hi-pass mix) 7:38 Break 4 Love (ralphie's dub for love) [yellow record company slv; large black sticker with red logo on top] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] CD5: 2001 US (Star 69 Records; starpromoCD001) [promo] 3:26 Break 4 Love (uk radio mix) 3:50 Break 4 Love (hi-pass radio mix) 3:34 Break 4 Love (classic radio mix) 3:31 Break 4 Love (us radio mix) 3:50 Break 4 Love (2 step radio mix) 3:20 Break 4 Love (chill radio mix) [cd comes in b/w picture card slv] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] CD5: 2001 US (Star 69 Records; starCD12172) [cd 1 white slv; 20 Nov 2001] 3:26 Break 4 Love (uk radio mix) 3:31 Break 4 Love (us radio mix) 3:34 Break 4 Love (classic radio Mix) 10:44 Break 4 Love (friburn & urik tribal mix) 9:52 Break 4 Love (usa club mix) 9:29 Break 4 Love (mike monday kit kat dub) 7:31 Break 4 Love (classic club mix) 7:38 Break 4 Love (ralphie's dub for love) [some copies have a little offset error on the back sleeve that shows 6 tracknumbers instead of 8] [The Collaboration: Break 4 Love] [on The Collaboration: Break 4 Love] CD5: 2001 US (Star 69 Records; starCD12192) [cd 1 black slv; 20 Nov 2001] 5:01 Break 4 Love (laroz & amdursky mix) 7:37 Break 4 Love (friburn & urik hi-pass mix) 6:48 Break 4 Love (michael moog club mix) 7:27 Break 4 Love (richard morel's pink noize club mix) 5:26 Break 4 Love (sunshi moriwaki's 2 step remix) 6:42 Break 4 Love (michael moog dub) [some copies have a little offset error on the back sleeve that shows 8 tracknumbers instead of 6] [David Bowie: Hallo Spaceboy] [on David Bowie: Hallo Spaceboy] CD5: 1996 UK (RCA/BMG; HALLO 1) [promo; custom slv] CD5: 1996 UK (RCA/BMG; SPACE 2) [promo; custom slv] CD5: 1996 UK (RCA/BMG; 74321 35384-2) [slim jb, Bowie ps; 19 Feb 1996] CSS: 1996 UK (RCA/BMG; 74321 35384-4) 7": 1996 UK (RCA/BMG; 74321 35384-7) [pink vinyl; brown card slv] CD5: 1996 DE (RCA/BMG; 74321 35384-2) CD5: 1996 AU (RCA/BMG; 74321 35384-2) CD5: 1996 AU (Arista/BMG; 74321 35382-2) [diff CD art+inner slv] CD5: 1996 JP (BMG; BVCA-8820) [obi + lyrics; 1200Y; 22 May] [on David Bowie: 1. Outside, Version 2] CD: 1996 ?? [on Various: New Hits '96] 2xCS: 1996 UK (??; ??) 2xCD: 1996 UK (??; ??) [on Various Artists: Zoo Magazine CD Sampler 2] CD: 1996 DK (Zoo Magazine/Haarder Publishing; CD02) [promo] 4:25 Hallo Spaceboy (remix) ["Produced by Pet Shop Boys". PSB: remix and additional production; Neil: additional vox. Chart: UK #12] [David Bowie: Hallo Spaceboy] [on David Bowie: Hallo Spaceboy] 12": 1996 UK (RCA/BMG; {LC 3484} HALLO 2/Space 2) [promo; one-sided] 6:42 Hallo Spaceboy (12" remix) [PSB: remix and additional production; Neil: additional vox] [David Bowie: Hallo Spaceboy] [on David Bowie: Hallo Spaceboy] 12": 1996 UK (RCA/BMG; Space 3) [promo] 7:46 Hallo Spaceboy (double click mix) 7:41 Hallo Spaceboy (instrumental) 6:32 Hallo Spaceboy (lost in space mix) [second UK promo 12"] [David Bowie: Hallo Spaceboy] [on David Bowie: Hallo Spaceboy] 12": 1996 US (Virgin; SPRO-11513) [promo; Apr 96; (c) 1995] 6:42 Hallo Spaceboy (12" remix) 4:25 Hallo Spaceboy (7" remix) 6:32 Hallo Spaceboy (lost in space mix) 7:46 Hallo Spaceboy (double click mix) ["lost in space" and "double click" mixes are remixes of the PSB remix, done by David Ball and Ingo Vauk] [Hallo Spaceboy] [on ZTV Video Service] VHS: 1996 US (ZTV; HitLine May 96) [also SVHS, 3/4", Betamax; promo] [Cicero: Live For Today] [on Telegenics Video Service] VHS: 1993 US (Telegenics; 122D) [May 1993; NTSC] 3:59 Live For Today [126 bpm] [Crazy Punk Revolvers: At The Rivers Edge] [on ??] CS: 1988 FR (Accord; 101524) [Neil: prod] [Eighth Wonder: I'm Not Scared] [on Eighth Wonder: I'm Not Scared] 7": 1988 UK (CBS; SCARE 1ADJ) [promo] 7": 1988 UK (CBS; SCARE 1) 7": 1988 UK (CBS; SCARE Q1) [poster sleeve] 7": 1988 NL (CBS; 651359-7) 7": 1988 US (WTG; 31-68939) [2xA promo; 7" only] 7": 1988 US (WTG; 31-68939) CSS: 1988 US (WTG; 31T-68939) [both tracks on both sides] 3:49 I'm Not Scared (7") 5:48 J'ai Pas Peur [french version] [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [Eighth Wonder: I'm Not Scared] [on Eighth Wonder: I'm Not Scared] 12": 1988 UK (CBS; SCARE T1) CD5: 1988 UK (CBS; SCARE C1 / 651359-8) 12": 1988 NL (CBS; 651359-6) 12": 1988 IT (CBS; 651359-6) CD3: 1988 NL (CBS; 651359-8) [free adaptor] 7:58 I'm Not Scared (disco mix) 4:30 I'm Not Scared (lp version) 5:48 J'ai Pas Peur [french version] [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [Eighth Wonder: I'm Not Scared] [on Eighth Wonder: Fearless] LP: 1989 UK (CBS; ??) [test pressing] CD: 1989 UK (CBS; 460628-2) CS: 1989 UK (CBS; 460628-4) LP: 1988 US (WTG; 44390) CD: 1988 US (WTG; ??) LP: 1988 NL (CBS; 460628-1) CD: 1988 NL (CBS; 460628-2) LP: 1989 IT (CBS; 460628) CD: 19?? JP (??; ??) [on Various: The 80's Collection - 1988 Alive And Kicking] 2xCD: 1994 UK (Time Life; 544/16) 4:30 I'm Not Scared (lp version) [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [Eighth Wonder: I'm Not Scared] [on Various: The Best Remixes] CD: 19?? JP (Epic; ESCA-5061) 7:58 I'm Not Scared (disco mix) [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [Eighth Wonder: I'm Not Scared] [Eighth Wonder: I'm Not Scared] 10": 1988 UK (CBS; SCARE Y1) 5:30 I'm Not Scared (10" remix) 5:48 J'ai Pas Peur [french version] [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [Eighth Wonder: I'm Not Scared] [Eighth Wonder: I'm Not Scared] 12": 1988 US (WTG; PAS-1623) [promo; "Patsy Kensit" sleeve sticker] 12": 1989 US (CBS; 7464-68820-1) [manufactured by WTG; omits dub] 7:17 I'm Not Scared ("little" louie vega mix) 4:55 I'm Not Scared (dub version) 5:48 J'ai Pas Peur [french version] 7:58 I'm Not Scared (disco mix) ["long euro mix"] [PSB: wrote, coprod w/Phil Harding; Neil: uncred. b-vox] [some also include non-PSB track "Baby Baby"] [Eighth Wonder: Im Not Scared] [on Eighth Wonder: I'm Not Scared] CD5: 1989 US (WTG; PSK 1625) [promo] 3:49 I'm Not Scared (radio mix) 7:59 I'm Not Scared (long euro mix) 5:17 I'm Not Scared (little louie vega mix club mix) [Eighth Wonder: Im Not Scared] [on 7": Serie speciale JUKE BOX] 7": 1989 IT (??; JC 15221) [jukebox promo] 3:49 I'm Not Scared (radio mix) [Eighth Wonder: Im Not Scared] [on Eighth Wonder: I'm Not Scared] 12": 1988 JP (WTG; X55-68820) 7:58 I'm Not Scared (Long Euro Mix) 5:48 J'ai pas peur (French Version) 7:17 I'm Not Scared ("Little" Louie Vega Mix) [+ 1 track] [Eighth Wonder: Im Not Scared] [on Eighth Wonder: I'm Not Scared] CD5: 198? JP (??; 10.8P-3012) [Eighth Wonder: Im Not Scared] [on Various: Los 100 Mayores Exitos De los 80] 4xCD: 199? ?? (Arcade; ??) [+ PSB: West End Girls] 2:22 I'm Not Scared [Electronic: Getting Away With It] [The labels and the back covers are often misprinted, even giving different names to identical versions. These seem to be the proper versions. -Paolo] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] 7": 1990 UK (Factory; FAC 257-7) 7": 1990 UK (Factory; ??) [white-label promo] 7": 1990 DE (Virgin; 113537-100) 4:40 Getting Away With It (original version) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] 12": 1989 UK (Factory; FAC 257) CSS: 1989 UK (Factory; FAC 257C) 4:19 Getting Away With It (full length) 7:30 Getting Away With It (extended version) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] 12": 1990 UK (Factory; FAC 257 R) 12": 1989 UK (Factory; no cat #) [white-label promo; FAC-257-A/FAC-257-B] 4:48 Getting Away With It (vocal remix) 6:01 Getting Away With It (nude mix) 4:40 Getting Away With It (original version) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] CD5: 1989 UK (Factory; FACD 257) 4:40 Getting Away With It (original version) 7:30 Getting Away With It (extended version) 5:11 Getting Away With It (instrumental) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] VHS: 1989 UK (Factory/Signal Vision; n/a) CSS: 1990 US (Warner Bros; 9 19880-4) 12": 19?? HK (WEA; ??) [1s white-label promo; unique "sketch" ps] [on Various: Palatine] 4CD: 1991 UK (Factory; FACT 400) [on Various: Selling Out] CD: 199? UK (Factory; FACD 344) 4:19 Getting Away With It (full length) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] 12": 1990 US (Warner Bros; 9 21498-0) 12": 19?? AU (??; 21498-0) 7:30 Getting Away With It (extended version) 5:11 Getting Away With It (instrumental) 6:01 Getting Away With It (nude mix) 4:48 Getting Away With It (vocal remix) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] CD5: 1990 US (Warner Bros; PRO-CD-3987) [outer sleeve package] 4:19 Getting Away With It (full length version) 7:30 Getting Away With It (extended version) 5:11 Getting Away With It (instrumental) 4:48 Getting Away With It (vocal remix) 6:01 Getting Away With It (nude mix) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Getting Away With It] CSS: 1990 US (Warner Bros; 9 21498-4) CD5: 1990 US (Warner Bros; 9 21498-2) [standard jewel box] CD5: 1990 US (Warner Bros; 9 21498-2) [inner/outer sleeve package] 4:40 Getting Away With It (original version) 7:30 Getting Away With It (extended version) 5:11 Getting Away With It (instrumental) 6:01 Getting Away With It (nude mix) 4:48 Getting Away With It (vocal remix) [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Electronic: Electronic] CD: 1991 DE (Virgin; 261528) CS: 1991 US (Warner Bros.; 9 26387-4) CD: 1991 US (Warner Bros.; 9 26387-2) CD: 1991 CA (Warner; CD-26387) CS: 1991 AU (Warner Bros.; 759926387-4) CD: 1991 AU (Warner Bros.; 759926387-2) CD: 1991 JP (Warner; WPCP-4348) CD: 1991 JP (Warner; WPCR-387) [reissue; 25 Jun 95] [on Electronic: Electronic/Disappointed Double-Pack] 2CD: 1992 DE (Virgin; 263 155) [reg CD+"Disappointed" CD5 665.405] [on Various: Girls + Boys - Compilation March 1994] CD: 1994 UK (Parlophone; VERY 2) 5:16 Getting Away With It [Neil: cowrote, coproduced, backing vocals] [Electronic: Getting Away With It] [on Telegenics Video Service] VHS: 1990 US (Telegenics; 84D) [NTSC; promo] 4:22 Getting Away With It [126 bpm] [Electronic: The Patience Of A Saint] [on Electronic: Electronic] LP: 1991 DE (Virgin; 211528) CD: 1991 DE (Virgin; 261528) CD: 1991 UK (Factory; FACD 290) CD: 1994 UK (Virgin; ??) [remastered reissue, slightly different] CS: 1991 US (Warner Bros.; 9 26387-4) CD: 1991 US (Warner Bros.; 9 26387-2) CD: 1991 CA (Warner; CD-26387) CS: 1991 AU (Warner Bros.; 759926387-4) CD: 1991 AU (Warner Bros.; 759926387-2) CD: 1991 JP (Warner; WPCP-4348) CD: 1991 JP (Warner; WPCR-387) [reissue; 25 Jun 95] [on Electronic: Electronic/Disappointed Double-Pack] 2CD: 1992 DE (Virgin; 263 155) [reg CD+"Disappointed" CD5 665.405] 4:12 The Patience Of A Saint [PSB: cowrote; Neil: coproduced, vox; Chris: keyboards] [Electronic: Disappointed] [on Electronic: Disappointed] 7": 1992 UK (Parlophone; R 6311) CSS: 1992 UK (Parlophone; TCR 6311) 10": 1992 UK (Parlophone; 10RDJ 6311) [promo] [on Electronic: For You] CD5: 1996 UK (Parlophone; CDR 6445) [on Various: Songs From The Cool World] CS: 19?? US (?; 9 45009-4) [mix unconfirmed] CD: 19?? US (?; 9 40562-2) [mix unconfirmed] 4:22 Disappointed (7" mix) [Neil: cowrote, coproduced, vocals] [Electronic: Disappointed] [on Electronic: Disappointed] 12": 1992 UK (Parlophone; 12R 6311) 10": 1992 UK (Parlophone; 10RDJ 6311) [promo; 2 tracks, unk. mixes] 12": 1992 UK (Parlophone; 12RDJ 6311) [promo; 808+1 other mix] 12": 19?? DE (Virgin; ??) [white-label test pressing; stckr slv] 12": 1992 IT (Virgin; 615 405) 4:34 Disappointed (12" remix) 5:46 Disappointed (original mix) [Neil: cowrote, coproduced, vocals] [Electronic: Disappointed] [on Electronic: Disappointed] CD5: 1992 UK (Parlophone; CDR 6311) [paper sleeve] 12": 1992 US (Warner Bros.; 9 40562-0) CD5: 1992 US (Warner Bros.; 9 40562-2) [digipak/+1 non-psb] CD5: 1992 DE (Virgin; 665.405) [slim-line jewel case] [on Electronic: Electronic/Disappointed Double-Pack] 2CD: 1992 DE (Virgin; 263 155) [reg CD+"Disappointed" CD5 665.405] 4:22 Disappointed (7" mix) ["single mix" in US] 4:34 Disappointed (12" remix) ["808 mix" in US] 5:46 Disappointed (original mix) ["electronic mix" in US] [Neil: cowrote, coproduced, vocals] [Electronic: Disappointed] [on Telegenics Video Service] VHS: 1992 US (Telegenics; 114D) [NTSC] 4:21 Disappointed [126 bpm] [Fat Less 2000: Jerusalem] [on Fat Less 2000: Jerusalem] CSS: 2000 UK (Parlophone; TCR 6540/7243 8 887504-2) CD5: 2000 UK (Parlophone; CDR 6540/7243 8 887502-8) 4:00 Jerusalem (pet shop boys mix) [Liza Minnelli: Losing My Mind] [on Liza Minnelli: Losing My Mind] CD5: 1989 US (Epic; ESK 73011) [promo] 7": 1989 ES (Epic/Columbia; ARIE-2249) [1-sided promo; commercial ps] 4:09 Losing My Mind (7" mix) [Liza Minnelli: Losing My Mind] [on Liza Minnelli: Losing My Mind] 7": 1989 UK (Epic/Columbia; ZEE 1) 7": 1989 NL (Epic; 655144-7) CD3: 1989 AT (Epic; 655144-1) 4:09 Losing My Mind (7" mix) 5:03 Tonight Is Forever [PSB co-prod/co-mixed/co-keyboards on Losing My Mind] [PSB wrote 'Tonight is Forever'] [Liza Minnelli: Losing My Mind] [on Liza Minnelli: Losing My Mind] 12": 1989 UK (Epic/Columbia; ZEE T1 / 655144-6) CD5: 1989 UK (Epic/Columbia; ZEE C1 / 655144-2) 12": 1989 UK (Epic; 655144-6) 12": 1989 AT (Epic/CBS; 655144-6) CD3: 1989 AT (Epic/CBS; 655144-3) [reverses 7/ext] 12": 1989 ES (Epic/EPC 655144-6) 7:01 Losing My Mind (extended remix) 4:09 Losing My Mind (7" mix) 5:03 Tonight Is Forever [PSB co-prod/co-mixed/co-keyboards on Losing My Mind] [PSB wrote 'Tonight is Forever'] [Liza Minnelli: Losing My Mind] [on Liza Minnelli: Losing My Mind] 12": 1989 US (Epic; 49-68858) [b&w bead-curtain ps] 7:01 Losing My Mind (extended remix) 4:09 Losing My Mind (7" mix) 6:37 Losing My Mind (ultimix) 5:07 Losing My Mind (ultimix dub) [PSB co-prod/co-mixed/co-keyboards on Losing My Mind] [Liza Minnelli: Losing My Mind] [on Telegenics Video Service] VHS: 1989 US (Telegenics; 79D) [NTSC; promo] 4:19 Losing My Mind [120 bpm] [Liza Minnelli: Losing My Mind] CD-R: 2002 ?? (Almighty Records; ??) [CD-R acetate] 8:33 Losing My Mind (almighty mix) 8:38 Losing My Mind (almighty dub) [UK promotional "DJ Only - Not For Resale" CDR issued in PVC pouch w/ photocopied effect paper insert. Mixes not found elsewhere. Issued for Liza's forthcoming tour.] [Liza Minnelli: Don't Drop Bombs] [on Liza Minnelli: Don't Drop Bombs] 7": 1989 UK (Epic/Columbia; ZEE 2) 7": 1989 UK (Epic/Columbia; ZEE P2) [ltd purple poster slv] 7": 1989 NL (Epic; 655331-7) CD3: 1989 AT (Epic; 655331-1) 7": 1989 US (Epic; 655331-7) [top left titled slv] 7": 1989 ES (Epic/Columbia; ARIE-2292) [1-sided promo; textured ps] 3:34 Don't Drop Bombs (7") 3:39 Don't Drop Bombs (instrumental) [PSB wrote/co-prod/co-keyboards. Neil: backing vocals] [Liza Minnelli: Don't Drop Bombs] [on Liza Minnelli: Don't Drop Bombs] 12": 1989 UK (Epic/Columbia; ZEE T2) 12": 1989 NL (Epic; 655331-6) CD3: 1989 AT (Epic; 655331-3) 12": 1989 ES (Epic; 655331-6) 5:53 Don't Drop Bombs (extended remix) 5:44 Don't Drop Bombs (dub mix) 3:40 Don't Drop Bombs (accapella) [PSB wrote/co-prod/co-keyboards. Neil: backing vocals] [The inner label wrong states: "Don't drop bombs (A capella) 4:41" on the spanish 12"] [Liza Minnelli: Don't Drop Bombs] [on Liza Minnelli: Don't Drop Bombs] CD5: 1989 UK (Epic/Columbia; ZEE C2 / 655331-2) 3:34 Don't Drop Bombs (7") 5:53 Don't Drop Bombs (extended remix) 3:40 Don't Drop Bombs (accapella) [PSB wrote/co-prod/co-keyboards. Neil: backing vocals] [Liza Minnelli: Don't Drop Bombs] [on Liza Minnelli: Don't Drop Bombs] 12": 1989 UK (Epic/Columbia; ZEE QT2) 5:53 Don't Drop Bombs (extended remix) 3:39 Don't Drop Bombs (new 7" mix) 3:40 Don't Drop Bombs (percapella) 3:40 Don't Drop Bombs (accapella) [PSB wrote/co-prod/co-keyboards. Neil: backing vocals] [Liza Minnelli: Don't Drop Bombs] [on Liza Minnelli: Don't Drop Bombs] 12": 1990 FR (CBS; SAMP 1395) [promo] 8:59 Don't Drop Bombs (exterminator remix) [Club Mix #1] 4:58 Don't Drop Bombs (peace & love remix) [Radio Mix #1] [PSB wrote/co-prod/co-keyboards. Neil: backing vocals] [Connected with a Drop The Mix Competition, organized by CBS with DMC France and Sono magazine. The "#1" suggests that there may be a second promo 12".] [Liza Minnelli: album] [Liza Minnelli: Results] CD: 1989 UK (Epic; 465511-2) CS: 1989 UK (Epic; EPC 465511 4) CD: 1989 US (Epic; EK-45098) LP: 1989 NL (Epic; 465511-1) CS: 1989 CA (Epic/Columbia; OET 45098) LP: 1989 IT (Epic; 465511-1) CD: 1989 IT (Epic; 465511-2) LP: 1989 ES (Epic; 465511-1) LP: 1989 GR (Epic; EPC-465511-1) CD: 1989 AT (Epic; 465511-2) 4:41 I Want You Now 4:11 Losing My Mind 6:47 If There Was Love 3:14 So Sorry, I Said 3:39 Don't Drop Bombs 4:51 Twist In My Sobriety 3:54 Rent 4:10 Love Pains 5:04 Tonight Is Forever 4:52 I Can't Say Goodnight [PSB: coprod w/J.Mendelsohn; wrote all tracks except "Losing My Mind" (Sondheim), "Twist In My Sobriety" (Tikaram), "Love Pains" (Price/Walsh/barri). Chris: Fairlight prog most trx, kbds on some. Neil: kbds some trx, addl vox on "If There Was Love".] [Liza Minnelli: So Sorry, I Said] [on Liza Minnelli: So Sorry, I Said] 7": 1989 UK (Epic; ZEE 3) [foldout Liza/psb] 7": 1989 UK (Epic; ZEE G3) [gatefold slv; PSB inner photo] CSS: 1989 UK (Epic; ZEE M3) 7": 1989 DE (Epic; 655454-7) CSS: 1989 AU (Epic; 655454-4) 7": 1989 ES (Epic/Columbia; ??) [1-sided promo; custom ps] VHS: 1989 UK (??; ??) [promo; blue custom sleeve; "So Sorry" only] 3:14 So Sorry, I Said 4:52 I Can't Say Goodnight [PSB wrote/produced. Neil co-keyboards] [Liza Minnelli: So Sorry, I Said] [on Liza Minnelli: So Sorry, I Said] 12": 1989 UK (Epic; ZEE T3) 3:14 So Sorry, I Said 4:52 I Can't Say Goodnight 6:37 Losing My Mind (ultimix edit?) 5:07 Losing My Mind (ultimix dub) [PSB wrote/produced. Neil co-keyboards] [Liza Minnelli: So Sorry, I Said] [on Liza Minnelli: So Sorry, I Said] CSS: 1989 UK (Epic; ZEE MT3) [blue slv; "The 12' cassette"] CD5: 1989 UK (Epic; ZEE C3) CD5: 1989 UK (Epic; CPZEE 3) [Ltd; Blue Xmas card w/CD] 3:14 So Sorry, I Said 4:52 I Can't Say Goodnight 7:32 Losing My Mind (ultimix) 5:07 Losing My Mind (ultimix dub) [PSB wrote/produced. Neil co-keyboards] [Liza Minnelli: So Sorry, I Said] [on Liza Minnelli: So Sorry, I Said] CD3: 1989 AT (Epic; 655989-3) 3:14 So Sorry, I Said 4:52 I Can't Say Goodnight 6:37 Losing My Mind (ultimix) [PSB wrote/produced. Neil co-keyboards] [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 7": 1990 UK (Epic; ZEE 4) CSS: 1990 UK (Epic; ZEE M4) 3:54 Love Pains (hurley's radio edit) 4:10 Love Pains [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 7": 1989 NL (Epic; 655593-7) CSS: 1989 AU (Epic; 655593-4) [b-side unconfirmed] 4:10 Love Pains 3:54 Rent [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 12": 1990 UK (Epic; ZEE T4) 12": 1990 DE (Epic; 655736-6) CD3: 1990 AT (Epic; 655736-3) 5:34 Love Pains (hurley's mix) 4:40 Love Pains (deep dub) 3:54 Rent [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] CD5: 1990 UK (Epic; ZEE C4) CD5: 1990 UK (Epic; CD ZEE 4) [black sleeve] 4:10 Love Pains 5:34 Love Pains (hurley's mix) 3:54 Rent [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 12": 1990 UK (Epic; ZEE QT4) [ltd gatefold] 5:04 Love Pains (deep house pains) 3:54 Love Pains (hurley's radio edit) 3:54 Rent [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 12": 1990 DE (Epic; 655593-6) [violet ps] CD3: 1990 AT (Epic; 655593-3) 4:10 Love Pains 3:54 Rent 5:07 Losing My Mind (ultimix dub) ["dubulta mix"] [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] 12": 1989 US (Epic/Columbia; 49-73166) [remixed versions only] 5:34 Love Pains (hurley's mix) 3:54 Love Pains (hurley's radio edit) 4:08 Love Pains (hurley's instrumental) 5:04 Love Pains (deep house pains) 4:40 Love Pains (deep dub) [Liza Minnelli: Love Pains] [on Liza Minnelli: Love Pains] CD5: 1990 US (Epic; ESK-73355) [promo; radio edit/deep house only] 3:54 Love Pains (hurley's radio edit) 5:04 Love Pains (deep house pains) [Liza Minnelli: (all tracks)] [on Liza Minnelli: Visible Results] VHS: 1990 UK (PMI; CMV 49035 2) 8"LD: 1990 US (CMV/Image; ID-7397-CB) Losing My Mind Don't Drop Bombs So Sorry, I Said [Some versions may also include "Love Pains"] [Miu: All Or Nothing] [on Miyuki Motegi: M.I.U.] CD: 2002 JP (Toshiba/EMI; TOCT-24760) ?:?? All Or Nothing [Written by PSB; vocals by Miyuki Motegi; backing vocals by Neil; 17 Apr 2002.] [Kylie Minogue: Falling] [on Kylie Minogue: Kylie Minogue] CD: 1994 UK (Deconstruction; 74321 22749 2) 6:43 Falling ["Falling" written by PSB; spawned by a remix of "Go West" Chris did. There is a demo version by PSB floating around, and it sounds more PSBish than the final release version.] [Dusty Springfield: Nothing Has Been Proved] [on Dusty Springfield: Nothing Has Been Proved] 7": 1989 UK (Parlophone; R 6207) 7": 1989 UK (Parlophone; RG 6207) [gatefold ps] 7": 1989 DE (Parlophone; 006-203238-7) CSS: 1989 US (Enigma; 775042-4) 7": 1989 AU (EMI; A2204) 7": 1989 IT (EMI; 2032837) 4:45 Nothing Has Been Proved (single mix) 5:50 Nothing Has Been Proved (instrumental) [PSB: written, coproduced w/Julian Mendelsohn, codesigned slv] [Dusty Springfield: Nothing Has Been Proved] [on Dusty Springfield: Nothing Has Been Proved] 12": 1989 UK (Parlophone; 12R 6207) 12": 1989 UK (Parlophone; 12RG 6207) [gatefold] CD5: 1989 UK (Parlophone; CDR 6207 / 203238-2) 12": 1989 NL (EMI; 203238-6) 12": 1989 IT (EMI; 203282-6) 5:57 Nothing Has Been Proved (dance mix) 5:56 Nothing Has Been Proved (full length version) 5:50 Nothing Has Been Proved (instrumental) [PSB: written, coproduced w/Julian Mendelsohn, codesigned slv] [Dusty Springfield: Nothing Has Been Proved] [on Dusty Springfield: Nothing Has Been Proved] CD5: 1989 US (Enigma; EPRO-181) [promo; paper slv] 4:45 Nothing Has Been Proved (single mix) ["edit"] 5:57 Nothing Has Been Proved (dance mix) 5:50 Nothing Has Been Proved (instrumental) [PSB: written, coproduced w/Julian Mendelsohn] [Dusty Springfield: Nothing Has Been Proved] [on Various: Scandal - Soundtrack] LP: 1989 IT (EMI/Parlophone; 64-7924341) [normal vinyl in double sleeve] LP: 1989 US (Enigma; 73531-1) [stickered slv] CD: 1989 US (Enigma; 73531-2) CS: 1989 US (Engima; 73531-4) [PSB: written, coproduced w/Julian Mendelsohn] [Dusty Springfield: In Private] [on Dusty Springfield: In Private] 7": 1989 UK (Parlophone; R 6234) [green ps] CSS: 1989 UK (Parlophone; TCR 6234) [orange ps] 7": 1989 DE (Parlophone; 006-203618-7) 7": 1989 FR (EMI; 203618-7) [white ps w/fuzzy forest] 4:24 In Private (7" version) 4:24 In Private (instrumental) [PSB: written, coproduced w/Julian Mendelsohn] [Dusty Springfield: In Private] [on Dusty Springfield: In Private] 12": 1989 UK (Parlophone; 12R 6234) [blue ps] CD3: 1989 UK (Parlophone; CDR 6234) [green ps] CD5: 1989 UK (Parlophone; CDR 6234) [purple ps] 12": 1989 DE (EMI; 060-203618-6) CD3: 1989 AT (Parlophone; CDP 552-203618-3) [green ps] [on Dusty Springfield: Reputation and Rarities] CD: 199? UK (Parlophone; ??) [12" version is bonus track] 7:12 In Private (12" version) 4:24 In Private (7" version) 4:24 In Private (instrumental) [PSB: written, coproduced w/Julian Mendelsohn] [UK CD3 and CD5 BOTH exist, with the same catalog number] [Dusty Springfield: In Private] [on Dusty Springfield: In Private] 12": 1989 UK (Parlophone; 12RDJ 6234) [promo] 7:12 In Private (12" version) [PSB: written, coproduced w/Julian Mendelsohn] [Dusty Springfield: In Private] [on Dusty Springfield: In Private] CSS: 1989 UK (Chop 'Em Out; n/a) [studio tape; dated 28 Sep 1989] 4:24 In Private (7" version) ["7-inch master"] 7:12 In Private (12" version) ["12-inch master"] [PSB: written, coproduced w/Julian Mendelsohn] [Dusty Springfield: In Private] [on Dusty Springfield: In Private] 12": 1989 UK (Parlophone; 12RX 6234) [orange ps] 12": 1989 UK (Parlophone; 12RXDJ 6234) [promo] 12": 1989 DE (Parlophone; 060-203669-6) [tracks unconfirmed] CD5: 1989 DE (Parlophone; CDP 560-203669-2) [orange ps, thin jb] 8:53 In Private (remix) 6:34 In Private (dub mix) 3:56 In Private (bonus beats) [PSB wrote/co-prod. All mixes by Shep Pettibone] [Dusty: In Private] [on Various: EMI mid price sampler] CD: 1991 UK (EMI; CDMP2 91) [promo; exact mix unknown] [Dusty Springfield: In Private] [on Dusty Springfield: Reputation - The Videos] VHS: 1991 UK (PMI; MVR 990088-3) Nothing Has Been Proved [N+C cameo] In Private Reputation Arrested By You I Want To Stay Here [Dusty Springfield: tracks] [Dusty Springfield: Reputation] CS: 1990 UK (Abbey Road; n/a) [studio tape; dated 6 Apr 1990] LP: 1990 UK (Parlophone; PCSD 111) CS: 1990 UK (Parlophone; TC PCSD 111) CD: 1990 UK (Parlophone; CD PCSD 111 / CDP 794401-2) LP: 1990 DE (Parlophone; 794401-1) LP: 1990 IT (EMI; 794401-1) CD: 1990 IT (EMI; 794401-2) LP: 1990 ES (Parlophone; 078-794401-1) [w/ overprinted text] [Dusty Springfield: Reputation and Rarities] CD: 1998 UK (Parlophone; ??) 4:21 In Private 4:56 Daydreaming 4:43 Nothing Has Been Proved 2:47 I Want To Stay Here 6:45 Occupy Your Mind [+5 tracks] CD: 1998 NL (DISKY DC 886122) CD: 1998 AU (EMI; 7243 8 59882-2-6) 4:21 In Private 4:56 Daydreaming 4:43 Nothing Has Been Proved 2:47 I Want To Stay Here 6:45 Occupy Your Mind 7:12 In Private (12" version) [bonus track] [+5 tracks] [PSB: wrote (except "I Want To Say Here")/coprod. above trx] [Dusty Springfield: Nothing Has Been Proved] [on Dusty Springfield: Reputation - The Videos] VHS: 1990 UK (PMI; MVR 990088-3) ["Nothing Has Been Proved" video has cameos by Neil & Chris as cub reporters] [Dusty Springfield: Daydreaming] [on Dusty Springfield & Daryl Hall: Wherever I Would Be] CD5: 1995 UK (Columbia; 662059-5) [Jun 95] 8:18 Daydreaming (edited 12" master) [PSB: wrote/co-prod] [Suede: Rent/Saturday Night] [on Suede: Filmstar] CD: 1997 UK (Nude; NUD 30CD2) CD: 1997 NL (Nude; Nud 664609-5) 4:15 Rent (live) 5:08 Saturday Night (live) [Neil: sings "Rent", co-sings Suede's "Saturday Night"] [Tina Turner: Confidential] [on Tina Turner: Wildest Dreams] CD: 1996 UK (Parlophone; CDEST 2279 / 7243-837684-2 4) [2 Apr 96] CS: 1996 UK (Parlophone; ??) [2 Apr 96] CD: 1996 NL (Parlophone; 7243-837684-2 4) 4:40 Confidential [PSB: wrote/co-prod; Neil: backing vox] [Robbie Williams: No Regrets] [on Robbie Williams: No Regrets] 7": 1998 UK (Chrysalis; CHS 5100) CD5: 1998 UK (Chrysalis; CDCHS 5100) CD5: 1998 UK (Chrysalis; CDCHSS 5100) [on Robbie Williams: I've Been Expecting You] CS: 1998 UK (Chrysalis; 497837-4) [26 Oct 1998] CD: 1998 UK (Chrysalis; 497837-2) [26 Oct 1998] 5:10 No Regrets [Neil: backing vox] [Robbie Williams: No Regrets] [on Robbie Williams: No Regrets] CD5: 1998 FR (Chrysalis; LC 0542 / 7243 8 86399 2 7) 4:00 No Regrets (radio edit) 5:10 No Regrets (album version) [Neil: backing vox] [Ian Wright: Do The Right Thing] [on Ian Wright: Do The Right Thing] 7": 1993 UK (M&G; ??) [Aug 93] CSS: 1993 UK (M&G; MAGCS 45) [7"/rollo dub] 4:13 Do The Right Thing (7" mix) 5:10 Do The Right Thing (rollo dub mix) [Chris: prod/co-wrote; mixed all non-rollo mixes] [Ian Wright: Do The Right Thing] [on Ian Wright: Do The Right Thing] 12": 1993 UK (M&G; MAGX 45) 11:23 Do The Right Thing (rollo 2-1 up mix) 6:47 Do The Right Thing (second to none mix) 4:05 Do The Right Thing (air max mix) [Chris: prod/co-wrote; mixed all non-rollo mixes] [Ian Wright: Do The Right Thing] [on Ian Wright: Do The Right Thing] CD5: 1993 UK (M&G; MAGCD45) [tracks unconfirmed] 2x12": 1993 UK (M&G; IW-1) [promo 2-1/dub/1-0/second/air/7"; cover states "Keep The Peace"] 4:13 Do The Right Thing (7" mix) 11:23 Do The Right Thing (rollo 2-1 up mix) 6:47 Do The Right Thing (second to none mix) 5:10 Do The Right Thing (rollo dub mix) 4:05 Do The Right Thing (air max mix) 6:21 Do The Right Thing (rollo 1-0 down mix) [Chris: prod/co-wrote; mixed all non-rollo mixes] [Ian Wright: Do The Right Thing] [on Ian Wright: Do The Right Thing] 12": 1993 UK (M&G; IW-2) [promo] Do The Right Thing (hot july mix) Do The Right Thing (dub outta mind london 6am mix) [Chris: prod/co-wrote; mixes are by Danny Rampling] [Ian Wright: Do The Right Thing] [on Ian Wright: Do The Right Thing] CD5: 1993 NL (Dureco; 110457-2) 4:13 Do The Right Thing (7" mix) 11:23 Do The Right Thing (rollo 2-1 up mix) ["1-2 up mix"] 4:05 Do The Right Thing (air max mix) [Chris: prod/co-wrote; mixed all non-rollo mixes] ------------------------------------------------------------------------------ Various: Twentieth Century Blues - The Songs Of Noel Coward [1998] album CD5: 1998 UK (EMI; CDPP 053) [promo; yellow half-cover; intro sung by Neil Tennant] CD: 1998 UK (EMI; 7243-494631-2 7) CD: 1998 CA (EMI; ??) CD: 1998 JP (Toshiba-EMI; TOCP-50524) 1:07 Neil Tennant: Introduction 3:39 Texas: Parisian Parrot 3:39 The Divine Comedy: I've Been To A Marvellous Party 2:07 Paul McCartney: A Room With A View 4:31 Pet Shop Boys: Sail Away 3:39 Shola Ama And Craig Armstrong: Someday I'll Find You 4:36 Robbie Williams: There Are Bad Times Just Around The Corner 2:40 Bryan Ferry: I'll See You Again 5:18 Mrianne Faithful: Mad About The Boy 3:10 Space: Mad Dogs and Englishmen 7:12 Suede Featuring Raissa: Poor Little Rich Girl 2:33 Sting: I'll Follow My Secret Heart 4:42 Damon Albarn with Micheal Nyman: London Pride 4:57 Vic Reeves: Don't Put Your Daughter On The Stage Mrs. Worthington 5:32 Elton John: Twentieth Century Blues [Co-executive-produced by Neil Tennant. Neil appears on the Robbie Williams track as well.] VHS: 199? DE (??; ??) DVD: 199? US (Eagle Rock; ID 5531.1.A VB01) VCD: 199? HK (Panorama; PMVCD-904058) Elton John: 20th Century Blues Suede: Poor Little Rich Girl Marianne Faithful: Mad About The Boy Divine Comedy: Marvellous Party Shola Ama: Someday I'll Find Pet Shop Boys: Sail Away Pet Shop Boys: If Love Were All Sting: I'll Follow My Secret Heart Robbie Williams: There Are Bad Times Just Around The Corner [Neil appears on the Robbie Williams track as well.] ------------------------------------------------------------------------------ Billie Trix - Run Girl Run [July 2001] merchandising single for visitors of the musical CD5: 2001 UK (IT Records; ITR012) [cardboard ps] 3:57 Run Girl Run (original 1971 single version) 2:58 Run Girl Run (1981 post-apocalyptic nightmare mix) [The CD was produced as promotional item that visitors of the Closer to Heaven musical could buy after the show. The story about the tracks, the producer, names of persons and tracknames are 100% fiction.] ------------------------------------------------------------------------------ Closer To Heaven [8 October 2001] Cast Album CD: 2001 UK (Sony Music; ??) [promo; 10 Sep 2001; dual sleeve] CD: 2001 UK (Sony Music; 504 516 2) CD: 2001 UK (Sony Music; 504 516 2) [misspressing with white quadrat on cover] CD: 2001 CA (Columbia Records; CK 91575) ["made in Canada" on CD and booklet] CD: 2001 JP (Sony; ??) [released 30 Mar. 2002] 3:52 My Night (performed by billie trix) 3:20 Something Special (performed by straight dave) 3:35 Closer To Heaven (performed by straight dave & shell) 2:15 In Denial (performed by vic & shell) 3:57 Call Me Old-fashioned (performed by bob saunders) 3:35 Nine Out Of Ten (performed by straight dave & shell) 3:24 Caligula (performed by billie trix) 2:48 Hedonism [instrumental] 2:58 Friendly Fire (performed by billie trix) 3:15 Shameless (performed by bob saunders) 4:36 Vampires (performed by vic) 3:46 Closer To Heaven (performed by straight dave & mile end lee) 4:49 Out Of My System (performed by shell) 3:37 K-hole [instrumental] 4:11 For All Of Us (performed by straight dave) 1:23 Closer To Heaven (performed by straight dave) 4:34 Positive Role Model (performed by straight dave) [Produced by Pet Shop Boys and Stephen Hague. Cast are: Paul Keating (Straight Dave), Stacey Roca (Shell Christian), David Burt (Vic Christian), Paul Broughton (Bob Saunders) and Tom Walker (Mile End Lee).] CD-R: 2001 UK (10th Planet; ??) [promo] 3:51 My Night (edited version) 3:20 Something Special 3:34 Closer To Heaven 2:14 In Denial 3:56 Call Me Old-fashioned 3:34 9 Out Of 10 (not final mix) 3:23 Caligula 2:47 Hedonism (instrumental) 2:57 Friendly Fire (not final mix) 3:12 Shameless 4:36 Vampires 3:45 Closer To Heaven (psb mix) 4:48 Out Of My System 3:37 K-hole (instrumental) 4:09 For All Of Us 1:23 Closer To Heaven (solo) 4:33 Positive Role Model [All songs performed by cast and not mastered at this time.] ------------------------------------------------------------------------------ ::: DJ-Remixed. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - dj-service remixes [Some services, notably Razormaid, are now reissuing their mixes on custom CD-Rs that can be ordered on an individual basis. These will not be listed here unless they are packaged and sold in quantity.] [Absolutely Fabulous] [remixed for Direct Hit by Steve Bourasa] 3x12": 1994 US (Direct Hit; ??) [Direct Hit Volume 9] CD: 1994 US (Direct Hit; DH-09) [Direct Hit Volume 9] 5:27 Absolutely Fabulous (digital mix) [122bpm] [Absolutely Fabulous] [remixed for Discotech by Lenny Gray] 3xLP: 1994 US (Discotech; DT-29-V) [Discotech Issue 29] CD: 1994 US (Discotech; DT-29-CD) [Discotech Issue 29] 6:28 Absolutely Fabulous (progressive house track) [Absolutely Fabulous] [remixed for Hot Tracks by Stephen L Freeman] 3x12": 1994 US (Hot Tracks; HT S13-I8) [Series 13, Issue 8] CD: 1994 US (Hot Tracks; CD-13-08) [Series 13, Issue 8] 6:42 Absolutely Fabulous (mix) [131.7bpm] [Always On My Mind] [remixed for Disconet] LP: 1987 US (Disconet; DN V11-P6) CD: 1987 US (Disconet; DN CD-02) 10:28 Always On My Mind (acidtone remix) [Always On My Mind] [remixed for Hot Tracks] 2x12": 1987 US (Hot Tracks; HT S7-I2) [Series 7, Issue 2] 3x12": 1995 US (Hot Tracks; ??) [The Very Best Of Hot Tracks 5] CD: 1995 US (Hot Tracks; ??) [The Very Best Of Hot Tracks 5] 7:23 Always On My Mind [124.8 bpm] [Always On My Mind] [remixed for Prime Cuts by Dale William & Randy Todd] 2x12": 1988 US (Prime Cuts; V1-I9) 7:36 Always On My Mind [126 bpm] [Always On My Mind] [remixed for Razormaid] 12": 1987 US (Razormaid; SP-001) [white or black vinyl] CD: 1987 US (Razormaid; RM-CD-03) 3x12": 19?? US (Razormaid; SP-019) [Best Of 'This Is Only A Test'] 7:05 Always On My Mind [125 bpm] [3x12": orange marbled vinyl] [Before] [remixed for Direct Hit by Steve Bourasa] CD: 1996 US (Direct Hit; Sector 3) 9:00 Before (digital mix) [129 bpm] [Before] [remixed for Discotech] 12": 1996 US (Discotech; DT-41-V) [Discotech Issue 41] CD: 1996 US (Discotech; DT-41-CD) [Discotech Issue 41] [Before] [remixed for Hot Tracks by Troy Sands] 3x12": 1996 US (Hot Tracks; SA 15-5) [Series 15, Issue 5] CD: 1996 US (Hot Tracks; HT-CD-15-5) [Series 15, Issue 5] 6:12 Before (digital mix) [124.3 bpm] [based on the extended mix] [Being Boring] [remixed for Hot Tracks by Glenn Cattanach] 12": 1990 US (Hot Tracks; HT S10-I1) [Series 10, Issue 1] CD: 1990 US (Hot Tracks; HTCCD02/10-1) [Series 10, Issue 1] 7:39 Being Boring [122 bpm] [Being Boring] [remixed for Pop Mix] CD: 19?? US (Pop Mix; CD3? CD4?) [Mix built on the Marshall Jefferson mix] [Bet She's Not Your Girlfriend] [remixed for Art Of Mix by Peter Fenton] 12": 1991 US (Art Of Mix; Vol 23) [Volume 23; clear marbled vinyl] 6:47 Bet She's Not Your Girlfriend (indictment mix) [127 bpm] [The Boy Who Couldn't Keep His Clothes On] [remixed for Direct Hit by Steve Bourasa] ??: 199? US (Direct Hit; ??) [Sector 10] 5:58 The Boy Who Couldn't Keep His Clothes On [124 bpm] [Can You Forgive Her?] [remixed for Ultra Hot Razor] CD: 1993 US (Ultra Hot Razor; UHCD07) 6:55 Can You Forgive Her? (richard lindemann mix) [Discoteca] [remixed for Masterbeat] CD: 1997 US (Masterbeat; ??) [Odyssey] 9:28 Discoteca [Discoteca] [remixed for Razormaid] [Domino Dancing] [remixed for DMC] 12": 1988 UK (DMC; 69/2) [DMC October 1988?] 5:30 Domino Dancing [time mislabeled 6:50] [Domino Dancing] [remixed for Hot Tracks by James "007" Lee] 2x12": 1988 US (Hot Tracks; HT S7-I10) [Series 7, Issue 10] 4:40 Domino Dancing [113 bpm] [Domino Dancing] [remixed for Prime Cuts] LP: 1988 US (Prime Cuts; PC V2-I2) 6:44 Domino Dancing [The End Of The World] [remixed for 911] CD: 1994 US (??; 911CD2) [911 Volume 2] 6:34 The End Of The World [Go West] [remixed for Direct Hit by Steve Bourasa] CD: 1993 US (Direct Hit; DHCD-4) [Direct Hit Volume 4] 6:58 Go West (digital mix) [126bpm] [Go West] [remixed for Future Mix by Olle Pihl] LP: 1993 US (Future Mix; FUT 0.05) [Future Mix 5; clear vinyl] CD: 1993 US (Future Mix; FMCD 0.05) 5:16 Go West (west end dub) [126 bpm] [Go West] [remixed for EMI-US] 12": 1993 UK (?; DK002) Go West (gone west remix) [UK DJ pressing of one of the mixes on the official bootleg US 12" promo] [Go West] [remixed for Masterbeat] CD: 199? US (Masterbeat; ??) [Pride] 5:01 Go West [Heart] [remixed for Hot Tracks] 2x12": 1988 US (Hot Tracks; HT S7-I5) 6:28 Heart [I Get Excited (You Get Excited Too)] [remixed for Razormaid by Art Maharg] LP: 1988 US (Razormaid; RM-!-20) [white vinyl] 2xCD: 1988 US (Razormaid; RM-CD-04) [Very Best Of Razormaid IV] 6:34 I Get Excited (You Get Excited Too) (re-edit) [123bpm] [It's A Sin] [remixed for Techno Pop] CD: 1991 US (Techno Pop; CD-01) [In The Night] [remixed for Hot Tracks] 2x12": 1985 US (Hot Tracks; HTS A6-181?) 6:13 In The Night [It's Alright] [remixed for Art of Mix] 12": 1989 US (Art of Mix; AOM-V11) [Art of Mix Volume 11] CD: 1989 US (Art of Mix; CD2) [Art of Compilation CD2] 6:31 It's Alright (pet boy mix) [It's Alright] [remixed for Razormaid by Art Maharg] 2x12": 1989 US (Razormaid; SP-011) [This Is Only A Test; blue vinyl] 3x12": 19?? US (Razormaid; SP-019) [Best Of 'This Is Only A Test'] 6:35 It's Alright (re-edit) [126 bpm] [3x12": orange marbled vinyl] [It's Alright] [remixed for Razormaid by Art Maharg] CD: 1989 US (Razormaid; SP-CD-03) 8:18 It's Alright [It's Alright] [remixed for Rhythm Stick by Mark Watkins and Jim Hopkins] 12": 1989 US (Rhythm Stick; RS 1-6) 2xCD: 1989 US (Rhythm Stick; RS-CD-01) 6:59 It's Alright [Left To My Own Devices] [remixed for Art of Mix by Steve Smith] LP: 1988 US (Art of Mix; AOM-V6) [Art of Mix Volume 6] CD: 1989 US (Art of Mix; CD1) [Art of Compilation CD 1] 6:20 Left To My Own Devices (new toy mix) [Left To My Own Devices] [remixed for Hot Tracks by Jim Hopkins] 12": 1989 US (Hot Tracks; HT SA8-1) [Hot Tracks Series 8 Issue 1] 5:56 Left To My Own Devices (hip hop mix) [127bpm] [Left To My Own Devices] [remixed for Razormaid] 2x12": 1989 US (Razormaid; SP-008) [orange or yellow vinyl] CD: 1989 US (Razormaid; SP-CD-01) 6:20 Left To My Own Devices [Liberation] [remixed for Hot Tracks by Chris Cox] CD: 1993 US (Hot Tracks; CD-13-05) ["Series 13, Issue 5"] 5:52 Liberation (digital mix part 1) [108.8bpm] 5:14 Liberation (digital mix part 2) [119.7bpm] [Part 1 is based on lp mix, part 2 on the e-smoove mix] [Losing My Mind] [remixed for Hot Tracks by J.R.Clements] 12": 1991 US (Hot Tracks; NRG-7) [NRG For The 90's 7; clear vinyl] 2xCD: 1991 US (Hot Tracks; ??) 6:29 Losing My Mind [121bpm] [Miserablism] [remixed for Hot Tracks by Malk Alsop & Paul Goodyear] CD: 199? US (Hot Tracks; HTCD11-2) [Hot Tracks Series 11 Issue 2] 6:21 Miserablism (edit) [121.5 bpm] [Music For Boys] [remixed for Art Of Mix by Daniel Stonier] 12": 1992 US (Art Of Mix; Precision 6) [green vinyl] CD: 199? US (Art of Mix; CD9) [Art of Compilation CD 9] 5:57 Music For Boys (altern 8 re-remix) [126 bpm] [One More Chance] [remixed for Hot Tracks by Glenn Cattanach] 2x12": 1991 US (Hot Tracks; SA 10-6) [lavender vinyl; Series 10 Iss 6] CD: 19?? US (Hot Tracks; CD-10-06) [Hot Tracks Series 10 Issue 6] 6:32 One More Chance '92 [127bpm] [One Of The Crowd] [remixed for Art of Mix] CD: 1990 US (Art of Mix; CD4) [Art of Compilation CD 4] 6:28 One Of The Crowd (metropolitan mix) [Opportunities] [remixed for Prime Cuts] LP: 1985?US (Prime Cuts; PC V1-I1) 7:35 Opportunities [Opportunities] [remixed for Prime Cuts] 2xLP: 19?? US (Disc Drive; 1.4) [translucent peach marbled vinyl] 7:35 Opportunities (prime cuts) [118 bpm] [Opportunities] [on Various: DMC Previews LP] LP: 198? UK (DMC; 30/1) [Paninaro] [remixed for ??] 12": 199? ?? (??; DFM-003) [white label, bootleg?] 5:12 Paninaro (naughty italian house mix) [b/w Human League "I Need Your Lovin'"] [Paninaro '95] [remixed for Discotech by Nick Agamalis] CD: 1995 US (Discotech; DT-36) [Discotech Issue 36] Paninaro '95 (progressive house track) [So Hard] [remixed by Hot Tracks by John Moffett] 2x12": 199? US (Hot Tracks; S9-I8) [Series 9, Issue 8] 6:20 So Hard (hot mix) [124 bpm] [So Hard] [remixed for Music Factory] 2x12": 1990 UK (Music Factory; MFMM 51) 6:23 So Hard (edge of chaos mix) [So Hard] [remixed for Razormaid by Art Maharg] 12": 1991 US (Razormaid; SP-017) [Test ??; white vinyl] 12": 1991 US (Razormaid; SP-017) [Test ??; red vinyl] 12": 199? US (Razormaid; SP-019 E1) [Test 5+6; red vinyl] 12": 199? US (Razormaid; SP-019 E1) [Test 5+6; coral vinyl] CD: 1990 US (Razormaid; SP-CD-09) [green disc] 6:48 So Hard (digital remix) [120bpm] [So Hard] [remixed for Rhythm Stick by Steve Bourasa] 2x12": 1990 US (Rhythm Stick; RS-2-4) CD: 1990 US (Rhythm Stick; RS-CD-02) 7:35 So Hard (cd mix) [120 bpm] [So Hard] [remixed for Ultra Hot Razor by John Pillin & Steve Smith] CD: 1992 US (Ultra Hot Razor; ??) [Disc 3] 5:20 So Hard (klf vs. jmp mix) [Suburbia] [remixed for Art of Mix] CD: 1990 US (Art of Mix; CD5) [Art of Compilation CD 5] [on Frankie Goes To Hollywood: On The Way To Hollywood] CD: 1993 UK (Up And Down Records) [bootleg; no catalog number] 7:33 Warriors of Suburbia [remixed with "Warriors" by FGTH] [That's My Impression] [remixed for Hot Tracks] 2x12": 1986 US (Hot Tracks; HT S5-I5) 7:37 That's My Impression [Was It Worth It] [remixed for Rhythm Stick by Steve Bourasa] CD: 1991 US (Rhythm Stick; RS CD 04) 7:11 Was It Worth It (digital mix) [125 bpm] [West End Girls] [remixed for Disconet by Steven van Blau] 12": 1986 US (Disconet; DN V8-P8) CD: 1990 US (Disconet; DN 03) [+Liza: Don't Drop Bombs] 6:38 West End Girls (steven van blau remix) [West End Girls] [remixed for Razormaid] CD: 1990 US (Razormaid; CX-CD-03) [Razormaid Class-X 3] 5:43 West End Girls [113bpm] [West End Girls] [remixed for Ultimix] 12": 1986 US (Ultimix; BOU-1) [Best Of Ultimix Volume 1] 4xCD: 1997 US (Ultimix; ??) [Ultimix: In The Beginning] 7:48 West End Girls (ultimix) [West End Girls] [remixed by a underground Toronto DJ] 12": 2002 CA (??; ??) ?:?? West End Girls (??) [+ 1 other track by House Nation] [What Have I Done To Deserve This?] [remixed for Hot Tracks by Steve Bourasa] 2x12": 1987 US (Hot Tracks; S6-I10) [Hot Tracks Series 6 Issue 10] CD: 1993 US (Hot Tracks; VBHT-03) [Very Best Of Hot Tracks Vol 3] 6:11 What Have I Done To Deserve This? (edit) [118bpm] [What Have I Done To Deserve This?] [remixed for Prime Cuts] LP: 1987 US (Prime Cuts; PC V1-I7) 8:07 What Have I Done To Deserve This? [What Have I Done To Deserve This?] [remixed for Prime Cuts by Howard Prince] 2x12": 1989 US (Prime Cuts; PC 1) [red vinyl; The Best Of Volume One] 2x12": 1989 US (Prime Cuts; PC 1) [white vinyl; The Best Of Volume One] CD: 1988 US (Prime Cuts; PCCD 01) 7:48 What Have I Done To Deserve This? (re-edit) [118bpm] [Where The Streets Have No Name] [remixed for DMC] 12": 1991 UK (DMC; ??) [Where The Streets Have No Name] [remixed for Hot Tracks by J. Mark Andrus] 2x12": 1991 US (Hot Tracks; S10-I3) [Series 10, Issue 3] CD: 1991 US (Hot Tracks; HTCCD 04) CD: 1991 US (Hot Tracks; CD-HT-B-91) [12 tracks] 7:00 Where The Streets Have No Name (digital edit) [129 bpm] [Where The Streets Have No Name] [remixed for Rhythm Stick by Steve Bourasa] 2x12": 199? US (Rhythm Stick; 3-1) 6:52 Where The Streets Have No Name (cd mix) [125 bpm] [Yesterday, When I Was Mad] [remixed for Discotech by Ollie Pihl] 3xLP: 1994 US (Discotech; DT-30-V) [Discotech Issue 30] CD: 1994 US (Discotech; DT-30-CD) [Discotech Issue 30] Yesterday, When I Was Mad [138bpm] [Yesterday, When I Was Mad] [remixed for Hot Tracks by Jim Thias] 3x12": 1995 US (Hot Tracks; S13-I9) [Series 13, Issue 9] CD: 1995 US (Hot Tracks; HT-CD-13-09) [Series 13, Issue 9] 6:18 Yesterday, When I Was Mad (digital mix) [140.1bpm] [based on RAF Zone and RAF Dub mixes] [Megamix] [mixed for Black Wax?] 12": 199? UK (Black Wax; ??) [bootleg] Tennant's Extra [megamix] Alright [Megamix] [mixed for Disconet by Todd Culver] 2xLP: 1988 US (Disconet; DN V10-P9) [Volume 10, Program 9] 9:53 Pet Shop Boys Mastermix [118-125 bpm] [It's A Sin, What Have I Done To Deserve This?, West End Girls, Opportunities, Heart (unreleased mix), Always On My Mind] [Megamix] [mixed for DMC] 12": 1986 UK (DMC; Jun-86) PSB Megamix [Megamix] [mixed for DMC by Alan Coulthard] 12": 1988 UK (DMC; DMC 60/1) [DMC January 88 Mixes 1] 10:58 Who Mixed Who? [includes "Always On My Mind"] [Megamix] [mixed for DMC by Les Adams & James Hamilton] 12": 1988 UK (DMC; DMC 60/2) [DMC January 88 Mixes 2] 12:00 L of A Mix... [includes "It's A Sin"] [Megamix] [mixed for DMC] 12": 1988 UK (DMC; Mar-88) Megamix [West End Girls, Heart] [Megamix] [mixed for DMC] 12": 1988 UK (DMC; 62/1) 10:00 The Dance Mix [West End Girls / What Have I Done To Deserve This? / Heart / Always On My Mind / Suburbia] [Megamix] [mixed for DMC] LP: 1988 UK (DMC; May-88) 6:00 X-Tended Heartbeats [Megamix] [mixed for Euro-Mixx] CD: 199? ?? (US-PROG; 894) [Euro-Mixx Records Volume 1] 13:03 PSB Megamix [Megamix] [mixed for Hithouse] 12": 1988 UK (Hithouse; RER-5011) The Hit Mix [incl. "Always On My Mind"] 17:00 PSB Sampler [Love Comes Quickly, West End Girls, What Have I Done To Deserve This?, Opportunities, In The Night, Suburbia, Always On My Mind, It's A Sin] [Megamix] [mixed for Hot Tracks by Glenn Cattanach] 12": 1990 US (Hot Tracks; HT 9-4) ?xCD: 1998 US (Hot Tracks; ??) [Hot Tracks Box Set CD #17] 13:06 This Is The Pet Shop Boys! [What Have I Done To Deserve This?, Heart, Always On My Mind, It's Alright, Left To My Own Devices] [Megamix] [mixed for Hot Tracks] CD: 199? US (Hot Tracks; CD-11-02) [Hot Tracks Series 11 Issue 2] Miserablismmm [Megamix] [mixed for Megatrax] 12": 1987 DE (Megatrax; BEAT 9) 10:37 Master Mix [West End Girls, What Have I Done To Deserve This?, In The Night, It's A Sin, Suburbia] [Megamix] [mixed for Music Factory] 2x12": 1987 UK (Music Factory; MFMM 15) 13:00 Pet Shop Boys Medley [Love Comes Quickly / West End Girls / What Have I Done To Deserve This? / Opportunities / Suburbia / It's A Sin] [Megamix] [mixed for Music Factory] 2xLP: 1988 UK (Music Factory; 27) 13:50 The PSB Medley [Domino Dancing / Love Comes Quickly / West End Girls / Opportunities / Heart / It's A Sin/ Always On My Mind / Suburbia] [Megamix] [mixed for Music Factory] 2x12": 1991 UK (Music Factory; MFMM 62) [b/w Bananarama megamix] CD: 1991 UK (Music Factory; ??) [b/w Bananarama, Queen megamixes] 12:10 Discography Megamix [Where The Streets Have No Name / Paninaro / So Hard / Left To My Own Devices / It's A Sin / Always On My Mind] [Megamix] [mixed for Music Factory] CD: 19?? UK (Music Factory; MFPOPCD1) Hit List Megamix [Megamix] [mixed for On-USound (bootleg)] 12": 1989 US (On-USound; BSB-020) ["PSB"] 11:50 Pet Shoppibone (mega-mix) [It's Alright, AOMM, etc.] 11:07 Device Remix / Megamix [Pet Shoppibone: include bits from Sterling Void's original "It's Alright", "Always On My Mind (shep's house)", "It's A Sin (phil harding latin vocal mix)", "What Have I Done To Deserve This? (disco mix)", "Left To My Own Devices (shep pettibone remix)".] [Device: cut-and-paste on "Left To My Own Devices (shep pettibone remix)" and "Left To My Own Devices (device mix)".] [Megamix] [mixed for On-USound (bootleg)] 12": 1991 US (On-USound; PSB-012) [Menagerie Mixes] 13:03 New Megamix 15:33 The Classic Megamix [Megamix] [mixed for SweMix] 12": 1991 SE (SweMix; P37) 13:50 Pet Shop Boys Megamix [Megamix] [mixed for Ultimix by Bradley D Hinkle] 3x12": 19?? US (Ultimix; 28) 5x12": 1996 US (Ultimix; ?) [Ultimix Medley Collection] 2xCD: 1996 US (Ultimix; ?) [Ultimix Medley Collection] 16:47 The 1988 Flashback Medley (part 2) [Includes "What Have I Done To Deserve This?" and "Always On My Mind"] [Megamix] [mixed for ZYX] LP: 19?? DE (ZYX; 20055) ZYX Disco Club Megamix [non-stop various artist megamix LP which includes the original "West End Girls"] [Megamix] [mixed for unknown service] 12": 1988 HO (Phantom Records; PHA 002) 16:36 PSB Megamix 13:42 PSB Megamix [mix 1: So Hard / It's Alright / Left To My Own Devices / Always On My Mind / It's a Sin] [mix 2: Domino Dancing / West End Girls / What Have I Done To Deserve This? / Heart] [Megamix] [mixed for unknown service] 12": 1988 CA (Silver Eagle; DP 1724) [bootleg?] West Side - East Side Megamix [Megamix] [mixed for unknown service] 12": 1991 UK (MFM; ??) [Medley] 12:10 Discography Part 1 [5 track medley] [Megamix] [mixed for unknown service] LP: 1988 FR (All Hits Records; ALL 001-12) [The Collection] [6 tracks + '88 megamix] [Megamix] [mixed for unknown service] 12": 19?? IT (...) ["made in Italy" stamp only] ?:?? [psb megamix 1] ?:?? [psb megamix 2] [Megamix] [mixed for unknown service] CD: 1995 BR (EMI; PP0032 2) [+ various artists] CD: 2000 BR (East West/Warner; CDCP027) ?:?? Brazilian Mix [9 track medley] ------------------------------------------------------------------------------ PSB-Associated Artists - dj-service remixes [Blur: Girls And Boys] [remixed for Discotech by John Dickinson] 12": 1991 US (Discotech; 28) 7:15 Girls And Boys [120bpm; based on PSB remixes] [East 17: West End Girls] [remixed for Discotech by Mark Alsop & Paul Goodyear] 12": 1993 US (Discotech; n/a) [white-label test pressing; Discotech Issue 23] CD: 1993 US (Discotech; DT-23) [Discotech Issue 23] 6:35 West End Girls [127bpm] [East 17: West End Girls] [remixed for Razormaid by Joseph Watt] CD: 1993 US (Razormaid; TRAN-CD-P05) [Transit! Position-05] West End Girls (digital mix) [123bpm] [Eighth Wonder: I'm Not Scared] [remixed for Razormaid by Art Maharg] 2x12": 1988 US (Razormaid; D-19) [yellow vinyl] CD: 19?? US (Razormaid; RM-CD-04) [The Very Best Of Razormaid! IV] 6:56 I'm Not Scared (re-edit) [106bpm] [Electronic: Disappointed] [remixed for Hot Tracks by Ron Hester] CD: 1992 US (Hot Tracks; CD-11-04) [Hot Tracks Series 11 Issue 4] Disappointed (digital mix) [125.2bpm] [Electronic: Getting Away With It] [remixed for Art of Mix by Peter Fenton & Steve Smith] 12": 19?? US (Art Of Mix; Vol 16) [Art Of Mix Volume 16; clear wax] 6:36 Getting Away With It (raindance mix) [126 bpm] [Electronic: Getting Away With It] [remixed for Razormaid] CD: 1990 US (Razormaid; SP-CD-06) [This Is Only A Test] 6:41 Getting Away With It [126 bpm] [Electronic: Getting Away With It] [remixed for Rhythm Stick by Mark Watkins] 2x12": 1990 US (Rhythm Stick; 1-10) 8:41 Getting Away With It (murder in self defense CD mix) [126 bpm] [Liza Minnelli: Don't Drop Bombs] [remixed for Disconet] CD: 1990 US (Disconet; DN 03) [+PSB: West End Girls] [on Various: Dancing Divas] CD: 1996 US (Epic; ??) 7:15 Dont Drop Bombs (edit) [Liza Minnelli: Dont Drop Bombs] [remixed for Razormaid by Art Maharg] 2x12": 19?? US (Razormaid; SP-012) [This Is Only A Test] 7:13 Dont Drop Bombs (re-edit) [123 bpm] [Liza Minnelli: Don't Drop Bombs] [remixed for Razormaid by Art Maharg] 3x12": 199? US (Razormaid; SP-019) [Best Of 'This Is Only A Test'] CD: 1990 US (Razormaid; SP-CD-09) [green disc] Don't Drop Bombs ('91 mix) [123 bpm] [3x12": pink/orange marbled vinyl] [Liza Minnelli: Dont Drop Bombs] [remixed for Rhythm Stick by Steve Bourasa] 2x12": 1989 US (Rhythm Stick; RS1-9) 7:09 Don't Drop Bombs (the fricassee dove cd edit) [123 bpm] [Liza Minnelli: Losing My Mind] [remixed for Art Of Mix by Steve Smith] 12": 1988 US (Art Of Mix; Vol 13) [Volume 13] 6:48 Losing My Mind (z-boys cd mix) [122 bpm] [Liza Minnelli: Love Pains] [remixed for Hot Tracks by Chris Cox] 12": 1990 US (Hot Tracks; HT S9-I4) [Hot Tracks Series 9 Issue 4] 6:00 Love Pains (lubricated cd edit) [Liza Minnelli: Love Pains] [remixed for Razormaid] CD: 1990 US (Razormaid; SP-CD-06) [This Is Only A Test] 6:49 Love Pains [122 bpm] [Liza Minnelli: Twist In My Sobriety] [remixed for Razormaid by Art Maharg] 2x12": 199? US (Razormaid; SP-014) [light blue vinyl] Twist In My Sobriety (digital mix) [Dusty Springfield: In Private] [remixed for Razormaid by Joseph Watt] 3x12": 19?? US (Razormaid; SP-019) [Best Of 'This Is Only A Test'] CD: 1990 US (Razormaid; SP-CD-06) [This Is Only A Test] 7:52 In Private (digital mix) [127 bpm] [3x12": pink marbled vinyl] ------------------------------------------------------------------------------ ::: Various/Fan Remixed. ::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Remixer index: Tracks remixed by various persons/distributed through the net. [Andreas Siebert: Foo mixes] 8:17 Closer To Heaven (foo's closer to remix) 6:35 Closer To Heaven (foo's heavenly remix) 7:40 Lies (extended vocal cut mix) 8:46 Radiophonic (foo's extended air radio mix) ?:?? The Theatre (the long foo version) [Anthony Nudelman: Nudelman mixes] 7:46 Before (extended nudelmix) 4:25 Before (nudelmix) 4:44 Left To My Own Devices (nudelmix) 3:41 Metamorphosis (nudelmix) 3:31 Opportunities (nudels pop corn mix) 2:30 Postscript (beyond the bass nudelmix) 4:22 Se A Vida E (nudelmix) 5:49 We All Feel Better In The Dark (nudelmix) 3:45 Your Funny Uncle (nudelmix) [Blade: Blade mixes] 5:08 Boy Strange (blade mix) 5:21 Decadence (blade mix) 5:35 Footsteps (blade mix) 5:19 Happiness Is An Option (blade mix) 0:46 Home And Dry (blade going home mix) 3:38 Home And Dry (blade single remix) 5:06 Later Tonight (blade mix) 5:24 London (blade dance mix) 4:55 London (blade mix) 5:33 Love Comes Quickly (blade mix) 6:56 Only The Wind (blade chillin mix) 5:33 Paninaro (blade mix) 6:26 Positive Role Model (blade mix) 4:56 Sexy Northerner (blade mix) 6:41 The Only One (blade dance mix) 6:20 Was That What It Was (blade mix) 3:04 Your Funny Uncle (blade mix) [Christian Schroeder: German Homer mixes] 8:18 Bet She's Not Your Girlfriend (german homer extended edit) 6:37 You've Got To Start Somewhere (german homer long version) [Daco: Daco mixes] Always On My Mind (motivational mix) Before (and after dub) Before (railroad mix) Betrayed (scab Mix) Bilingually Speaking Discoteca (2000 mix) Euroboy (russian mix) Forever In Love (x mix) Home And Dry (plane @ jfk mix) I Want A Dog (dacodance mix) I Want A Dog (dacodance mix part two) It Doesn't Often Snow At Christmas (speed garage mix) Jealousy (junglistic mix) London (daco's innercity modulated filtered mix) London (trance europa mix) Music For Boys (dacodance 2002 mix) One Of The Crowd (claustrophobic mix) Paninaro (eurogroove mix) PSB In A Mixed Up World Theme (megamix) Samurai In Autumn (ar-sole mix) Sexy Northerner (naughty north remix - Re-EQ'd) Sexy Northerner (daco's naughty north Dub) Somewhere (anywhere mix) The Boy Who Couldnt Keep His Clothes On (sweat mix) The Wit & Wisdom Of Mr Tennant The Wit & Wisdom Of Mr Lowe To Step Aside (full recoil mix) We All Feel Better In The Dark (dacodance mix) [Dance Dummy & T.Rexx mixes] 6:44 Always On My Mind (into the 80's mix) 0:18 Closer To Heaven (dance dummy's dinner in heaven mix) 5:27 Drunk (t.rexx vs dance dummy trance mix) 8:03 Drunk (the t.Rexx vs dance dummy ragga zone mix) 5:06 For Your Own Good (dance dummy's extended mix) 11:14 It's Alright (t.rexx on and on dub) 3:11 Love Comes Quickly (dance dummy's house mix) 11:43 Opportunites (t.rexx vs dance dummy disco dub) 4:29 Opportunities (dance dummy's romantic Minutes) 2:43 Opportunities (dance dummy's trivial reprise) 8:51 Rent (t.rexx puppet dub) 6:17 Shopping (dance dummy's 2000 club cut) 4:14 Shopping (dance dummy's 2000 edit) [T.Rexx: The T.Rexx Megamix] Intro Se A Vida E How Can You Expect To Be Taken Seriously This Must Be The Place I Waited Years To Leave A New Life I Want A Dog I'm Not Scared We All Feel Better In The Dark Liberation Love Comes Quickly West End Girls Domino Dancing You Know Where You Went Wrong DJ Culture The Truckdriver And His Mate Was That What It Was What Have I Done To Deserve This In The Night Losing My Mind Being Boring Opportunities It's Alright Suburbia Always On My Mind I Get Excited Heart So Hard Paninaro 95 Go West Shameless A Red Letter Day The Boy Who Couldn't Keep His Clothes On Before Can You Forgive Her To Step Aside Shopping One More Chance Was It Worth It Left To My Own Devices It's A Sin I Wouldn't Normally Do This Kind Of Thing Too Many People It Doesn't Often Snow At Christmas Where The Streets Have No Name Absolutely Fabulous Discoteca Single Yesterday When I Was Mad Rent Somewhere Jealousy Outro [Dave Ewart: Dave Ewart mixes] 3:23 Tribute (dave ewart remix) 3:08 Violence (david ewart remix) 2:45 We All Feel Better In The Dark (dave ewart ice mix) [DJ B-lingual: DJ B-lingual mixes] 5:31 Delusions Of Grandeur (dj broadway mix) 5:18 Disco Potential (dj disco dub) 6:10 How I learned to hate Rock'n'Roll (dj stop to rock mix) 7:32 The Boy Who Couldn't Keep His Clothes On (dj international mix) 4:56 The Truckdriver And His Mate (dj highway mix) [Keyan: Keyan mixes] 9:06 A Red Letter Day (keyan's long extended remix) 6:48 A Red Letter Day (keyan's short extended remix) 4:55 Being Boring (keyan's 7'' edit) 7:27 Being Boring (keyan's extended edit) 7:12 DJ Culture (keyan's extended mix) 4:25 Heart (keyan's dance mix edit) 7:01 It's Alright (keyan's remix) 8:19 Rent (keyan's extended remix) 4:23 Se A Vida E (keyan's deep dish liquit edit) 4:41 Se A Vida E (keyan's mark picchiotti edit) 4:22 The Boy Who Couldn't Keep His Clothes On (keyan's short edit) 4:37 To Step Aside (keyan's remix) 3:52 To Step Aside (keyan's brutal bill edit) 4:39 To Step Aside (keyan's hasbrouck heights edit) 4:36 To Step Aside (keyan's ralphi disco vox edit) 6:50 Was It Worth It (keyan's 12'') 9:49 We All Feel Better In The Dark (keyan's extra large remix) 15:42 We All Feel Better In The Dark (keyan's permanent ecstasy remix) [Mark Johnson: Silver Factory Superstars mixes] 7:22 Home And Dry (sfs 12'' version) 4:11 Home And Dry (sfs 7'' version) [Mathias Hauptvogel: MAT mixes] A Red Letter Day (mat 1st stanza cut) Absolutely Fabulous (mat's european instrumental piano remix) Absolutely Fabulous (mat's european instrumental dub mix) Always On My Mind (mat's keyboard remix) Being Boring (mat's instrumental version) Discoteca (mat's disco version) Domino Dancing (mat's alternative drum edit) Dreaming Of The Queen (mat's instrumental orchestra version) Dreaming Of The Queen (mat's instrumental version) Forever In Love (mat ready dub) Home And Dry (mat's alternative version) Home And Dry (mat's extended version) Home And Dry (mat's single edit) It Couldn't Happen Here (mat disco mix) It's Alright (mat choir mix) It's Alright (mat's xtra large disco mix) KDX 125 (mat funky house dub) Later Tonight (mat beat edit) New York City Boy (high and deep vocal mix) New York City Boy (mat's short tribal reprise) One Of The Crowd (mat's instrumental version) Paninaro '95 (mat passion dub) Relentless (mat 3in1 megamix) Shameless (mat shameful edit) So Hard (mat's dance remix) Some Speculation (mat trouble mix) Somewhere (mat reprise) The Boy Who Couldn't Keep His Clothes On (mat 80bpm short remix) The Boy Who Couldn't Keep His Clothes On (mat's banji girl mix) To Step Aside (mat remix) Yesterday When I Was Mad (mat's electric remix) Yesterday When I Was Mad (mat's electric remix) [Mike Fiorenza: Elusively Mixes] 5:52 A Different Point Of View (optionated loop extended mix) 5:56 A New Life (reincarned extended mix) 8:12 Casting A Shadow (zarathrustra's revenge) 7:07 Closer To Heaven (fallen angel mix) 6:49 Do I Have To (melancholy extended mix) 6:31 Euroboy (razormaid members revenge xtrabeat mix) 7:34 Euroboy (wait for the hardcore rhythm mix) 6:33 For All Of Us (ghetto mix) 9:19 Forever In Love (eternal extended mix) 4:59 Hey Headmaster (funkified extended mix) 6:07 Hit And Miss (bullseye extended version) 8:12 I Don't Know What You Want... (filthy dub) 4:31 I Don't Know What You Want... (psychostrings funk edit) 7:05 I Don't Know What You Want... (psychostrings infidelity dub) 6:04 I Don't Know What You Want... (psychostrings mastermix) 10:32 I Want To Wake Up (1998 epic adventure extended mix) 5:53 It Always Comes As A Surprise (subtle mix) 5:28 It Doesn't Often Snow At Christmas (whiteout extended version) 5:52 It Must Be Obvious (extended version) 7:33 Jack The Lad (classic extended mix) 9:20 Lies (sexual deviant mix) 6:41 Metamorphisis (coming out extended mix) 7:03 Miserablism (w.y.s.i.w.y.g. extended mix) 9:02 My October Symphony (long & trippy extended mix) 5:59 One In A Million (10 to the 6th power mix) 8:04 One Thing Leads To Another (extended mix) 5:28 Positive Role Model (mentor mix) 12:06 Relax 4 Love (the elusive experiment) 7:36 Screaming (extended mix) 8:22 Shameless (9 minutes of fame extended mix) 7:20 The Boy Who Couldn't Keep His Clothes On (naked extended version) 5:17 The End Of The World (2 late version) 5:18 The Ghost Of Myself (alter ego mix) 6:37 The Patience Of A Saint (sinful extended version) 4:21 The View From Your Balcony (scenic vista extended mix) 7:14 To Step Aside (sexier than madonna anthem) 7:01 Tonight Is Forever (amplified extended mix) 5:48 Two Divided By Zero (syntax error extended mix) 6:54 Violence (funkfx extended mix) 6:21 We All Feel Better In The Dark (a tribute to nyc mix) 8:08 We All Feel Better In The Dark (sexual version) [Mixman Mike: Mixman Mike mixes] 6:05 Always On My Mind (mixman mike's sunstring mix) 5:17 My October Symphony (mixman mike's autumn sky mix) [Pablo C. Lorenzo: PCL mixes] 7:03 Bet She's Not Your Girlfriend (the pcl extended remix) 5:51 Decadence (pcl remix) 6:05 Home And Dry (the pcl extended experience) [Pavel Juracka: Eventually mixes] 3:55 Dreaming Of The Queen (eventually instrumental cut) 6:59 Drunk (eventually club mix) 4:00 Drunk (eventually radio edit) 5:29 Dunk (eventually dub mix) 4:50 The Man Who Have Everything (eventually groove mix) [Ray Navaira: Head Music mixes] 6:07 A Red Letter Day (rainy day remix) 5:42 A Red Letter Day (outer skies limit) 4:37 Absolutely Fabulous (prime time mix) 5:15 Always On My Mind (extended 12" mix instrumental) 4:29 Always On My Mind (6 in your face dub) 3:29 Always On My Mind (7" instrumental) 3:51 Always On My Mind (kemistry over the rays) 3:16 Always On My Mind (remix '97) 4:07 Before (aftertouch mix) 6:39 Before (partyzone mix) 5:09 Discoteca (star mix) 4:37 Domino Dancing (mjj mix) 5:58 Go West (western movement 2) 5:25 Go West (ray's own obvious instrumental) 4:23 I Don't Know What You Want... (suck 'em dry mix) 7:30 In Private (ray's own discotheca mix) 5:10 In Private (12" mix) 3:30 In Private (7" edit) 5:15 In Private (album version) 3:56 In The club Or In The Queue (good behaviour mix) 5:09 It Always Comes As A Surprise (media mix) 4:54 Later Tonight (evening mix) 5:01 Metamorphosis (overpack dub) 4:45 Miserablism (trance global mix) 3:12 Music For Boys (new romantic remix) 4:10 Nervously (ambient underground mix) 5:31 Paninaro '95 (pani ewo mix) 4:19 Saturday Night Forever (thursday dub) 4:08 Se A Vida E (dark star mix) 3:15 Single-Bilingual (phactory dub) 4:52 Somewhere (mousse slim mix) 2:26 Up Against It (sweet mood dub) 3:37 (Rather interesting) The way you wear that 6:16 To Step Aside (handmade mix) 4:20 Violence (first take) 5:31 West end girls (classic version) 3:09 Yesterday, When I Was Mad (pretty poetica dub) [Richard Lindemann: Richard Lindemann mixes] 6:55 Can You Forgive Her (richard lindemann mix) [Ken Hujer: Saint Ken mixes] 5:54 A Red Letter Day (???) 5:04 Being Boring (saint ken's electric dance remix) 4:38 Being Boring (saint ken's special mix) 4:14 Break For Love (saint ken's remix) 5:16 Closer To Heaven (saint ken's musical megamix) 7:25 Closer To Heaven (saint ken's musical rebass) 4:07 Delusions Of Grandeur (saint ken's special version) 4:10 Disco Potential (saint ken's radio remix) 8:09 Disco Potential (saint ken's special bomb remix) 7:26 Discoteca (saint ken's drome remix) 4:54 Do I Have To (saint ken's classic remix 2001) 7:15 For Your Own Good (saint ken's club dub remix) 13:34 For Your Own Good (saint ken's giga club remix) 10:13 Forever In Love (saint ken's special club mix) 5:55 Forever In Love (saint ken's special club remix) 5:32 Hedonism (saint ken's re-denial mix) 5:30 Home And Dry (saint ken's xaylor mix) 4:15 I Want To Wake Up (saint ken's special remix) 4:07 In Denial (saint ken's remix) 3:11 In Denial (saint ken's skc edit) 10:57 It Doesn't Often Snow At Christmas (saint ken's falling re-mix) 5:53 It Doesn't Often Snow At Christmas (saint ken's full mix) 4:59 It Doesn't Often Snow At Christmas (saint ken's mix edit) 4:32 Jealousy (saint ken's single dance remix) 8:35 Jealousy (saint ken's tribal dance remix) 5:29 Jealousy (saint ken's tribal dubstramental) 5:10 KDX.125 (saint ken's Lolita edit) 3:22 Little Black Dress (saint ken's single remix) 3:33 Love Comes Quickly (saint ken's special version) 5:29 Miserabilism (saint ken's re-remix) 4:37 My Head Is Spinning (saint ken's remix) 5:10 My Night (saint ken's full nightless single mix) 4:51 My Night (saint ken's nightless single mix) 8:00 Nervously (saint ken's 80's remix) 8:10 New York City Boy (saint ken's stonewall party remix) 6:40 One In A Million (saint ken's club remix) 4:31 One In A Million (saint ken's radio club mix) 6:55 One Thing Leads To Another (saint ken's christmas experience) 5:32 Opportunities (saint ken's europop instradub) 4:29 Opportunities (saint ken's europop remix edit) 5:20 Positive Role Model (saint ken's xtc remake) 4:43 Positive Role Model (saint ken's xtc re-remake) 5:20 Positive Role Model (saint ken's xtc single mix) 4:56 radiophonic (saint ken's nrm remix) 3:03 Samurai In Autumn (saint ken's xaylor mix) 6:47 Screaming (saint ken's psycho-delic remix 2001) 4:47 Se A Vida E (saint ken's short paradise remix) 7:23 The Boy Who Couldn't Keep His Clothes On (saint ken's dance remix) 4:20 This Must Be The Place I Waited Years To Leave (saint ken's irregular radio remix) 7:14 To Step Aside (saint ken's extended flamenco-matic remix) 4:12 To Step Aside (saint ken's flamenco-matic remix) 4:19 To Step Aside (saint ken's special flamenco-matic remix) 7:13 Too Many People (saint ken's tribal club remix) 1:08 Too Many People (saint ken's tribal reprise) 10:47 Was It Worth It (saint ken's club dub remix) 4:07 What Have I Done To Deserve This (saint ken's dancing dusty radio edit) [Richard Winkleman: Xtrabeat mixes] 8:29 Being Boring (xtrabeat mix) 7:38 Yesterday When I Was Mad (xtrabeat mix) [Wallace: Wallace mixes] 6:03 Closer To Heaven-Call Me Old Fashioned (wallace mix) 4:41 Lies (wallace dub mix) 5:03 Radiophonic (wallace mix) ------------------------------------------------------------------------------ ::: Broadcast. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys: Interview [1987] interview bootleg LP: 1987 UK (Baktabak; BAK 2064) [picture disc] CD: 1989 UK (Baktabak; CBAK 4021) [picture disc] 32:16 [Neil and Chris talking about their new album 'Actually'] ------------------------------------------------------------------------------ Rock Over London: 20-Dec-87 LP: 1987 US (Rock Over London; RL451) [radio show w/cue sheet] 3:30 What Have I Done To Deserve This? 4:55 It's A Sin [plus much other non-PSB material; broadcast week of 20 Dec 1987] ------------------------------------------------------------------------------ Rock Over London: 88-4 LP: 1988 US (Rock Over London; RL 88-04) [radio show w/cue sheet] [interview for "It Couldn't Happen Here" film] 3:59 Always On My Mind [plus much other non-PSB material] ------------------------------------------------------------------------------ Hot Rocks: The Pet Shop Boys Story [2 Dec 1988] radio show 2x12": 1988 US (Hot Rocks; ??) [w/cue sheets; some report 13 May 88 air date] [Three sides on two discs; includes interviews and music] ------------------------------------------------------------------------------ BBC In Concert Special: Pet Shop Boys Discovery 1994 [29 May 1995] live concert broadcast ??: 1995 UK (??; ??) [radio show] Tonight Is Forever I Wouldn't Normally Do This Kind Of Thing Domino Dancing One In A Million/Mr. Vain Rent (acoustic) Suburbia (acoustic) Paninaro '95 Left To My Own Devices/Rhythm Of The Night West End Girls Can You Forgive Her? Girls And Boys It's A Sin/I Will Survive Go West Being Boring [From the same show(s) as the Discovery video, but with less material.] ------------------------------------------------------------------------------ BBC In Concert Special: Pet Shop Boys Uni Tour 2002 [13 Mar 2002] live concert broadcast ??: 2002 UK (??; ??) [radio show] Being Boring I Get Along A Red Letter Day Love Comes Quickly Home And Dry You Only Tell Me You Love Me When You're Drunk London Was It Worth It? Birthday Boy West End Girls Love Is A Catastrophe Go West New York City Boy [An live recording for a later radio airing (6 Apr 2002) was set up in the BBC theatre, a 300 seat venue with many special guests, fans and competition winners, who were watching the show.] ------------------------------------------------------------------------------ ::: Bibliography. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Books by and about Pet Shop Boys. [The Best Of Smash Hits, edited by Neil Tennant] 1984 UK (EMAP) [Pet Shop Boys - Annually, by Chris Heath] 1988 UK (World International) [ISBN 0-7235-6842-1] [61 pp; First in a never-continued line of annuals. This is the "official 1989 annual".] [Pet Shop Boys Special] 1988 UK (Grand Dreams) [ISBN 0-86227-597-0] [63pp; Unofficial hardback annual] [Pet Shop Boys - Literally, by Chris Heath] 1990 UK (Viking Books) [ISBN 0-670-83616-8; hardcover] 1990 UK (Penguin Books) [ISBN 0-140-16533-9; trade paper] 1990 US (Da Capo Press) [ISBN 0-306-80494-8; trade paper] [340pp; about the 1989 tour] [Introspective, by Richard Cowton] 1991 UK (Sidgewick and Jackson Limited, London) [ISBN 0-283-99825-3] [An unauthorized biography] [Pet Shop Boys vs America, by Chris Heath] 1993 UK (Viking) [ISBN 0-670-85274-0] [hc; Oct 93; UKP 16, $CDN 26] 1994 UK (Penguin) [ISBN 0-14-024261-9] [sc; 5 Jan 95; UKP 10, $CDN 17] 19?? US (Music Book Services Paperbacks) [ISBN 1-886894-31-1] [About the US leg of the 1991 tour. Initial UK release November 1993.] [Pet Shop Boys, by Jordi Bianciatto] 1996 ES (La Mascara) [ISBN 84-7974-140-6] [28x21cm; sc; 1300 PTAS] [48pp; includes poster; "IDELOS DEL POP" series] ------------------------------------------------------------------------------ Tour programmes. [Pet Shop Boys On Tour - MCMLXXXIX] 1989 JP (Areagraph) [20 pp; 1989 full colour tour programme written by Chris Heath. Outer dalmation/face picture sleeve and 13x9.5" double-sided centrefold poster of Neil and Chris.] [Pet Shop Boys: Performance] 1990 UK [26 pp; 1991 full colour tour programme written by Chris Heath. Outer "stage concept" drawing sleeve.] [Pet Shop Boys: Discovery] 1995 UK [26 pp; 1995 full colour tour programme.] [Pet Shop Boys: Nightlife] 1999 UK [24 pp; 1999 full colour tour programme written by Chris Heath with a interview, a special issue about the stage architect Zara Hadid, personal files and a ABC of appropriate comments of all the PSB songs.] [Pet Shop Boys: Release] 2002 UK [28 pp; 2002 full colour tour programme written by Chris Heath with a interview and many comments about Neil and Chris.] ------------------------------------------------------------------------------ Sheet music. [Actually] 1987 UK (IMP/10 Music Ltd; 80669) [songbook] [Always On My Mind] 19?? UK (??; ??) [folio; white title sleeve] [Behaviour] 1990 UK (IMP/10 Music Ltd; 80745) [songbook] [Bilingual] 1997 UK (IMP/EMI 10; 5197A) [songbook] [Can You Forgive Her?] 1993 UK (IMP/EMI 10; 18601) [grass bg w/figure on chair in upper right] [Discography] 1993 UK (IMP/10 Music Ltd; 80771) [songbook; 1 Jun 93; ps = album] ["Copyright restrictions have not permitted the inclusion of 'Where The Streets Have No Name' and 'Can't Take My Eyes Off Of You' within this folio."] [DJ Culture/Was It Worth It?] 1991 UK (IMP/Virgin; 80768) [b+w "DJculture" pic w/red bg] [Domino Dancing] 1988 US (CPP Belwin, Inc./Virgin Music, Inc./5102DSMX) [folio] [blue & beige cover, in the style of the usual Domino Dancing artwork, but without any images] [Go West] 1993 UK (IMP/10 Music Ltd; 18722) [folio; picture cover] [Introspective] 1989 UK (IMP/10 Music Ltd; 80698) [songbook; cover as album ps] [It's Alright] 1988 UK (IMP/EMI; 14429) [folio; pink-bordered cover w/picture of Chris] [Jealousy] 1990 UK (Cage Music Ltd./10 Music Ltd; 80753)[6-pages folio; picture cover of Neil] [Liberation] 1993 UK (IMP/EMI 10; 19176) [N+C "tops" cover] [Love Comes Quickly] 1986 US (Virgin/Hit And Run; 5263LSMX) [orangey "boy" cover] [Nightlife] 2000 UK (EMI Music Publishing/IMP; 7051A) [songbook] [Opportunities} 1985 CA (Columbia/10 Music/Cage Music/Virgin Music Inc; 50270SMX) 1985 US (Virgin Music/Columbia Pictures; 5027OSMX) [Paninaro '95] 1995 UK (IMP/EMI 10; 3486A) [N+C "garden" cover] [Please] 1986 UK (IMP/10 Music Ltd; 80648) [songbook] 1986 US (Columbia Pictures Publications; P0739SMX) [songbook] 198? JP (Rittor Music; ??) [77pp; "Band Score"; English/Japanese text] [Rent] 1987 UK (IMP/10 Music Ltd; 80672) [sheet music folio; picture cover] [Suburbia] 1985 US (Columbia Pictures Publications; 6881SSMX) [folio] [Very] 1994 UK (IMP/10 Music Ltd; 18963) [songbook; 1 Mar 94] [blue w/pic of orange "Lego" case] [West End Girls] 1985 US (10 Music Ltd/Cage/Virgin; 1574WSMX) [folio; b&w picture sleeve] [What Have I Done To Deserve This?] 1987 US (10 Music Ltd/Cage/Virgin; 6963WSMX) [folio; blue title sleeve] 1987 UK (IMP/10 Music Ltd; 80667) [fold out music; purple cover] [Where The Streets Have No Name] 19?? UK (??; ??) [folio; unique picture cover] [Liza Minnelli: Results] 1989 UK (IMP/10 Music Ltd; 80716) [songbook] [Boy George: The Crying Game] 1992 ?? (??; ??) [folio] ------------------------------------------------------------------------------ ::: Promotion. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys: Now Playing [1987] promotional compilation album LP: 1987 JP (EMI; PRP 8305) [promo] 4:59 It's A Sin 4:17 What Have I Done To Deserve This? 3:58 Heart 5:11 King's Cross 4:41 West End Girls 3:43 Opportunities (Let's Make Lots Of Money) 4:18 Love Comes Quickly 5:07 Suburbia 4:30 Tonight Is Forever 2:44 Later Tonight ------------------------------------------------------------------------------ Pet Shop Boys: It Couldn't Happen Here [1987] promotional soundtrack album CS: 1987 UK (EMI; TC PSB-1) [promo x200] It Couldn't Happen Here Suburbia It's A Sin (disco mix) ["extended version] West End Girls Always On My Mind Rent Two Divided by Zero What Have I Done To Deserve This? (extended version) King's Cross One More Chance I Want To Wake Up [Awarded as a prize in the 1987 Brighton Festival competition. All songs are commonly-available versions.] LP: 1987 UK (EMI; PSB-1) [promo; never issued] CD: 1987 UK (EMI; CD PSB-1) [promo; never issued] ------------------------------------------------------------------------------ Pet Shop Boys: Greatest Hits [1988] promotional? compilation album LP: 1988 JP (EMI; ??) 3:58 Heart 3:59 Always On My Mind 3:44 Opportunities (Let's Make Lots Of Money) 5:09 Rent 5:07 Suburbia 4:59 It's A Sin 4:17 What Have I Done To Deserve This? 4:41 West End Girls 4:18 Love Comes Quickly ------------------------------------------------------------------------------ Pet Shop Boys: Greatest Hits [1988] promotional? compilation album CS: 1988 DU (Dubai; ??) [includes lyrics] [14 tracks] ------------------------------------------------------------------------------ Pet Shop Boys: Totally [1988] promotional compilation album CD: 1988 JP (EMI; SPCD-1035) [b&w ps similar to Introspective; promo x35] 4:18 Domino Dancing 7:23 I'm Not Scared 4:46 West End Girls 3:44 Opportunities 4:59 It's A Sin 4:22 What Have I Done To Deserve This? 5:08 Rent 8:07 Left To My own Devices 6:24 I Want A Dog 9:22 It's Alright 9:03 Always On My Mind/In My House ------------------------------------------------------------------------------ Pet Shop Boys: Introspective In-Store Video Promo [1988] promo video VHS: 1988 UK (??; ??) [promo] [Includes videos for "Left To My Own Devices" and "Domino Dancing", plus the UK TV advert for Introspective.] ------------------------------------------------------------------------------ Pet Shop Boys: The Very Best Of The Pet Shop Boys [1989] compilation album CS: 1989 ID (EMI; ENB-19) [Indonesian, special packet with lyric sheet] 3:59 Always On My Mind 8:08 What Have I Done To Deserve This? (extended) 4:41 West End Girls 4:18 Love Comes Quickly 4:30 Tonight Is Forever 4:44 Hit Music 5:09 Rent 4:04 I Want A Lover 3:37 Shopping 3:55 Violence 5:28 One More Chance 4:39 Why Don't We Live Together 3:32 Two Divided By Zero 3:58 Heart 4:55 A New Life 5:09 I Want To Wake Up 3:59 Suburbia 3:43 Opportunities (Let's Make Lots Of Money) 4:50 In The Night 4:59 It's A Sin CS: 1989 ID (EMI; ??) [Indonesian, with lyrics] [18 tracks - same as ENB-19 minus "Shopping", in different order] ------------------------------------------------------------------------------ Pet Shop Boys: Behavior Compilation [199?] promotional video compilation VHS: 199? ?? (EMI Video; ??) [stickered white cardboard sleeve] So Hard Being Boring How Can You Expect To Be Taken Seriously? ["Seriously"] ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys [1990] promotional compilation album CD: 1990 JP (EMI; SPCD-1145) [promo x50?] 6:49 Being Boring 5:30 This Must Be the Place I Waited Years To Leave 5:34 To Face the Truth 3:55 How Can You Expect To Be Taken Seriously? 4:19 Only the Wind 5:18 My October Symphony 3:58 So Hard 4:06 Nervously 4:43 The End of the World 4:49 Jealousy 4:46 West End Girls 3:44 Opportunity [sic] 4:19 Love Come Quickly [sic] 4:59 It's a Sin 4:22 What Have I Done To Deserve This? 3:56 Always On My Mind ["PET SHOP BOYS - PROMOTION USE ONLY - SPCD-1145 - TOSHIBA EMI"] ------------------------------------------------------------------------------ Pet Shop Boys: The Ultimate Collection [1990] aftermarket collection box 5xCD: 1990 DE (EMI; ??) [special leather case, x1000] 5xCD: 1990 DE (EMI; ??) [special hard plastic case, x??] ["Please" / "Disco" / "Actually" / "Introspective" / "Behaviour"] ------------------------------------------------------------------------------ Pet Shop Boys: Megamix [1991] swedish promotional single 12": 1991 SE (EMI Sweden; PRO-4137) [promo x250] 12": 1991 SE (EMI Sweden; ??) [testpressing] CD5: 1991 SE (EMI Sweden; CDPRO-4137) [promo x150] 5:51 Megamix (radio edit) 10:38 Megamix (club mix) [Radio Edit: single mixes of So Hard, Heart, Always On My Mind, Suburbia, It's A Sin. Club Mix: remixes of West End Girls, Domino Dancing, What Have I Done To Deserve This?, Being Boring, So Hard, Heart, DJ Culture, Always On My Mind, Suburbia, It's A Sin, DJ Culture, plus samples. Info courtesy of mixer Emil Hellman. Released in support of Discography in Sweden.] ------------------------------------------------------------------------------ Per Shop Boys: Behaviour Tour '91 [1991] promotional cassette CS: 1991 US (EMI; 37-197-172) [promo; custom pic slv] 1:02 Radio spot promoting cancelled Miami concert on 19-Mar-91. [Issued to selected local radio stations for broadcast on 16-18 March 91] ------------------------------------------------------------------------------ Pet Shop Boys: Video Compilation #17853 [1991] promotional video compilation VHS: 1991 US (EMI; n/a) [promo; NTSC; custom typewritten slv] 4:10 DJ Culture 4:24 Where The Streets Have No Name 4:08 How Can You Expect To Be Taken Seriously? 4:54 Being Boring 4:00 So Hard 4:16 It's Alright 4:45 Left To My Own Devices 9:21 Left To My Own Devices (extended) 4:19 Domino Dancing (7") 7:44 Domino Dancing (12") 5:10 Heart 5:32 Always On My Mind 5:55 Always On My Mind (12") 3:45 Rent 4:23 What Have I Done To Deserve This? 5:02 It's A Sin 4:53 Paninaro 5:07 Suburbia 4:56 Love Comes Quickly 3:44 Opportunities (version 2) 4:24 West End Girls 4:00 West End Girls (scratch version) 3:40 Opportunities (version 1) ------------------------------------------------------------------------------ Pet Shop Boys: Promotion [1993] promotional compilation album CD: 1993 JP (EMI; PCD-0399) [promo x100; unique orange picture sleeve] 5:02 Go West 3:54 Can You Forgive Her? 3:59 West End Girls 4:18 Love Comes Quickly 3:36 Opportunities 4:02 Suburbia 5:00 It's A Sin 4:19 What Have I Done To Deserve This? 3:33 Rent 3:52 Always On My Mind 4:15 Heart 4:17 Domino Dancing 4:46 Left To My Own Devices 4:19 It's Alright 3:59 So Hard 4:50 Being Boring 4:31 Where The Streets Have No Name ------------------------------------------------------------------------------ Pet Shop Boys: (title unknown) [1993] promotional compilation video VHS: 1993 JP (EMI; ??) Go West / West End Girls / It's a Sin / Go West / Always On My Mind / Go West / West End Girls / It's A Sin / Go West / Always On My Mind / Go West [All videos are the same and this tracklist is correct. Probably intended for in-store play.] ------------------------------------------------------------------------------ Pet Shop Boys: Compiled [Sep 1993] promotional cd single CD-R: 1994 UK (??; ??) [20 autographed CD-R copies produced] 8:16 Left To My Own Devices (frankie knuckles royal piano mix) 6:24 How Can You Expect To Be Taken Seriously? (ragga zone mix) 4:18 Go West (mark stent original 7" mix) 4:04 I Want A Dog (techno funk mix) 9:14 It's A Sin (phil harding latin vocal mix) ["miami mix"] [These CD-Rs were the bonus giveaway prize when PSB hosted Simon Bates' Radio One show in September 1993. Howard Cheng provides some background information: * "Left To My Own Devices" -- previously unreleased; would have been the second "LTMOD" 12" but that single was never issued. * "How Can You..." -- previously released. * "Go West" -- mix was to have been the 7" version and has a unique intro and outro but was never actually released. * "I Want A Dog" -- previously released (but only in the US -laz) * "It's A Sin" -- on second US 12"; first time on CD.] ------------------------------------------------------------------------------ Pet Shop Boys: The Pet Shop Boys Story [19??] promotional interview album 2x12": 19?? US (??; ??) [Interviews w/Chris and Neil; music] ------------------------------------------------------------------------------ Pet Shop Boys: (title unknown) [1994] promotional video compilation [Basically "Videography" plus the Very videos] ------------------------------------------------------------------------------ Pet Shop Boys: Compilation (part 2) [1994?] promotional compilation album CS: 199? UK (Parlophone; ??) [promo; typewritten inlay] Losing My Mind Music For Boys Overture To 'Performance' Miserablism Hey Headmaster What Keeps Mankind Alive? Shameless Too Many People Violence (hacienda version) Decadence Decadence (unplugged mix) If Love Were All Can You Forgive Her (swing version) Euroboy Some Speculation ------------------------------------------------------------------------------ Pet Shop Boys: Special 96 [1996] promotional compilation album CD: 1996 JP (EMI; PCD-0766) [promo; x200???; typewritten inlay] 4:02 Se A Vida E 4:07 Before 4:02 West End Girls 4:20 Love Comes Quickly 3:39 Opportunities (Let's make lots of money) 4:05 Suburbia 5:03 It's A Sin 4:22 What Have I Done To Deserve This 3:54 Always On My Mind 4:18 Heart 4:20 Domino Dancing 4:49 Left To My Own Devices 4:01 So Hard 4:34 Where The Streets Have No Name (I Can't Take My Eyes Of You) 5:04 Go West 3:06 I Wouldn't Normally Do This Kind Of Thing 4:02 Se A Vida E ------------------------------------------------------------------------------ Various: Ambassadors We Love You [1998] album sampler + book CD-R: 1998 UK (Candy; ??) [Apogee Electonics; 18-trk sampler; front & back art work] CD5: 1998 UK (Candy; DAIN FUT 001) [18-trk sampler; fits inside front cover of book] 3:43 Je t'aime ... Moi non plus (performed by Sam Taylor-Wood) [produced by Pet Shop Boys] ------------------------------------------------------------------------------ Pet Shop Boys: Special '99 [1999] promotional compilation album 2xCD: 1999 JP (EMI; PCD-2170/2180) [japanese 2CD Rare Promo, unique p/s] [CD#1:] 4:21 New York City Boy (radio edit) 4:21 West End Girls 4:19 Love Comes Quickly 3:38 Opportunities (Lets Make Lots Of Money) 4:04 Suburbia 5:01 It's A Sin 4:21 What Have I Done To Deserve This? 3:34 Rent 3:53 Always On My Mind 4:17 Heart 4:19 Domino Dancing 4:48 Left To My Own Devices 4:20 It's Alright 4:00 So Hard 4:50 Being Boring [CD#2:] 5:16 New York City Boy 4:33 Where the Streets Have No Name(I Can't Take My Eyes Off Of You) 4:16 Jealousy 4:15 DJ Culture 4:24 Was It Worth It? 3:55 Can You Forgive Her? 5:03 Go West 3:05 I Wouldn't Normally Do This Kind Of Thing 4:07 Liberation 3:46 Absolutely Fabulous 3:57 Yesterday When I Was Mad 4:10 Paninaro 95 4:07 Before 4:03 Se A Vida E 3:50 Single 5:11 A Red Letter Day 4:43 Somewhere 5:09 I Don't Know What You Want... ------------------------------------------------------------------------------ Pet Shop Boys: Live at the Tabernacle, Atlanta [2000] promomotional concert album 2xCD: 2000 US (Sire Records; PROCD 21452) [for promotional use only] [CD1#:] 5:34 For your own good 4:40 West End girls 5:34 Discoteca 6:50 Being boring 3:37 Happiness is an option 4:34 Can you forgive her? 4:47 Only the wind 5:06 What have I done to deserve this? 5:08 New York City boy 4:46 Left to my own devices 5:43 Vampires 2:56 You only tell me you love me when you're drunk [CD#2:] 3:44 Se a vida é 5:15 I don't know what you want but I can't give it anymore 4:06 Always on my mind 5:16 Shameless 3:15 Opportunities 5:03 It's a sin / I will survive 7:31 It's alright 2:50 Dialogue 6:19 Go West [Live tecorded at the Tabernacle, Atlanta, USA on 23 Oct 1999. Not included "Young offender" that was played after "Left to my own devices"] ------------------------------------------------------------------------------ Pet Shop Boys: Closer To Heaven [12 May 2001] promotion single CD5: 2001 UK (EMI; CTH 1) [cardboard ps] 6:30 Closer To Heaven (slow version) 3:25 Friendly Fire (studio version) 5:04 Shameless [from Alternative] 4:06 Closer To Heaven [from Nightlife] [for promotional use only. available with the Daily Telegraph voucher on 12 May 2001] ------------------------------------------------------------------------------ Pet Shop Boys: Pet Shop Boys Mirror CD [27 Feb 2002] promotion single CD5-E: 2002 UK (Protein; ??) [cardboard ps] 3:16 You Only Tell Me You Love Me... (album version) 3:31 Break 4 Love (us radio mix) 7:42 So Hard (red zone mix) [CD-ROM content:] 3:16 You Only Tell Me You Love Me... (video) [Interactive CD issued from Virgin collecting tokens from the Daily Mirror Feb 2002. Only available in a very limited quantity from with 9 promo CDs by other artists; given by collecting of 12 vouchers] ------------------------------------------------------------------------------ Pet Shop Boys: Home And Dry [May 2002] promotion sampler CD5: 2002 MX (EMI; 2001451) [cardboard ps] 6:39 Home And Dry (blank & jones remix) 6:50 Home And Dry (blank & jones dub mix) [+ 4 tracks of other artists] ------------------------------------------------------------------------------ Pet Shop Boys - marketing displays, posters, giveaways, etc.; UK unless noted; [1989 Tour] 34"x25" poster; US, horizontal, l: PSB/dalmation pic, r: tour dates T-Shirt; white, "Batman And Robin" picture A4 promo flyer; front: live picture, back: tour dates Shirt; grey/black w/"Introspective" colors, tour logo [XL] [1991 Tour ("Performance")] T-Shirt; white, front: Neil (as on Behaviour ps), back: tour dates T-Shirt; white, front: Chris (as on Behaviour ps), back: tour dates 2cm Badge; circular, die-cut metal, PSB logo Tour Programme; 28pp 50"x40" poster; Being Boring cast (photo taken by John Huba) 39"x27" poster; b&w, 8pc montage of N's face + back of C's head. [Discovery Tour 1994] Rucksack; black; embroidered "Pet Shop Boys - Discovery"; monogrammed towel, three T-shirts, tour program [Savoy Theatre 1997] 2x1cm metal badge 23x32" poster; photo of theatre marquee w/dates, small N+C pics 8x6.5" tour program; grey foldout cvr; center foldout; 32pp. T-shirt; white; blue 3D "psb" logo T-shirt; dark blue; red/blue/yellow "petshopboys" logo Sweatshirt; light grey; dark grey/light green "psb" logo Raincoat; black; hooded; silver "psb" logo on front Tour programme; 32pp, fold-out cover [Nightlife Tour 1999/2000] [Summer Tour 2000] [Closer To Heaven Musical] [Release Tour 2002] T-shirt; ??; "Blackpool Rock N Roll" T-shirt; ??; "Quite Heavy Metal" T-shirt; ??; "Closet Homosexual" T-shirt; ??; "Sexy Northerner" T-shirt; ??; printed in green lettering "Being Boring" T-Shirt; white; 'Release' w/colored flower from Release album Scarf; yellow/red; w/'Pet Shop Boys' across it Mug; ??; w/'Pet Shop Boys' printed on it [PSB Club] T-Shirt; white, front: Neil, from first (now defunct) psb fan club T-Shirt; white, front: Chris b&w "I Want A Dog" pic, M/L/XL T-Shirt; white, front: Neil b&w in leather jacket, M/L/XL T-Shirt; white; front: color pic of Literally magazine, M/L/XL T-Shirt; white, long slv, front: black/red Allee Willis PSB drawing; sleeve: red "Pet Shop Boys", M T-Shirt; white, front: Behavior sleeve art, L/XL Baseball cap; white, red "PET SHOP BOYS ON TOP" Sweatshirt; navy blue, white PSB NYC [Merry Christmas.] 19??: 6"x6" card, N+C draped w/xmas lights w/Chris' dog "Boobly's" 1991: mobile, 8"x8" green "roses" card, 7" "WIWI" doll N+C cutouts 1992: 6"x6" card, purple/gold, small N+C heads on bottom left 1993: 5"x5" card, blue/white dots, pop-up N+C w/xmas puddings on heads 1994: 6"x8" card, trifold, icescape picture, N+C in pointy hats 1995: 6"x4" card, purple/red; drunk N+C pictures 1996: 12"x6" advent calender; silver; printed N+C signatures 1997: "It Doesn't Often Snow At Christmas" CD5 in silver bubble pack 1998: cardstock christmas-tree topper; N+C as angels [Etc.] Ski hat; blue wool w/red PSB logos T-shirt; white, bootleg, early picture of N+C Baseball cap; b&w, color N+C photo, ca. 1986, "Trend Eagle" 10x12" picture card; Santoro 1986 35x25" poster; Anabas 1986, early publicity photo 10"x8" picture card; Anabas 1986 35x25" poster; Anabas 1987, (different) early publicity photo 10"x8" picture card; Anabas 1987 12"x17" calendar; 1987 (official) T-shirt; white; Neil pic; "Pet Shop Boys Club" (official) [Hallo Spaceboy] 60"x40" poster; "negative" picture, release details 12x12" display flat [PSB vs America] 3 4"x6" postcards; b&w Pennie Smith tour photos (fan club) [Cicero] 4"x6" postcard; b&w photo ------------------------------------------------------------------------------ ::: Covered. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Covers of Pet Shop Boys songs by other bands [Being Boring, covered by Merril Bainbridge] [on Merril Bainbridge: Mouth] CD5: 1995 AU (Gotham/BMG; 7432 123641-2) CD5: 1996 UK (Arista/Gotham; 74321 43101-2) CSS: 1996 UK (Arista/Gotham; 74321 43101-4) [on Merril Bainbridge: Mouth] CD: 1996 US (??; ??) [23 Sep 96] 3:54 Being Boring [Being Boring, covered by Lloyd Cole] [Apparently unreleased, performed live in gigs with different lyrics. Lloyd Cole met the PSB at the restaurant, and asked Neil to write the chords on a napkin.] [Being Boring, covered by Exotron] [on Exotron: Mindfusion EP] CD: 199? HU (EMI/Quint Hungary; ??) [Being Boring, covered by Autopulver] [on Autopulver: ??] CD: ?? ?? (??; ??) 4:00 Being Boring [Do I Have To?, covered by Inga Humpe] [on Inga: Do I Have To?] 7": 1990 DE (EastWest; 9031-72711-0) [radio edit only!!!] CD5: 1990 DE (EastWest; 9031-72552-2) [both mixes + 2 other songs] 12": 1990 UK (EastWest; YZ 540-T) [on Inga: Planet Oz] CD: 1990 DE (EastWest; ??) [mix unknown] 5:00 Do I Have To? (ready made mix) 3:43 Do I Have To? (radio edit) [written by PSBs. Produced by Andy Richards] [Domino Dancing, covered by Angel] [Go West, covered by Operación Triunfo] [on Operación Triunfo: El disco del deporte, Marca] CD5: 2002 ES (Vale Music Spain; VLCD 139-1) 4:25 Go West [Heart, covered by Kerosene] [on Kerosene: Worthless] 7": 1993 UK (Dead Dead Good/Sire/WEA; 5439-18576-7) CD5: 1993 UK (Dead Dead Good/Sire/WEA; YZ730CD) 3:02 Heart [Heart, covered by Mindfield] [on Mindfield: ??] CD5: ?? ?? (??; ??) 4:17 Heart (album version) [Heart, covered by Rhythm Inc.] [on Rhythm Inc.: Hold On (My Heart)] 2x12": 199? UK (Sweat; SWH 014) [12" #1 (SWH 014X):] 6:34 Hold On (My Heart) (rhythm inc. mix) 5:26 Hold On (My Heart) (unco dub) 8:37 Hold On (My Heart) (2 high's back to basic mix part 1) 5:32 Hold On (My Heart) (2 high's back to basic mix part 2) [12" #2 (SWH 014Y):] 6:15 Hold On (My Heart) (raw mix) 6:15 Hold On (My Heart) (raw dub) 5:41 Hold On (My Heart) (original mix) 7:34 Hold On (My Heart) (5 minutes of funk's dub mix) [Heart, covered by Rhythm Inc. featuring Nevada] [on Rhythm Inc. featuring Nevada: Hold On (My Heart)] 12": 199? UK (Sweat; SWHX 025) 7:11 Hold on (My Heart) (johan s. club mix) 6:06 Hold on (My Heart) (johan s. underground vocal mix) 7:23 Hold on (My Heart) (malone & mollisons nutzyn vocal mix) 5:42 Hold on (My Heart) (johan s. underground dub mix) CD5: 1995 UK (Sweat/Polygram; SWH CD 025) 4:12 Hold on (My Heart) (johan s. radio mix) 7:11 Hold on (My Heart) (johan s. club mix) 7:23 Hold on (My Heart) (malone & mollisons nutzyn vocal mix) 6:06 Hold on (My Heart) (johan s. underground vocal mix) 5:42 Hold on (My Heart) (johan s. underground dub mix) 5:22 Hold on (My Heart) (2 high's back to basic's mix pt.2) [I Want A Dog, covered by Cosmicity] [on Various: New Wave Undercover] 2xCD: 2001 UK (Synthphony Records; SYN026) I Want A Dog [I Wouldn't Normally Do This Kind Of Thing, covered by Robbie Williams] [on Robbie Williams: Let Me Entertain You] CD5: 1998 UK (Chrysalis Records; CDCHSS 5080 / 7243 8 85269 2 0) 3:07 I wouldn't normally do this kind of thing [I'm Not Scared, covered by Gea] [on Various: Sentimental Dance] CD5: 1995 BR (Movieplay; JUMP 1304) 3:55 I'm Not Scared [I'm Not Scared, covered by Levy 9] [I'm Not Scared, covered by R.F.L.M.] [on R.F.L.M.: I'm Not Scared] 12": 1997 IT (Dance Factory; 7243 884217-6 8) 5:49 I'm Not Scared (dance extended) 5:55 I'm Not Scared (funky jazz) 5:39 I'm Not Scared (underclub) 4:59 Worked Up ["Worked Up" is an instrumental that features a sample of the disco mix of Eighth Wonder's "I'm Not Scared".] [In Private, covered by Rosanna Fratello] [on Rosanna Fratello: Rosanna Ieri Rosanna Domani] LP: 1990 IT (Carrere; ??) CD: 1990 IT (Carrere; ??) CSS: 1990 IT (Carrere; CARK 7117) 4:40 In Privato [+tracks; sung in Italian] [In Private, covered by Cristiano Malgioglio] [on Various: Sentimental Dance] CD: 1995 BR (Movieplay; JUMP 1304) 4:11 En Privado [+tracks; sung in Italian] [In Private, covered by Liliane St. Pierre] [sing in Flemish] [In The Night, covered by Kinky Boys] [on Kinky Boys: In The Night] 12": 1994 UK (Almighty; 12 ALMY 65) 7:08 In The Night (handbag mix) 7:03 In The Night (instrumental) 6:19 In The Night (kinky boyz mix) CD5: 1995 UK (Almighty; CD ALMY 65) CD5: 1995 OZ (Festival Rec/Almighty; D 1140) 3:57 In The Night (7" edit) 7:08 In The Night (handbag mix) 6:30 In The Night (attitude mix) 6:19 In The Night (kinky boyz mix) [on Yazz: The only way is up] 12": 1999 UK (Almighty; 12 ALMY 138) 6:38 In The Night (Definitive mix) [on Various: The Almighty 12 Inches Volume 7] CD: 1995 ?? (??; ??) [handbag] 3:57 In The Night (7" edit) 7:08 In The Night (handbag mix) 7:03 In The Night (instrumental) 6:19 In The Night (kinky boyz mix) 6:15 In The Night (new handbag mix) 6:30 In The Night (attitude mix) [It's A Sin, covered by Miquel Brown] [on Miquel Brown: It's A Sin] 12": 1997 UK (Infinity; IFTYT01) 5:54 It's A Sin (12" club mix) 5:50 It's A Sin ("so many dubs, so little studio time" remix) 5:32 It's A Sin (housed to perfection mix) 5:27 It's A Sin (techno sinner mix) CD5: 1997 UK (Infinity; IFTYCD1) 4:03 It's A Sin (radio edit) 5:54 It's A Sin (12" club mix) 5:50 It's A Sin ("so many dubs, so little studio time" remix) 5:32 It's A Sin (housed to perfection mix) 3:00 It's A Sin (techno sinner mix edit) [mislabeled "techno sinner mix"] [It's A Sin, covered by Danny Chan Bak-keung] [on Danny Chan Bak-keung: The Underground Jury] ["TUJ" is a Cantonese version of "It's A Sin"] [It's A Sin, covered by Gamma Ray] [on Gamma Ray: Powerplant] CD: 1999 DE (Noise Records; N0310-2) 4:58 It's A Sin (album version) [hard rock version] [It's A Sin, covered by Henry Mancini] [on Henry Mancini: Henry Mancini Rocks The Pops] [It's A Sin, covered by Munich Symphonic Sound Orchestra] [on Munich Symphonic Sound Orchestra - Pop Goes Classic Vol.2] CD: 1989 DE (Polystar; 839229-2) 3:50 It's A Sin [Jealousy, covered by Dubstar] [on Various: Come Again] 2xCD: 1997 UK (EMI; 59942-2) CSS: 1997 UK (EMI; COMAG 001) 3:28 Jealousy [on Various: Today's Great Artists Perform Yesterday's Classics] [Love Comes Quickly, covered by Condition Icon] [on Condition Icon: Strange Inspirations] CD: 1998 DE (AWP Records; AWP001-2) 5:22 Loves Come Quickly [+ "Rent" and "Suburbia"] [Love Comes Quickly, covered by Hidemi Ishigawa] [unconfirmed] [New York City Boy, covered by Icon Of Coil] [on Icon Of Coil: ??] CD: 2001 ?? (??; ??) 5:12 New York City Boy [Nothing Has Been Proved, covered by The Strings Of Love] [on The Strings Of Love: Nothing Has Been Proved] 12": 1990 UK (Breakout/A&M; USAT 688) CD5: 1990 UK (Breakout/A&M; USACD 688) 5:50 Nothing Has Been Proved (land of oz mix) 5:40 Nothing Has Been Proved (future mix) 7:54 Nothing Has Been Proved (the full italian job) ["land of oz mix" and "future mix" by Paul Oakenfold] 12": 1990 IT (Energy Records; X-12057) Nothing Has Been Proved (dance mix) Nothing has Been Proved (groove mix) [Opportunities, covered by Frank Bennett] [on Frank Bennett: ??] CD: 1999 ?? (??; ??) 3:36 Opportunities (album version) [Rent, covered by Carter USM] [on Carter USM: Rubbish] 12": 1990 UK (Big Cat; USMX 3) CD5: 1990 UK (Big Cat; USMCD 3) 12": 1990 UK (Big Cat; ABB 102 T) CD5: 1990 UK (Big Cat; ABB 102 CD) [on Carter USM: Handbuilt by Perverts] CD5: 1991 UK (Big Cat; ABB 103 XCD) CD5: 1991 JP (Chrysalis TOCP-6994) [lyrics] 4:40 Rent [Rent, covered by Condition Icon] [on Condition Icon: Strange Inspirations] CD: 1998 DE (AWP Records; AWP001-2) 5:11 Rent [+"Love Comes Quickly" and "Suburbia"] [Rent, covered by The Triffids] [on The Triffids: Bury Me Deep In Love] 7": 1989 UK (Island; 7 IS 424) 12": 1989 UK (Island; 12 IS 424) 2:37 Rent (album version) [So Hard, covered by Squareheads] [on Various: DRAAA!] CD: 1994 SE (Birdnest Records; BIRD065 CD) [Suburbia, covered by Condition Icon] [on Condition Icon: Strange Inspirations] CD: 1998 DE (AWP Records; AWP001-2) 2:08 Suburbia [+ "Love Comes Quickly" and "Rent"] [Suburbia, covered by Throw That Beat] [on Throw That Beat: ??] CD5: 1996 ?? (EMI; 8622382) 3:30 Suburbia [West End Girls, covered by East 17] [on East 17: West End Girls] (charted #11 UK) 7": 1993 UK (London; LON 344) 7"PD: 1993 UK (London; LONP 344) CSS: 1993 UK (London; LONCS 344) CD5: 1993 DE (London; 857208-2) [2 mixes, tracks unknown] 4:30 West End Girls (faces on posters mix) 3:53 West End Girls (kicking in chairs mix) CSS: 1993 UK (London; ??) [promo; 1 unknown mix; unique slv] CD5: 1993 UK (London; LOCDP 344) [ltd digipak; picture disc] CD5: 1993 UK (London; LOCDJ 344) [promo] CD5: 1993 FR (London; 857233-2) [on East 17: Walthamstow] CD: 1993 UK (London; 828426-2) [reissue] CD: 1994 UK (London; 828492-2) [reissue] [on Various: The Best of Dance '93] All: 1993 UK (Telstar; STAR/STAC/TCD 2662) 4:30 West End Girls (faces on posters mix) [on East 17: West End Girls] 12": 1993 UK (London; LONXDJ 344) [promo] 8:10 West End Girls (surprisingly butch mix) 4:30 West End Girls (faces on posters mix) 7:23 West End Girls (n.r.g. mix) [on East 17: West End Girls] 12": 1993 UK (London; LOXXDJ 344) [promo] 5:39 West End Girls (crystal clear mix) 5:49 West End Girls (rarified mix) 5:42 West End Girls (x club cut) 4:30 West End Girls (xx club cut) [on East 17: Pie & Mash] VHS: 1993 UK (Polygram; 087 7823) [Nov 93] West End Girls [live] 4:30 West End Girls (faces on posters mix) [on East 17: West End Girls] (charted #11 UK) CD5: 1993 DE (London; 857225-2) 4:30 West End Girls (faces on posters mix) 3:53 West End Girls (kicking in chairs mix) 5:42 West End Girls (x club cut) 5:39 West End Girls (crystal clear mix) [on East 17: West End Girls] 12": 1993 US (London; 857549-1) 12": 1993 US (London; 857549-1DJ) [promo] 8:10 West End Girls (surprisingly butch mix) 4:30 West End Girls (faces on posters mix) 7:23 West End Girls (n.r.g. mix) 4:58 West End Girls (knocking down tables mix) 4:20 West End Girls (xx dub) ["xx club cut"] [on East 17: West End Girls] CD5: 1993 US (London; CDP 1229) [promo] 4:30 West End Girls (faces on posters mix) West End Girls (knocking down tables edit) 4:30 West End Girls (xx club cut) [on East 17: West End Girls] 12": 1993 ?? (??; PRO-1119-1) [promo] 8:08 West End Girls (surprisingly butch mix) 7:23 West End Girls (n.r.g. mix) 4:55 West End Girls (knocking down tables mix) 4:30 West End Girls (xx club cut) 4:30 West End Girls (faces on posters) [on East 17: West End Girls] 12": 1993 IT (London; 857233-1) 5:40 West End Girls (crystal clear mix) ["cappella mix"] 5:42 West End Girls (x club cut) 4:20 West End Girls (xx dub) 5:42 West End Girls (mars plastic mix) [=rarified mix?] [on East 17: Walthamstow] CD3: 199? JP (?; ?) [3 tracks] CD: 1995 JP (?; ?) [6 mixes] 4:30 West End Girls (faces on posters mix) 5:42 West End Girls (x club cut) 3:53 West End Girls (kicking in chairs mix) 8:10 West End Girls (surprisingly butch mix) 4:58 West End Girls (knocking down tables mix) 5:39 West End Girls (crystal clear mix) [on East 17: West End Girls] CD3: 199? JP (?; ?) [2 mixes + message from E17] (+ promo) [on Telegenics Video Service] VHS: 1994 US (Telegenics; 136D) [July 1994; NTSC] 4:22 West End Girls [104 bpm] [West End Girls, covered by DJ Space'C] [on DJ Space'C: West End Girls] 12": 1993 DE (ZYX; 7030-12) 4:20 West End Girl (the factory team edit) 2:40 West End Groove (b. beat) 4:40 West End Girl (the club mix) 2:40 West End Groove (b. beat) CD5: 1993 DE (ZYX; 7030-8) 3:30 West End Girl (single version) 4:20 West End Girl (the factory team edit) 2:40 West End Groove (b. beat) 4:40 West End Girl (the club mix) 2:40 West End Groove (b. beat) ["West End Groove" is credited to Farina/Crivellente/Serra/ Gnugnoli for some reason.] [West End Girls, covered by Klassix] [on Various: A Trance Tribute To The '80s] CD: 1996 US (Hypnotic; CLP 9900-2) [Yesterday, When I Was Mad, covered by Randy's] [on Various: Quality Punk Rock] CD: 1995 SE (Bad Taste Records; BTR6) [Punk cover by this Gothenburg, Sweden band.] [Megamix of covers, by Suburban Boys] [on Suburban Boys: The hit mix, actually] 7": 1988 UK (Extra; XTRA6) [edit only] 12": 1988 ?? (Beat Box; BB 8155) 8:25 The Hit Mix, actually (extended) 6:45 The Hit Mix, actually (another version) 4:05 The Hit Mix, actually (edit) [Megamix of covers: Suburbia / Love Comes Quickly / Always On My Mind / Opportunities / West End Girls / Paninaro / Its A Sin / What Have I Done To Deserve This?. Created by Big George of the BBC satirical quiz show "Have I Got News For You"] [Megamix of covers, by Unlimited Beat] [on Unlimited Beat: Pet Shop Boys Medley] CD5: 1997 AU (Shock Records; CSR CD5 0209) 5:47 Pet Shop Boys Radio Medley 11:39 Pet Shop Boys Extended Medley [Megamix of covers: West End Girls / Suburbia / It's A Sin / Where The Streets Have No Name / Left To My Own Devices / What Have I Done To Deserve This? / Always On My Mind / Se A Vida E / Heart / It's Alright / Domino Dancing] ------------------------------------------------------------------------------ Artist Unknown: Greatest Hits Of Pet Shop Boy [sic] [19??] cover album CS: 198? ?? (EM; EM1337) [Far East] 4:21 Domino Dancing 4:18 It's Alright 4:42 Left To My Own Devices 3:43 Rent 4:00 Suburbia 3:39 Heart 4:15 Love Comes Quickly 3:52 West End Girls 4:58 It's A Sin 4:16 What Have I Done To Deserve This? ["Occasional mistakes in the lyrics, but otherwise excellent."] ------------------------------------------------------------------------------ (Artist Unknown): You Sing The Hits Of Pet Shop Boys [1989] karaoke cassette CSS: 1989 US (Pocket Songs/You Sing The Hits; PS 493) [karaoke tape] It's A Sin / What Have I Done To Deserve This? / Domino Dancing / West End Girls / Opportunities ------------------------------------------------------------------------------ Harmony Studio Project: A Tribute To Pet Shop Boys [1994] cover album CD: 1994 IT (Harmony Music; DNR 109) [round metal box] 5:03 Go West 3:53 Can You Forgive Her? 4:48 It's A Sin 3:55 Always On My Mind ["Always In My Mind"] 3:58 Suburbia 3:56 West End Girls 4:10 Domino Dancing 4:15 Heart 4:15 What Have I Done To Deserve This? 4:15 Being Boring ------------------------------------------------------------------------------ PS Orchestra & Synthesizers: The Hits Of The Pet Shop Boys [199?] cover album CD: 199? UK (Tring International; GRF 160) CD: 199? ?? (Quality Entertaiment Division; QED052) 4:24 Being Boring 4:00 What Have I Done To Deserve This? 4:09 How Can You Excpect To Be Taken Seriously 4:39 So Hard 4:11 It's A Sin 3:35 Rent 4:03 Heart 4:58 I Want A Dog 3:03 Opportunities 3:39 Love Comes Quickly 3:49 Suburbia 5:09 I'm Not Scared 4:14 Jealousy 3:36 Always On My Mind 3:09 West End Girls ------------------------------------------------------------------------------ (artist unknown): The Best Of Pet Shop Boys [1993] bootleg cover album CD: 1993 CN (Starnice; SNCD-774) [China; PSB live p/s] 3:56 Always On My Mind 5:03 Go West 3:58 Can You Forgive Her? 4:18 What Have I Done To Deserve This? 3:46 Rent 4:28 Domino Dancing 4:23 It's Alright 3:56 West End Girls 3:45 Heart 5:02 It's A Sin 4:20 Love Comes Quickly 4:48 Left To My Own Devices 4:03 Suburbia 3:40 Opportunities [Title typos corrected] ------------------------------------------------------------------------------ The Songrise Orchestra: The Music Of The Pet Shop Boys - 17 Instrumental Hits [1995] cover album CD: 1995 UK (Elap Music; 3824CD) [black ps with eye; "Hits'n'Hits"] CS: 1995 UK (Elap Music; 3824MC) [black ps with eye; "Hits'n'Hits"] 4:57 Go West 4:10 Always On My Mind 4:25 Love Comes Quickly 4:13 West End Girls 5:02 It's A Sin 4:35 Domino Dancing 4:20 Where The Streets Have No Name 3:30 Rent 4:53 Left To My Own Devices 4:02 So Hard 4:13 Heart 4:14 What Have I Done To Deserve This? 3:54 Can You Forgive Her? 3:45 Suburbia 3:36 Opportunities 3:23 A Different Point Of View 4:10 Was It Worth It? ------------------------------------------------------------------------------ Studio 99: A Tribute To Pet Shop Boys [14 Aug 2000] tribute album CD: 1999 UK (Maverick Music Ltd.; 1-1089) 4:18 Where the streets have no name 3:40 West End girls 5:30 To face the truth 3:36 Opportunities 4:01 Suburbia 4:57 It's a sin 4:11 What have I done to deserve this? 3:52 Can you forgive her? 4:06 Always on my mind 3:58 One in a million 4:29 Domino dancing 3:57 Liberation 4:26 I don't know waht you want but I can't give it anymore 4:19 New York City boy 5:12 Go West 4:28 A red letter day 4:04 Before 4:04 Se a vida é CD: 1999 UK (Going for a song Ltd.; GFS450) 4:06 Always on my mind 4:57 It's a sin 5:30 To face the truth 3:40 West End girls 3:52 Can you forgive her? 5:12 Go West 4:29 Domino dancing 3:36 Opportunities 4:18 Where the streets have no name 3:58 One in a million 4:01 Suburbia 4:11 What have I done to deserve this? 3:57 Liberation 4:04 Before 4:04 Se a vida é 4:28 A red letter day 4:26 I don't know waht you want but I can't give it anymore 4:19 New York City boy ------------------------------------------------------------------------------ PSB Tribute CD: Very Introspective, Actually (a tribute to the Pet Shop Boys) [5 June 2001] tribute album CD: 2001 US (Dancing Ferret Discs; 687132-061125) 4:36 It's A Sin (perfomed by The Crüxshadows) 4:09 Rent (perfomed by Behind The Scenes) 4:06 This Must Be The Place I've Waited Years To Leave (perfomed by Human Drama) 5:18 Opportunities (perfomed by Fictional) 3:13 Left To My Own Devices (perfomed by Motormark) 4:24 Suburbia (perfomed by Endanger) 6:22 Love Comes Quickly (perfomed by Sweep) 6:24 Heart (perfomed by Athan Maroulis & Zeitmahl) 3:20 What Have I Done To Deserve This? (perfomed by Rhea's Obsession) 5:12 New York City Boy (perfomed by Icon Of Coil) 2:54 So Hard (perfomed by Momus) 4:31 Jealousy (perfomed by Hungry Lucy) 5:42 You Know Where You Went Wrong (perfomed by Cleaner) 4:36 West End Girls (perfomed by Nicole Blackman & John van Eaton) 4:43 Being Boring (perfomed by David J.) ------------------------------------------------------------------------------ ::: Prostitution. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - music used in TV ads and elsewhere [How Can You Expect To Be Taken Seriously] "Daria" (MTV) episode [It's Alright] Commercial for Ford [Too Many People] "Daria" (MTV) episode ------------------------------------------------------------------------------ ::: Sampled. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - sampled by other artists [Being Boring, sampled by Saint Etienne] [on Saint Etienne: Foxbase Alpha] CD: 1991 UK (Heavenly; HVNLP1 CD) CD: 1991 US (Warner Bros.; 9 26793-2) 3:01 She's The One [samples drum loop] [Can You Forgive Her?, sampled by Dance 2 Disco] [on Dance 2 Disco: Dance 2 Disco] CD: 2001 DE (ZYX Music; 0090204988921) 3:58 Dance 2 Disco (original radio version) 3:19 Dance 2 Disco (dj piccolo the4jays radio mix) 5:14 Dance 2 Disco (666 club mix) 7:41 Dance 2 Disco (dj pain remix) [samples Neil's vocals] [Heart, sampled by The Ragga Twins] [on The Ragga Twins: Wipe The Needle] 12": 1991 UK (Shut Up & Dance; SUAD 12 R) [samples Neil's vocals] [Heart, sampled by Monoboy] [on Monoboy: Heartbeat] 12": 2000 UK (??; UK 198 DJM) [promo remix white label] 10:19 Heartbeat 2000 (extended mix) [on the label there is a stamp of a little head of a parrot] [samples Neil's vocals] [Left To My Own Devices, sampled by Octagon] [on Various: Trance 100 - Best of the Best] 4xCD: 1997 NL (Arcade; 0110533) [I Don't Know What You Want, sampled by Care] [on Various: Care: World Of Today] 12": 2000 DE (Forcetracks/EFA; FT2 63102-6) ?:?? World Of Today [Opportunities, sampled by Mr. Lee] [on Various: Deep Heat] 2xCD: 1991 UK (Telstar; ?) 3:56 Mr. Lee: Rock This House (uk club mix) [samples intro] [Two Divited By Zero, sampled by Jam Tronic] [on Various: Techno Rave] CD5 199? DE (ZYX; 6788-12) 5:46 Break Down The Line (extended version) ["let's not go" sample on 4:27] [We All Feel Better In The Dark, sampled by Ministers Of Sex] [on Various: Techno Rave] CD: 19?? ?? (??; ??) Secrets Of Sexual Attraction (nympho mix) ------------------------------------------------------------------------------ ::: Touring. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ First Ever Gig [5 Jul 1984] concert appearance [The first gig of the Pet Shop Boys in the Casino Ostende (Belgium). They performed "West End girls".] ------------------------------------------------------------------------------ Mirano Club [14 Sep 1984] concert appearance [The second appearance in the Mirano Club in Brussels (Belgium). Setlist: "One more chance" / "Opportunities" / "West End girls".] ------------------------------------------------------------------------------ Barbarella's Club [15 Sep 1984] concert appearance [One day later in the Barbarella's Club in Charleroi (Belgium) with the same Setlist as in the Mirano Club, Brussels.] ------------------------------------------------------------------------------ The First Proper Live Gig [24 Sep 1984] concert appearance [Performed live to backing tapes "One more chance" / "I get excited" / "Opportunities" / "Later tonight" / "West End girls" / "Rent" at the Fridge Club in Brixton (London) for many of their friends.] ------------------------------------------------------------------------------ The Alternative Top Of The Pops (Camden Palace, London) [16 Jul 1985] concert appearance [Performed live to backing tapes "In the night" and a medley of "Opportunities".] ------------------------------------------------------------------------------ Max Headroom Patronises The Arts (ICA, London) [6 Aug 1985] concert appearance [Performed live with Blue Weaver on keyboards the following tracks: "I want a lover" / "Opportunities" / "West End girls". Chris was playing trombone on I want a lover. After the gig they were interviewed by Max Headroom on a screen.] ------------------------------------------------------------------------------ The Emptiest Audience [28 Sep 1985] concert appearance [In the Astoria in London. Setlist: "Why don't we live together?" and "West End girls".] ------------------------------------------------------------------------------ Heaven Nightclub [20/21 Nov 1985] concert appearance [With the Astoria setlist at Heaven in London in front of 16 video screens showing a scratch video by Sophie Muller, with the Opportunities and West End girls videos put together.] ------------------------------------------------------------------------------ Whistle Test [29 Apr 1986] concert appearance [Live in the studio at White City, London for BBC TV's Whistle Test. Songs played: "Opportunities" and "Later tonight".] ------------------------------------------------------------------------------ MTV Awards [5 Sep 1986] concert appearance [Live vocals over backing tapes with Ava Cherry on backing vocals performed "Love comes quickly" and "West End girls" at the Universal Amphitheatre Los Angeles.] ------------------------------------------------------------------------------ Before The Act [5 Jun 1988] concert appearance [Live at the London Piccadilly Theatre with "One more chance" and "It's a sin".] ------------------------------------------------------------------------------ MCMLXXXIX Tour (promoting Behaviour) [Summer 1989] concert tour [1989] 29/30 Jun: Colliseum, Hong Kong 4-6 Jul: Budokan, Tokyo, Japan 08 Jul: Castle Hall, Osaka, Japan 09 Jul: Rainbow Hall, Nagoya, Japan 13-15 Jul: N.E.C., Birmingham, United Kingdom 17 Jul: S.E.C.C., Glasgow, United Kingdom 19-21 Jul: Wembley Arena, London, United Kingdom [The first tour, a lavish theatrical spectacle is directed by film-maker Derek Jarman. He has specially shot several films to be back-projected, there are extravagant costumes and the cast includes six dancers (Casper, Cooley, Hugo Huizar, Tracey Langran, Jill Robertson and Robia LaMorte), four singers (Mike Henry, Jay Henry, Carroll Thompson and Juliet Roberts), an extra keyboard player (Dominic Clarke) and a percussionist (Danny Cummings).] [The setlist is always the same: One more chance / Opportunities (Let's make lots of money) / Left to my own devices / Rent / Heart / Paninaro / Love comes quickly / Later tonight / Nothing has been proved / The sound of the atom splitting / It's a sin / Shopping / Domino dancing / Occupy your mind / Kings Cross / Always on my mind / [encore:] / West End girls / It's alright.] ------------------------------------------------------------------------------ Electronic [4/5 Aug 1990] concert appearance [Two dates with Electronic at Dodger Stadium in Los Angeles. PSB performed on "The Patience Of A Saint" and "Getting Away With It".] ------------------------------------------------------------------------------ The Arsenio Hall Show [5 Nov 1990] concert appearance [With Dominik Clarke on keyboards at the Paramount Studios in Los Angeles performing "West End girls" and "So hard".] ------------------------------------------------------------------------------ First Ever Live Performance in America [6 Nov 1990] concert appearance (Mayan Club, Los Angeles) [One day later with Dominik again plus two backing singers and two dancers. Setlist: "Left to my own devices" / "It's a sin" / "So hard" / "Paninaro" / "Opportunities" / "Occupy your mind" / "West End girls" / "Always on my mind".] ------------------------------------------------------------------------------ Performance Tour (promoting Behaviour) [Spring 1991] concert tour [1991] 11 Mar: Yoyogi Olympic Pool, Tokyo, Japan 12 Mar: Castle Hall, Osaka, Japan 14 Mar: Yokohama Gym, Yokohama, Japan 15 Mar: Budokan, Tokyo, Japan 19 Mar: Knight Centre, Miami, United States 21 Mar: McAllister/Saenger, New Orleans, United States 23 Mar: Southern Star Ampitheatre, Houston, United States 27 Mar: Warfield, San Fransisco, United States 28 Mar: Warfield, San Fransisco, United States 29 Mar: Universal Amphitheatre, Los Angeles, United States 30 Mar: Universal Amphitheatre, Los Angeles, United States 01 Apr: Kingsbury Auditorium, Salt Lake City, United States 03 Apr: Orpheum Theatre, Minneapolis, United States 04 Apr: Rivera Theatre, Chicago, United States 05 Apr: Clubland, Detroit, United States 07 Apr: Constitution Hall, Washington, United States 09 Apr: Radio City Music Hall, New York, United States 11 Apr: Orpheum Theatre, Boston, United States 13 Apr: Outremont/Olympia Theatre, Montreal, Canada 14 Apr: Verdun Auditorium, Toronto, Canada 18 Apr: Zenith, Paris, France 19 Apr: Forest National, Brussels, Belgium 21 Apr: Deutscheland Halle, Berlin, Germany 22 Apr: Stadthalle 1, Bremen, Germany 23 Apr: Westfalen Halle, Dortmund, Germany 25 Apr: Festhalle, Frankfurt, Germany 26 Apr: Eisstadion, Mannheim, Germany 28 Apr: Olympia Halle, Munich, Germany 30 Apr: Eilenriede Halle, Hannover, Germany 02 May: Valby Hall, Copenhagen, Denmark 03 May: Scandinavium, Gothenburg, Sweden 04 May: The Globe, Stockholm, Sweden 06 May: Ishallen, Helsinki, Finland 09 May: CSTV Sportshall, Prague, Czechoslovakia 10 May: Ice Hockey Stadium, Bratislava, Czechoslovakia 11 May: Stadthalle, Vienna, Austria 12 May: Sportshall, Budapest, Hungary 14 May: Sportshall, Zagreb, Yugoslavia 16 May: Hans Martin Schleyer Halle, Stuttgart, Germany 17 May: Hallen Stadion, Zurich, Swizerland 18 May: Palatrussardi, Milan, Italy 21 May: Palacio De Los Deportes, Madrid, Spain 22 May: Palau De San Jordi, Barcelona, Spain 24 May: The Ahoy, Rotterdam, Netherlands 27 May: Opera House, Blackpool, United Kingdom 28 May: S.E.C., Glasgow, United Kingdom 29 May: Exhibition Theatre, Aberdeen, United Kingdom 01 Jun: N.E.C., Birmingham, United Kingdom 02 Jun: N.E.C., Birmingham, United Kingdom 03 Jun: N.E.C., Birmingham, United Kingdom 04 Jun: Ice Rink, Whitley Bay, United Kingdom 07 Jun: Wembley Arena, London, United Kingdom 08 Jun: Wembley Arena, London, United Kingdom 09 Jun: Wembley Arena, London, United Kingdom 13 Jun: Kings Hall, Belfast, United Kingdom 14 Jun: Point Depot, Dublin, Ireland [The Pet Shop Boys second tour. It is put together in conjunction with director David Alden and designer David Fielding, best known for their avant garde opera productions. There are no musicians on stage, (though two, guitarists J.J. Belle and keyboard player Scott Davidson, do skulk in the wings), just three singers (Pamela Sheyne, Derek Green and Sylvia Mason-James) and ten dancers (Petee Aloysius, Trevor Henry, Craig Maguire, Catherine Malone, Mark Martin, Leon Maurice Jones, Suki Miles, Katie Puckrick, Sarah Toner and Noal Wallace) choreographed by Jacob Marley. The setlist is as follows: The Alpine Symphony [intro] / This Must Be The Place I Waited Years To Leave / It's A Sin / Losing My Mind / What Have I Done To Deserve This? / My October Symphony / I'm Not Scared / We All Feel Better In The Dark / So Sorry I Said / Suburbia / So Hard / Opportunities (Let's Make Lots Of Money) / How Can You Expect To Be Take Seriously? / Rent / Where The Streets Have No Name (I Can't Take My Eyes Off You) / West End Girls / Jealousy / [encore:] / Always On My Mind / Your Funny Uncle. There are reports that Being Boring was played on serveral british gig later in the tour. Can anyone confirm this?] ------------------------------------------------------------------------------ Cities In The Park [Aug 1991] concert appearance [One date with Electronic for the "Cities In The Park" event at Heaton Park in Manchester. PSB performed on "The Patience Of A Saint" and "Getting Away With It".] ------------------------------------------------------------------------------ Live At Heaven [15 Oct 1991] concert appearance [A charity concert held at the Heaven nightclub in London. The concert was held after the premiere of Derek Jarmans' film, "Edward II", and all proceeds went to the AIDS research charity and trust, Saint Mary's Hospital, Paddington, London. Setlist: Music For Boys / Where The Streets Have No Name / Domino Dancing / DJ Culture / So Hard / Was It Worth It / It's Alright / Being Boring] ------------------------------------------------------------------------------ Electronic [12 Dec 1991] concert appearance [One date with Electronic at Wembley Hall in London. PSB performed on three tracks: The Patience Of A Saint / Disappointed / Getting Away With It.] ------------------------------------------------------------------------------ Live at The Hacienda [13 May 1992] concert appearance [A performance at the Hacienda in Manchester, held to celebrate the club's 10th anniversary and an exhibition of Derek Jarman's work. First public performance of "Go West". Warfare between the Moss Side, Cheatham Hill, and Salford gangs inspired the performace of the new version of "Violence". Cicero opened. Setlist: West End Girls / Rent / Being Boring / Love Comes Quickly / Violence / Paninaro / Kings Cross / Was It Worth It / Domino Dancing / Go West] ------------------------------------------------------------------------------ LifeBeat Concert [8 Jun 1992] live appearance [Benefit concert for LifeBeat - The Music Industry Fights AIDS, at Roseland in NYC. PSB headlined "Rent" and "Where The Streets Have No Name".] ------------------------------------------------------------------------------ Equality Show (London Palladium) [24 Oct 1993] live appearance [Performed: "Can You Forgive Her?" / "To Speak Is A Sin" / "One In A Million/Mr. Vain" / "Go West".] ------------------------------------------------------------------------------ Brit Awards (Earl’s Court, London) [14 Feb 1994] live appearance [Performed: "Go West" dressed as miners, backed by a Welsh choir, an idea which they had originally conceived for the 1992 Royal Variety Show as a protest against a wave of coal pit closures.] ------------------------------------------------------------------------------ Liberation Simulator [Apr 1994] video tour [The video for "Liberation" toured the UK as part of the "Liberation Simulator" -- an enclosed carnival ride that made you feel like you were part of the video.] [1994] 6 Apr: Coventry Precinct Cross 7-8 Apr: Hanley Market Square Potteries Shopping Centre 9-10 Apr: Manchester Picadilly Gardens 12 Apr: London Soho 13-15 Apr: London Museum Of The Moving Image 16 Apr: Thurrock Lakeside Shopping Centre ------------------------------------------------------------------------------ Discovery Tour (promoting Very and Disco 2) [Fall 1994] concert tour [1994] 26 Oct: Indoor Arena, Singapore, Rep. of S.E. Asia 1 Nov: Entertainment Centre, Perth, Australia 4-5 Nov: Entertainment Centre, Sydney, Australia * 7 Nov: Entertainment Centre, Adelaide, Australia 8 Nov: Flinders Park, Melbourne, Australia 9 Nov: Tennis Centre, Melbourne, Australia 11 Nov: Entertainment Centre, Brisbane, Australia 12 Nov: Canberra, Australia 13 Nov: Newcastle, Australia 17 Nov: Ampitheatre, San Juan, Puerto Rico 20 Nov: Auditorio Nacional, Mexico City, Mexico 22 Nov: Palacio de los Deportes, San Jose, Costa Rica -canceled- 25 Nov: El Campin, Bogota, Colombia 28 Nov: San Augustin Stadium, Lima, Peru 30 Nov: Estacion Mapocho, Santiago, Chile 2-3 Dec: Opera Theatre, Buenos Aires, Argentina 5-7 Dec: Olympia, Sao Paolo, Brazil [three shows] 9-10 Dec: Metropolitan, Rio de Janiero, Brazil * [The performers include four dancers (Flavio Cecchetto, Mirelle Diax, Paulo Henrique and Nicole Nisiotis), two percussionists (Liliana Chachian and Oli Saville), an additional singer (Katie Kissoon) and their regular in-studio programmer, Pete Gleadall, who also plays guitar on 'Suburbia'. The setlist of the tour opener in Singapore follows. The show is very heavily staged so I assume this list applies to all gigs on the tour: Tonight Is Forever / [Lights! Camera! intro] / I Wouldn't Normally Do This Kind Of Thing / Always On My Mind / To Speak Is A Sin / Domino Dancing / One In A Million/Mr. Vain Medley / Paninaro / Rent (unplugged) / To Face The Truth (unplugged) / So Hard / Where The Streets Have No Name/Can't Take My Eyes Off You / [fifteen minute intermission] / Do I Have To? [glitched at Singapore show] / Absolutely Fabulous / King's Cross / Can You Forgive Her? / Boys And Girls / West End Girls / Liberation / It's A Sin/I Will Survive Medley / [encore:] / Go West / Being Boring.] [Some shows (confirmed examples marked *) had "Suburbia" unplugged instead of "To Face The Truth". Some shows with "Suburbia" moved "King's Cross" to just after "Suburbia" and moved "Liberation" and "West End Girls" before "Can You Forgive Her".] ------------------------------------------------------------------------------ Brit Awards (Earl’s Court, London) [19 Feb 1996] live appearance [Performed: "Hello Spaceboy" with David Bowie.] ------------------------------------------------------------------------------ Live at TFI Friday [1 Nov 1996] live appearance [Performed: "Se A Vida E" and "Single-Bilingual".] ------------------------------------------------------------------------------ Live Concert Of Suede (Roundhouse, London)Neil Tennant with Suede) [15 Dec 1996] live appearance [Neil performed "Saturday Night" and "Rent" live on stage with Suede.] ------------------------------------------------------------------------------ Roskilde Festival (Roskilde, Denmark) [27 Jun 1997] concert appearance [The first festival appearance ever of the boys. The setlist is as follows: It’s A Sin / I Wouldn’t Normally Do This Kind Of Thing / Se A Vida E / Domino Dancing / Hello Spaceboy / Before / Left To My Own Devices / The Man Who Has Everything / Rent / Where The Streets Have No Name / Can You Forgive Her? / Love Comes Quickly / Opportunities / Always On My Mind / West End Girls / Somewhere / Being Boring / Go West.] ------------------------------------------------------------------------------ Turku Festival (Turku, Finland) [29 Jun 1997] concert appearance [Performed the same setlist above.] ------------------------------------------------------------------------------ Gay Pride (Clapham, London) [5 Jul 1997] live appearance [Performed: "Somewhere" / "It’s A Sin" / "Go West".] ------------------------------------------------------------------------------ Water Festival (Stockholm, Sweden) [29 Jun 1997] concert appearance [With the same setlist as for the Roskilde and Turku Festivals + "Always on my mind" a second time at the end of the appearance.] ------------------------------------------------------------------------------ Live At The Savoy Theatre [June 5th thru 21st June 1997] concert appearance [During a three week residency staged in collaboration with the artist Sam Taylor-Wood the Pet Shop Boys performed the following songs every night (first half): Somewhere (first half of the extended mix) / Yesterday, When I Was Mad / The Truck-Driver And His Mate / Se A Vida E / Some Speculation / Hallo Spaceboy / To Step Aside / Go West (second half): The Theatre / It's A Sin/I Will Survive / The Man Who Has Everything / Discoteca / Friendly Fire / Love Comes Quickly / Can You Forgive Her? / Somewhere (encore:) varied every night but were usually three from: Left To My Own Devices / Before / Being Boring / West End Girls / Rent (Accoustic).] ------------------------------------------------------------------------------ Stonewall (Royal Albert Hall, London) [26 Oct 1997] live appearance [Performing new and unique songs on this live gig. Setlist: "Sixteen Going On Seventeen" / "Being Boring" / "Climb Every Mountain" / "Go West" / "It's Not Unusual".] ------------------------------------------------------------------------------ Russean Tour 1998 (Moscow & St. Peterburg) [Feb 1998] concert appearance 28 Feb: Luzhniki Stadium, Moscow, Russia 29 Feb: Utopia Nightclub, Moscow, Russia (different setlist) 2 Mar: October Hall, St. Petersburg, Russia 3 Mar: October Hall, St. Petersburg, Russia [The boys doing a four-gig-mini-tour in Russia with one concert and one appearance in Moscow and two concerts in St. Petersburg. The Setlist for the first Moscow gig and that one for St. Petersburg was the same they performed on the festivals in Roskilde, Turku and Stockholm and only one the second evening in Moscow they done a shorter concert with the following setlist: "It’s A Sin" / "Domino Dancing" / "Before" / "Where The Streets Have No Name" / "Believe/Song For Guy" / "Go West" / "West End Girls" / "Left To My Own Devices" / "It’s Not Unusual".] ------------------------------------------------------------------------------ Party In The Park [3 Jul 1999] concert appearance [Performed the following tracks: West End Girls / I Don't Know What You Want But I Can't Give It Anymore / Go West.] ------------------------------------------------------------------------------ Eclipse Concert (Cornwall) [11 Aug 1999] concert appearance [Casting a shadow, which was written for the total eclipse on this day was played during the event on BBC Radio One's eclipse show. Setlist: Casting A Shadow / I Don't Know What You Want But I Can't Give It Anymore / Go West.] ------------------------------------------------------------------------------ Comet Award [20 Aug 1999] concert appearance [The boys performing "I don't know..." for winning the award of the best music video (IDK).] ------------------------------------------------------------------------------ Creamfields Festival (Liverpool) [28 Aug 1999] concert appearance [Another festival appearance with the following setlist: "Young Offender" / "Left To My Own Devices" / "Domino Dancing" / "I Don´t Know What You Want But I Can't Give It Anymore" / "It´s A Sin/I Will Survive" / "The Man Who Has Everything" / "I Wouldn´t Normally Do This Kind Of Thing" / "Can You Forgive Her?" / "Before" / "West End Girls" / "Being Boring" / "New York City Boy" / "Go west".] ------------------------------------------------------------------------------ Nightlife Tour (promoting Nightlife) [Authum/Winter 1999/2000] concert tour [1999] 20 Oct: Jackie Gleason Theatre, Miami, United States 21 Oct: Ruth Eckard Hall, Tampa, United States 22 Oct: Hard Rock Live, Orlando, United States 23 Oct: The Tabernacle, Atlanta, United States 25 Oct: Aerial Theatre, Houston, United States 27 Oct: Bronco Bowl, Dallas, United States 29 Oct: 4th And B, San Diego, United States 30 Oct: Irvine Meadows, Irvine, United States 31 Oct: Hard Rock Hotel, Las Vegas, United States 1 Nov: Universal Amphitheatre, Los Angeles, United States 3 Nov: WarfieldUnited States, San Fransisco, 5 Nov: Fillmore Auditorium Theatre, Denver, United States 7 Nov: Riviera Theatre, Chicago, United States 8 Nov: State Theatre, Detroit, United States 9 Nov: Canada, Toronto, The Warehouse 11 Nov: United States, New York, Hammerstein Ballroom 12 Nov: United States, New York, Hammerstein Ballroom 14 Nov: Metropolis, Montreal, Canada 22 Nov: Alte Oper, Frankfurt, Germany 23 Nov: Congressgebouw, The Haag, Netherlands 24 Nov: Philipshalle, Dusseldorf, Germany 26 Nov: Sportovini Halla, Prague, Czech. Rep. 27 Nov: Congress Centrum, Hamburg, Germany 28 Nov: Arena, Berlin, Germany 1 Dec: Zenith, Munich, Germany 4 Dec: Clyde Audithorium, Glasgow, United Kingdom 7 Dec: Telewest Arena, Newcastle, United Kingdom 9 Dec: Sheffield Arena, Sheffield, United Kingdom 10 Dec: Manchester Evening News Arena, Manchester, United Kingdom 12 Dec: Point Depot, Dublin, Ireland 13 Dec: N.E.C., Birmingham, United Kingdom 14 Dec: International Arena, Cardiff, United Kingdom 16 Dec: International Centre, Bournemouth, United Kingdom 17 Dec: Brighton Centre, Brighton, United Kingdom 19 Dec: Plymouth Pavilions, Plymouth, United Kingdom 20 Dec: Wembley Arena, London, United Kingdom [2000] 16 Jan: Plaza de Toros Illumbe, San Sebastian, Spain 18 Jan: Granada, Spain 19 Jan: El Palacio de los Deportes, Madrid, Spain 20 Jan: Velodrome Luis Buig, Valencia, Spain 21 Jan: Paulau Del Sport, Barcelona, Spain 23 Jan: St. Jakobshalle, Basel, Switzerland 25 Jan: Libro Music Hall, Vienna, Austria 26 Jan: Messehalle, Erfurt, Germany 27 Jan: Bordelandhalle, Magdeburg, Germany 29 Jan: The Globe, Stockholm, Sweden 31 Jan: Spektrum, Oslo, Norway 1 Feb: Valby Hall, Copenhagen, Denmark 3 Feb: Sporthalle, Hamburg, Germany 4 Feb: Pier 2, Bremen, Germany 6 Feb: Forest National, Brussels, Belgium 8 Feb: Zenith, Paris, France * 9 Feb: Bethovensaal, Stuttgart, Germany * 10 Feb: Westfalenhalle, Dortmund, Germany * 11 Feb: Arena, Berlin, Germany 12 Feb: Mozarthalle, Mannheim, Germany [Many of the songs performed got a new facelift, with thanks to Peter Schwartz, who was a musical director of the whole tour. The setlist is as follows: For your own good / West End Girls / Discoteca/One Day We'll Be Free / Being Boring / Closer To Heaven {Happiness is an option}/ Can You Forgive Her? / Only The Wind / What Have I Done To Deserve This? / New York City Boy / Left To My Own Devices / Young Offender (first part) Vampires / You Only Tell Me You Love Me When You're Drunk / {Was It Worth It?} / Se A Vida É / I Don't Know What You Want But I Can't Give It Any More / Always On My Mind / Shameless / Opportunities (Let's Make Lots Of Money) / It's A Sin (second part) encore: It's Alright / Footsteps / Go West.] [Some shows (confirmed examples marked *) had "Was it worth it?" acustic version in the show. Some shows deleted "Footsteps" from the setlist. All gigs in 2000 played "Closer to heaven instead of "Happiness is an option" from the gigs in 1999.] ------------------------------------------------------------------------------ Equality Rocks (Washington D.C.) [29 Apr 2000] concert appearance [A festival for gay rights....?? Setlist: Homosexuality (cover of a song from 'Modern Rocketry') / Being boring / What have I done to deserve this? (duett with Melissa Etheridge) / New York City boy / Go west.] ------------------------------------------------------------------------------ Summer Tour [Summer 2000] concert tour 1 Jun: Sultan Pool, Jerusalem, Israel 3 Jun: New Amphitheatre, Raanana, Israel 6 Jun: Song Festival Grounds, Tallin, Estonia 7 Jun: Zalgiris Stadium, Vilnius, Lithuania 8 Jun: Mezapark, Riga, Latvia 14 Jun: Pacifico, Yokohama, Japan 16 Jun: International Forum, Tokyo, Japan 17 Jun: International Forum, Tokyo, Japan 19 Jun: Zepp, Osaka, Japan 20 Jun: Zepp, Osaka, Japan 21 Jun: Zepp, Fukuoka, Japan 24 Jun: Glastonbury Festival, Somerset, United Kingdom 28 Jun: Lycabettus Theatre, Athens, Greece 29 Jun: Lycabettus Theatre, Athens, Greece 2 Jul: Heroes Square, Budapest, Hungary 9 Jul: Mariebergsskogen Festival, Karlstad, Sweden 14 Jul: Gurtenfestival, Bern, Switzerland 15 Jul: Szymanow Airfield, Gliwice, Poland 21 Jul: Dr. Music Festival, Llanara, Spain [Setlist: "I Don't Know What You Want" / "Suburbia" / "Can You Forgive Her?" / "Left To My Own Devices" / "Se A Vida E" / "Rent" (acoustic version) / "You Only Tell Me You Love Me When You're Drunk" (acoustic version) / "Paninaro" / "New York City Boy" / "A Positive Role Model" / "What Have I Done To Deserve This?" / "Always On My Mind" / "It's A Sin" / (encore:) / "West End Girls" / "Go West". The Glastonbury appearance was slightly different from the rest of the tour concerts. The setlist was: "I Don't Know What You Want But I Can't Give It Anymore" (peter rauhofer version) / "Suburbia" / "Can You Forgive Her?" (version from 'Nightlife' tour) / "Left To My Own Devices" / "Se a vida e (That's The Way Life Is)" / "Rent" / "You Only Tell Me You Love Me When You're Drunk" (acoustic version) / "Paninaro" / "Young Offender" / "New York City Boy" / "Positive Role Model" / "What Have I Done To Deserve This?" (Cerys Matthews from Catatonia) / "Always On My Mind" / "It's a sin/I Will Survive" (medley) / (encore:) / "West End Girls" / "Go West".] ------------------------------------------------------------------------------ Live at TFI Friday (Channel 4, UK) [22 Dec 2000] TV appearance [World exclusive of PSB performance Christmas song "It doesn't often snow at Christmas" for FINAL TFI Friday show. Elton John hosted this programme.] ------------------------------------------------------------------------------ Brit Awards (Earl’s Court, London) [29 Jan 2002] live appearance [Performed: "Home and dry".] ------------------------------------------------------------------------------ University Tour [Feb 2002] concert tour 8 Feb: University, Bristol, United Kingdom 9 Feb: University, Keele, United Kingdom 10 Feb: UEA, Norwich, United Kingdom 12 Feb: University, Teeside, United Kingdom 13 Feb: De Montfort Uni, Leicester, United Kingdom 14 Feb: Astoria, London, United Kingdom 16 Feb: Live Music Hall, Cologne, Germany [Setlist: "Disco Potential" / "Being Boring" / "I Get Along" / "A Red Letter Day" / "Love Comes Quickly" / "Home And Dry" / "You Only Tell Me You Love Me When You're Drunk" / "New York City Boy" / "London" / "Was It Worth It?" / "Sexy Northerner" / "Birthday Boy" / "West End Girls" / "Love Is A Catastrophe" / (encore:) / "Go West" / "You Choose". They played an cover version of the old punk track "Do What You Wanna Do" at the Teesside University between "Go West" and "You Choose". All other gigs had the same setlist.] ------------------------------------------------------------------------------ BBC Radio 2 Recording [13 Mar 2002] live appearance [An live recording for a later radio airing (6 Apr 2002) was set up in the BBC theatre, a 300 seat venue with many special guests, fans and competition winners, who were watching the show. Setlist: "Being Boring" / "I Get Along" / "A Red Letter Day" / "Love Comes Quickly" / "Home And Dry" / "You Only Tell Me You Love Me When You're Drunk" / "London" / "Was It Worth It?" / "Birthday Boy" / "West End Girls" / "Love Is A Catastrophe" / (encore:) / "Go West" / "New York City Boy". Drunk" was cutted out on the radio broadcast for some reasons] ------------------------------------------------------------------------------ Live at Jools Holland [10 Apr 2002] live appearance [An live appearance on the famous british TV show for a later airing. Setlist: "Home And Dry" / "Being Boring" / "Love Is A Catastrophe" / "West End Girls".] ------------------------------------------------------------------------------ Live at the Grunspan Club Hamburg/Germany [11 Apr 2002] concert appearance [An concert appearance for the france/german TV channel ARTE TV (later broadcasted in TV) at the Grunspan Club in Hamburg/Germany and moderated by the MTV VJ legend Ray Cokes. Setlist: "Being Boring" / "I Get Along" / "A Red Letter Day" / "Home And Dry" / "Love Comes Quickly" / "Drunk" / "London" / "Was It Worth It?" / "Birthday Boy" / "West End Girls" / "Love Is A Catastrophe" / "Go West" / "New York City Boy" / (encore:) / "Philadelphia".] ------------------------------------------------------------------------------ Live at the Harald Schmidt Show [12 Apr 2002] live appearance [Live appearance in a famous german 'Letterman' TV show. Setlist: "Home And Dry".] ------------------------------------------------------------------------------ Live at Quelli Che Il Calcio [14 Apr 2002] live appearance [Live appearance in a italian TV show on Rai 2. Setlist: "Home And Dry".] ------------------------------------------------------------------------------ Concierto Básico 40 (Madrid, Spain) [12 Jun 2002] concert appearance [A live recording for radio and tv in Spain. An exclusive concert called "Concierto Básico 40" for 40 Principales radio and 40tv television. Live at Divino Aqualung disco in Madrid. Setlist of 40 Principales radio broadcast recording (7 Jul 2002): "Home and dry" / "Being boring" / "A red letter day" / "I get along" / "Love comes quickly" / "London" / "New York City boy" / "Always on my mind" / "Sexy Notherner" / "Birthday boy" / "West End girls" / "Go West" / "It's a sin" (13 tracks along with bits of comments in spanish). Setlist of 40tv television broadcast recording (7 Jul 2002 in C+ and 30 Aug 2002 in 40tv): "Home and dry" / "Being boring" / "A red letter day" / "I get along" / "Love comes quickly" / "London" / "You only tell you love me when you're drunk" / "New York City boy" / "Always on my mind" / "Sexy Notherner" / "Where the streets have no name" / "West End girls". Complete setlist was same as at the Sonar Festival on the Release tour.] ------------------------------------------------------------------------------ Release Tour [Spring/Summer 2002] concert tour 14 May: Jackie Gleason Theatre, Miami, United States 15 May: Maxwell King, Melbourne, United States 16 May: Dekalb Center, Atlanta, United States 18 May: Velvet Nation, Washington, United States 19 May: Orpheum Theatre, Boston, United States 21 May: Hammerstein Ballroom, New York City, United States 22 May: Hammerstein Ballroom, New York City, United States 23 May: St. Denis Theatre, Montreal, Canada 25 May: Electric Factory, Philadelphia, United States 26 May: Massey Hall, Toronto, Canada 27 May: State Theatre, Detroit, United States 28 May: Rivera Theatre, Chicago, United States 30 May: Auditorium Theatre, Denver, United States 1 Jun: Bronco Bowl, Dallas, United States 2 Jun: Verizon Wireless Theatre, Houston, United States 4 Jun: Copley Symphony Hall, San Diego, United States 5 Jun: The Joint, Las Vegas, United States 7 Jun: Universal Amphitheatre, Los Angeles, United States 8 Jun: Warfield Theatre, San Francisco, United States 9 Jun: Warfield Theatre, San Francisco, United States 13 Jun: Sonar 2002, Barcelona, Spain 15 Jun: Volkshaus, Zurich, Switzerland 16 Jun: Discoteca Alcatraz, Milan, Italy 17 Jun: Valle Giulia, Rome, Italy 19 Jun: Technopolis - Gazi, Athens, Greece 21 Jun: Columbia Halle, Berlin, Germany 22 Jun: CCH, Hamburg, Germany 23 Jun: Haus Auensee, Leipzig, Germany 24 Jun: Colosseum, Munich, Germany 26 Jun: Ciruque Royale, Brussels, Belgium 27 Jun: Heineken Music Hall, Amsterdam, The Netherlands 28 Jun: Roskilde Festival, Roskilde, Denmark 30 Jun: Skansen, Stockholm, Sweden 1 Jul: Lisberg Park, Gothenberg, Sweden 3 Jul: Philipsalle, Dusseldorf, Germany 4 Jul: Jahrhunderthalle, Frankfurt, Germany 5 Jul: Le Grand Rex, Paris, France 6 Jul: Brixton Academy, London, United Kingdom 8 Jul: Brighton Centre, Brighton, United Kingdom 10 Jul: Grimsby Auditorium, Grimsby, United Kingdom 11 Jul: Sheffield City Hall, Sheffield, United Kingdom 12 Jul: Carling Apollo Manchester, Manchester, United Kingdom 14 Jul: Newcastle City Hall, Newcastle, United Kingdom 15 Jul: Playhouse, Edinburgh, Scotland 16 Jul: Nottingham Royal Centre, Nottingham, United Kingdom 18 Jul: Wolverhampton Civic, Wolverhampton, United Kingdom 19 Jul: Cambridge Corn Exchange, Cambridge, United Kingdom 21 Jul: Apollo Theatre, Oxford, United Kingdom 22 Jul: Colston Hall, Bristol, United Kingdom 23 Jul: Paleo Festival Nyon, Switzerland 27 Jul: Fuji Rock Festival, Nigata, Japan 29 Jul: Indoor Arena, Singapore, Singapore 31 Jul: Convention & Exhbition Center, Hong Kong, Hong Kong 8 Aug: Impact Arena, Bangkok Music Festival, Thailand [Setlist: "Intro (Home And Dry Blank & Jones Mix)" / "Home And Dry" / "Where The Streets Have No Name" / "Red Letter Day" / "I Get Along" / "Love Comes Quickly" / "London" / "You Only Tell Me You Love Me When You’re Drunk" / "The Night I Fell In Love" / "New York City Boy" / "Always on my mind" / "Sexy Northerner" / "Birthday Boy" / "West End Girls" / "Love Is A Catastrophe" / "Go West" / (encore:) / "Being Boring" / "Left To My Own Devices" / "It´s A Sin" / "You Choose".] [The order of the setlist was changed starting in Colorado because the audience had to keep getting up during fast songs and sitting down during slow songs to many times. They played "Being Boring" instead of "Streets" and "Streets" came after "Sexy Northerner" and doing only three tracks in the encore for the gig in Canada and US. For the concerts later in Europe and Asia (starting in Rome) they replaced "The Night I Feel In Love" with "Domino Dancing" and dropped "You Choose" in the encore. In Cambridge they played "Here" at least in the encore and they cut out "Red Letter Day" at Fuji Rock Festival.] ------------------------------------------------------------------------------ ::: Spaghetti. (the Pet Shop Boys label, founded Aug 1991) ::::::::::::::::::: ------------------------------------------------------------------------------ Cicero: Heaven Must Have Sent You Back To Me [1991] single 7": 1991 UK (Spaghetti; CIAO 1) CSS: 1991 UK (Spaghetti; CIOCS 1) 3:47 Heaven Must Have Sent You Back To Me 3:58 Pukka 12": 1991 UK (Spaghetti; CIAOX 1 / 867609-1) 12": 1991 UK (Spaghetti; CIAOX 1-DJ) [promo; sealed] 6:08 Heaven Must Have Sent You Back To Me (melt mix) 6:09 Pukka (elevation mix) CD5: 1991 UK (Spaghetti; CIOCD 1 / 867609-2) 3:47 Heaven Must Have Sent You Back To Me 6:08 Heaven Must Have Sent You Back To Me (melt mix) 6:09 Pukka (elevation mix) [No PSB involvement] ------------------------------------------------------------------------------ Masterboy: Shake It Up And Dance [Oct 1991] single 7": 1991 UK (Spaghetti; CIAO 2) Shake It Up And Dance 5:33 Shake It Up And Dance (instrumental) 12": 1991 UK (Spaghetti; CIAOX 2) 12": 1991 UK (Spaghetti; CIAOX 2-DJ) [promo; sealed] 6:46 Shake It Up And Dance (maxi live version) 5:33 Shake It Up And Dance (instrumental) CD5: 1991 UK (Spaghetti; CIOCD 2) 4:19 Shake It Up And Dance (mini live version) 6:15 Shake It Up And Dance (remix '91) 6:46 Shake It Up And Dance (maxi live version) ------------------------------------------------------------------------------ Cicero: Future Boy [1992] album LP: 1992 UK (Spaghetti; 513428-1) CS: 1992 UK (Spaghetti; 513428-4) CD: 1992 UK (Spaghetti; 513428-2) 5:51 That Loving Feeling 3:31 Heaven Must Have Sent You Back To Me 4:00 My Middle Class Life 3:17 Cloud 9 3:36 Love is Everywhere 5:07 Then 5:04 As Time Goes By 3:37 Sonic Malfunction 4:37 The Butcher of Bucharest 5:22 Future Generations [PSB: produced "That Loving Feeling", "Heaven Must Have Sent You Back To Me", "Love Is Everywhere"; PSB: co-mixed above tracks plus "My Middle Class Life" with Pete Schwier; Neil: backing vox on "Love Is Everywhere", "That Loving Feeling"] ------------------------------------------------------------------------------ Cicero: Love Is Everywhere [6 Jan 1992] single 7": 1991 UK (Spaghetti; CIAO 3 / 865338-7) CSS: 1991 UK (Spaghetti; CIOCS 3) CSS: 1991 UK (Spaghetti; ??) [promo; diff slv] 7": 1991 DE (Polydor/Spaghetti; 865 338-7) 3:26 Love Is Everywhere [single mix] 4:19 Mind Gap 12": 1991 UK (Spaghetti; CIAOX 3 / 865339-1) 12": 1991 UK (Spaghetti; CIAOX 3-DJ) [promo; large picture labels] 7:55 Love Is Everywhere (extended mix) 6:35 Mind Gap (extended) CD5: 1991 UK (Spaghetti; CIOCD 3 / 865339-2) [silver or grey cd] CD5: 1991 DE (Polydor/Spaghetti; 865 339-2)[silvergrey label] 3:26 Love Is Everywhere [single mix] 7:55 Love Is Everywhere (extended mix) 6:35 Mind Gap (extended) VHS: 1991 UK (Polydor; ??) [in-store 1-trk promo video] 3:33 Love Is Everywhere [Dir: Eric Watson; Prod: Dickie Jeffares] Promo: 1991 UK (8"x12" counter stand) ["Love Is Everywhere": PSB produced, Neil backing vox] ------------------------------------------------------------------------------ Cicero: That Loving Feeling [1992] single 7": 1992 UK (Spaghetti; CIAO 4 / 865662-7) ['Made in France' pressed on vinyl] CSS: 1992 UK (Spaghetti; CIOCS 4) [includes ltd. poster offer] CSS: 1992 UK (Spaghetti; n/a) [promo; diff slv] 3:48 That Loving Feeling 4:05 Splatt 12": 1992 UK (Spaghetti; CIAOX 4) 12": 1992 UK (Spaghetti; CIAOX 4-DJ) [promo] 7:05 That Loving Feeling (extended mix) [PSB co-mix] 6:06 Splatt (extended mix) CD5: 1992 UK (Spaghetti; CIOCD 4 / 865 663-2) 3:53 That Loving Feeling 7:05 That Loving Feeling (extended mix) [PSB co-mix] 6:06 Splatt (extended mix) ["That Loving Feeling": PSB produced, Neil backing vox] ------------------------------------------------------------------------------ Cicero: Heaven Must Have Sent You Back To Me (remix) [1992] single [PSB: produced "Heaven Must Have Sent You Back To Me"] 7": 1992 UK (Spaghetti; CIAO 5 / 863286-7) ['Made in France' pressed on vinyl] CSS: 1992 UK (Spaghetti; CIOCS 5) 3:04 Heaven Must Have Sent You Back To Me (remix) 5:08 Jungilism 12": 1992 UK (Spaghetti; CIAOX 5 / 863287-1) 12": 1992 UK (Spaghetti; CIAOX 5-DJ) [promo] 5:54 Heaven Must Have Sent You Back To Me (extended remix) 5:08 Jungilism CD5: 1992 UK (Spaghetti; CIOCD 5 / 863287-2) CD5: 1992 GE (Polydor/Spaghetti; 863 287-2)[silvergrey label] 3:04 Heaven Must Have Sent You Back To Me (remix) 5:54 Heaven Must Have Sent You Back To Me (extended remix) 5:08 Jungilism VHS: 1992 UK (Polydor; n/a) [promo; 1-trk; PAL] 3:04 Heaven Must Have Sent You Back To Me (remix) [Dir: Chris Lowe; filmed on Blackpool beach] ------------------------------------------------------------------------------ Boy George: The Crying Game [7 Sep 1992] single [PSB produced/mixed "The Crying Game"] 7": 1992 UK (Spaghetti; CIAO 6 / 863488-7) CSS: 1992 UK (Spaghetti; CIOCS 6) 7": 1992 DE (Spaghetti/Polydor; 863488-7) 3:24 The Crying Game 3:18 I Specialize in Loneliness 12": 1992 UK (Spaghetti; CIAOX 6) CD5: 1992 UK (Spaghetti; CIOCD 6 / 863489-2) [track order unconfirmed] 7:02 The Crying Game (extended dance mix) 3:24 The Crying Game 3:18 I Specialize in Loneliness CD3: 1992 JP (??; PODP-1075) [tracks unknown] 12": 1992 UK (Spaghetti; CIAOX 6-DJ) [one-sided promo; picture labels] 7:02 The Crying Game (extended dance mix) 7": 1992 US (SBK; S7-56996) [jukebox promo; red vinyl; b/w Lyle Lovett] CD5: 1992 US (SBK; DPRO-04708) [promo; blue CD] 3:22 The Crying Game 12": 1992 US (SBK; SPRO-04738) [promo] 3:46 The Crying Game (digifunky string mix) 4:52 The Crying Game (digifunky diva dub) 3:21 The Crying Game (album version) 5:18 The Crying Game (third floor trance mix) 5:52 The Crying Game (third floor trance dub) 3:44 The Crying Game (dj efx's tribal as a mofo mix) [Remixers: The Crying Game] [Hans Grottheim] 7:02 The Crying Game (extended dance mix) ------------------------------------------------------------------------------ Various: The Crying Game - Original Motion Picture Soundtrack [1992] album LP: 1992 UK (Spaghetti/Polydor; 517024-1) CD: 1992 UK (Spaghetti/Polydor; 517024-2) CS: 1992 UK (Spaghetti/Polydor; 517024-4) CS: 1992 UK (Spaghetti/Polydor; ??) [promo] CD: 1992 NL (Spaghetti/Polydor; 517024-2) CS: 1992 NL (Spaghetti/Polydor; 517024-4) CD: 1993 US (SBK; K2-89024) [omits "Live For Today (7")"] CD: 1992 JP (??; POCP-1329) 3:22 Boy George: The Crying Game 4:04 Cicero: Live For Today (orchestral) 6:43 Carroll Thompson: Let The Music Play 2:47 Cicero: Live For Today (gospel) 4:04 Cicero: Live For Today (7" version) [PSB: prod listed tracks, +mix "Let The Music Play"] [+ tracks; details later] [Promotional Items: The Crying Game OST] 15x20" display board ------------------------------------------------------------------------------ Cicero with Sylvia Mason-James: Live For Today [2 Nov 1992] single 7": 1992 UK (Spaghetti; CIAO 7 / 863940-7) 4:04 Live For Today 3:38 Street Life (edit) 2:48 Live For Today (gospel mix) CSS: 1992 UK (Spaghetti; CIOCS 7) 12": 1992 UK (Spaghetti; CIAOX 7 / 863941-1) 7:45 Live For Today (club mix) 4:48 Street Life 2:48 Live For Today (gospel mix) CD5: 1992 UK (Spaghetti; CIOCD 7 / 863941-2) CD5: 1992 NL (Spaghetti/Polydor; ??) 4:04 Live For Today (7" version) 2:48 Live For Today (gospel mix) 4:48 Street Life 7:45 Live For Today (club mix) 12": 1992 UK (Spaghetti; CIAOX 7DJ) [promo] 7:45 Live For Today (club mix) 2:48 Live For Today (gospel mix) 6:10 Live For Today (underground dub) [PSB: produced 'Live For Today'] [Remixers: Live For Today] [Judge Jules] 7:45 Live For Today (club mix) 6:10 Live For Today (underground dub) ------------------------------------------------------------------------------ Various Artists: The Crying Game - Remixes [1993] single CD5: 1993 US (Spaghetti/SBK; K2-19785) 3:36 Boy George: The Crying Game (digifunky string mix) 4:52 Boy George: The Crying Game (digifunky diva dub) 4:42 Carroll Thompson: Let The Music Play (3rd floor club mix) 5:42 Carroll Thompson: Let The Music Play (digi fx mix) 7:45 Cicero: Live For Today (club mix) ["12-inch vocal"] [PSB produced originals] 12": 1993 US (Spaghetti/SBK; SPRO-04726) [promo; stickered white sleeve] 12": 1993 US (Specialty Recordss; SPRO-04726) [promo; stickered white sleeve] 4:42 Carroll Thompson: Let The Music Play (3rd floor club mix) Carroll Thompson: Let The Music Play (funky digifx) Carroll Thompson: Let The Music Play (digifunky mix) 7:45 Cicero: Live For Today (club mix) ["12-inch vocal"] 6:04 Cicero: Live For Today (12" underground) 3:47 Cicero: Live For Today (7" vocal) 12": 1992 US (Specialty Records; SPRO-04726) [test pressing] Live For Today (12" vocal mix) Live For Today (12" underground mix) Live For Today (7" vocal mix) [just one side of the standard SPRO-04726 12"?] ------------------------------------------------------------------------------ Ignorants: Phat Girls [1993] single 12": 1993 UK (Spaghetti; CIAOX 8 / 859509-1) [yellow vinyl] CD5: 1993 UK (Spaghetti; CIOCD 8 / 859509-2) [7 stone/club/bed/rewind] 3:31 Fat Girls (bedtime binge) 3:54 Rewind 4:10 Phat Girls (7 stone diet) 3:46 Fat Girls (clubland frenzy) 12": 1993 UK (Spaghetti; CIAOX 8-DJ) [white-label promo] 3:31 Fat Girls (oprah winfrey's bedtime binge) 3:54 Rewind 4:10 Phat Girls (liz taylor's 7 stone diet) 3:46 Fat Girls (clubland frenzy) 4:15 Candy Store ------------------------------------------------------------------------------ ::: Awards. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - won Awards/nominated for prizes throughout their career. [MTV Music Awards] 1986 Best New Band (PSB were second to A-Ha) [BPI Awards] 1987 Best Single: West End Girls - WON! ["It's a bit like the school prize giving day, isn't it?", muttered Neil who turned up to receive the award from Boy George. Chris stayed at home and watched it on TV.] 1988 Best Group - WON! [They also mime to 'What Have I Done To Deserve This?' on stage with Dusty Springfield.] [Ivor Novello Awards] 1987 Best International Hit: West End Girls - WON! ["It's a bit like the school prize giving day, isn't it?", muttered Neil who turned up to receive the award from Boy George. Chris stayed at home and watched it on TV.] 1987 Best International Hit: It’s A Sin - WON! 2000 Outstanding Contribution to British Music - WON! [They were presented with the award by Elton John.] [Houston Film Festival Awards] 1988 Gold Jury Award: It Couldn’t Happen Here - WON! [Berolina Awards] 1988 Group of the Year - WON! [The award is presented to them by Miss Venezuela.] [Music Week's Awards] 1991 Best Video Of The Year 1990: Being Boring - WON! [MTV European Music Awards] 1994 Best Cover: Go West - NOMINATED! [Siggraph Wave Awards] 1994 Best Music Video: Liberation - WON! [Effects & Animation Festival Awards] 1994 Best Music Video: Liberation - WON! [39rd Annual Grammy Awards (London)] 1997 Best Dance Song: To Step Aside (Hasbrouck Heights Mix) - NOMINATED! [Viva Comet Awards (Germany)] 1999 Best International Video: I Don't Know What You Want - WON! [Viva Comet Awards (Germany)] 1999 Best International Video: I Don't Know What You Want - WON! [The nominees also were "What It's Gonna Be" by Busta Rhymes & Janet Jackson, "Millennium" by Robbie Williams, "Right Here, Right Now" by Fatboy Slim, "Lately" by Skunk Anansie.] [El Pais De Las Tentaciones (Spanish newspaper)] 1999 Best International Band - WON! [Pet Shop Boys have been voted "Best International Band" of 1999 in the end of year poll conducted by the Spanish newspaper EL PAIS DE LAS TENTACIONES!] [RSH Gold Awards (Germany)] 2000 Best International Band - WON! [15th Annual The Winter Music Conference's International Dance Music Awards (Miami, Florida)] 2000 Best Dance Artist/Group - NOMINATED! [They have been nominated along with the Backstreet Boys, Vengaboys and Basement Jaxx. PSB lost the award to Basement Jaxx.] 2000 Best HI NRG/Euro 12”: New York City Boy - NOMINATED! [They have been nominated along with "9 PM ('Til I Come)" by ATB, "Sexual" by Amber and "Blue" by Eiffel 65. PSB lost the award to "Blue" by Eiffel 65.] [4th Annual Gay/Lesbian American Music Awards (New York's Manhattan Center)] 2000 Best Dance Track: New York City Boy - NOMINATED! [Their competition in this category included Boy George, Casey Collins, Joi Cardwell & Kevin Aviance. PSB lost the award to Joi Cardwell's "Last Chance For Love".] [Music Week's Creative & Design Awards (London)] 2000 Best Design Of A Series Of Sleeves - NOMINATED! 2000 Best Album Design - NOMINATED! [Their competition in this category included Boy George, Casey Collins, Joi Cardwell & Kevin Aviance. PSB lost the award to Joi Cardwell's "Last Chance For Love".] [43rd Annual Grammy Awards] 2001 Remixer Of The Year: Peter Rauhofer - NOMINATED! [Peter was nominated for the following remixes: Whitney Houston - Greatest Love Of All (Club 69 Classic Club Mix), Toni Braxton - He Wasn't Man Enough (Peter Rauhofer's Trance Mix), Pet Shop Boys - I Don't Know What You Want (Peter Rauhofer Roxy Anthem), Jessica Simpson - I Think I'm In Love (Peter Rauhofer Club Anthem), Eurythmics - 17 Again (Peter Rauhofer Remix), Filter - Take A Picture (Club 69 Trance Mix)] ------------------------------------------------------------------------------ ::: Explication. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Pet Shop Boys - the band discuss their songs [A Different Point Of View] Neil: "This isn't written from any kind of experience. The idea just came into my head of 'a different point of view' and this irritating tune, and I just worked backwards from that. The words are about arguing. You think one thing and your lover thinks another. It's about people not believing each other. It has no real significance. This song would have been great done by Take That - I could imagine Mark Owen doing backflips to it. Chris never liked this song. Chris: "I don't think I ever liked the 'a different…a different…' bit. I did my best to mess it up. Neil: "Chris played the tune on orchestra hits, just to annoy me. And even more annoyingly I really liked it. It's a really good pop song. I think it's too poppy for Chris. Chris doesn't really like pop music, you know. Chris: "I'd like to be in the Beastie Boys. Neil: "You don't like the Beastie Boys! Chris: "I love their last album. Neil: "You've kept that very quiet. Chris: "You don't know everything about me. [A Man Could Get Arrested] Neil: "This was originally written and recorded simultaneously in Bobby 'O''s office studio in spring, 1984. I was working in New York at Star Hits and Bobby 'O' flew Chris over - he only got his ticket on the morning of the flight - and then Bobby 'O' left town for three days and we only recorded in his office, which really pissed us off because we liked going into a proper recording studio. Anyway, we started writing a song, and Chris had thought of this drum pattern and Bobby 'O' loved it. I couldn't really think of a chorus - Chris kept saying it was a rip-off of Shannon. But it was never finished at the time. The twelve-inch version [CD2, track 1], released as the b-side of the 'West End girls' twelve-inch, is the Bobby 'O' version, but because he never completed it, we finished it. We did it the same night as we did our twelve-inch of 'West End girls'. 'West End girls' took all night, and at about four in the morning we started this. We didn't spend long on it, and we were never totally happy with it so then we agreed to do a different version, a completely new recording [CD2, track 7]. The seven-inch version, which was the b-side of the 'West End girls' seven-inch and which is actually the longer of the two, is a really Eighties pop production by Steve Spiro, who Tom Watkins was managing. We spent a week doing it with him. We changed the structure and the order of the verses. Chris: "It's all real drums, real bass, real brass section. Neil: "The bass player of Status Quo is playing on this. He was a nice guy, actually. Chris: "This version has got a great middle section. The brass section is like Sharon Redd, and we also get a fantastic Sharon Redd bit with the handclaps and a complete breakdown. Neil: "The handclaps go from side to side. Chris: "I love that bit. Neil: "The song was inspired by an incident with a friend of ours where we ended up being chased by these lads through Russell Square and onto Kingsway. Bottles were thrown; there were bottles smashing in the street. Chris: "And Neil nearly did get arrested. It's always Neil that has scrapes with the law - I don't know if anyone's noticed that. He's always high and mighty about it, but it's always Neil. Neil: "The rest is a portrait of Bobby 'O'. Bobby 'O' told us he would never have sex with a woman unless she went to the doctor's first, because he was obsessed with herpes. He said to me in the studio: '"If you've got your health, you've got everything", that's what my doctor said.' It went straight in there. And the chorus is totally Bobby 'O''s approach to life: 'if you want to earn, learn how to do it'. There's another Bobby 'O' line too, about his girlfriend: 'of course I told her I loved her - not just 'cause she insisted'. She was nice, his girlfriend. But I made the song into a story about someone who is trying to get his girlfriend to have it off with him, basically, and he's so frustrated that 'a man could get arrested'. He's driven to distraction. It's a song about sexual frustration. [A New Life] Neil: "Helena Springs wanted us to write a song with her, and we went to her house one Sunday afternoon. She'd already written an idea, which became the bridge of this song, and we took that away and wrote the rest. She also already had that part of the lyric: 'The night goes by…' I wrote the rest of the words, except she had a good line we wanted to keep in: 'then rise the daylight sky'. Chris: "She had some lyrics that were very positive, and when Neil had changed it around the song became more negative. Neil: "This version was made as a demo for her to sing. We sent it to her because she was touring with Elton John at the time, and we never heard anything back from her for ages and we were dead disappointed because we thought it was a really good song. Then we got David Jacob to mix it and put it on the b-side of 'What have I done to deserve this?' - we had been recording 'King's Cross' with Stephen Hague and we stayed one night to mix this. Helena Springs did her own version, for her solo album which was never released, which she called 'A New Love'. Hers was much more complicated. The words I wrote - which were for her to sing - are about a woman leaving her husband, going to get a new life. She doesn't know whether she's doing the right thing - she's creeping away at night because he's repressing her. I like the line, 'how do you get to heaven if you never try?' I don't know why but I always imagine Boy George singing this. [A Red Letter Day] Neil: "The words quote the Bible, I'm afraid - 'what on earth does it profit a man?' it's an old idea - what's the point of having material wealth if you haven't got love? It's about waiting for someone to tell you they love you." Chris: "I don't like the style of this. The production lets this song down. I think the song's better than the record. It's a bit clippety-cloppity. Neil: "I like it. It's got a funny quality, though, particularly when the out-of-tune choir come in, although I'd always liked that Russian choir sound. By then, we'd got the idea the album was kind of global - the Latin thing, New York - and so, almost just to make the concept broader, I went to Moscow and recorded a Russian choir, The Choral Academy Of Moscow. The conductor, Victor Popov, was the only one that wore headphones at the recording session and the rest, about forty of them, just sang. I was tearing what remains of my hair out. The recording session was at the State Broadcasting House. The BBC were there and they asked one of the kids if they enjoyed singing pop music and they said, 'No, it's just a job'. 'Do you know the Pet Shop Boys?' 'No.' 'Do you like the song?' 'No.' I thought, 'Well, thanks a lot'. Victor Popov said, at the end, 'work is work'. Chris: "I was in Las Vegas for the Frank Bruno fight. Neil: "The song started off as Beethoven's 'Song Of Joy'. We thought that, as 'Go West' is nicked from Pachelbel's Canon, why don't we go through classical music, take the chord change of a famous piece of classical music, put it to a 4/4 beat and see what it sounds like? So we did this to 'Song Of Joy' and another song, 'Delusions of grandeur' to 'Moonlight Sonata'. We really just used the classical pieces as a starting point. This was originally called 'In C major', a big optimistic song in C major. We were trying to write something anthemic. It went 'in C major…', where it now goes 'all I want…' It was a real struggle, that first day. We both sat there endlessly trying to write melodies for it. Chris: "We were into this thing of the bassline not being the rootnote of the chord, which we learned from Danny Tenaglia. Neil: "Apparently that's the basic starting point for any bass player, someone told me. It took us ten years to discover that. This is actually a very unusual track. It's sort of Eurodisco but it actually has really weird chords - you think it's just a descending chord change but it's not. I always imagine an RAF unit marching to it. It took me ages to think of 'red letter day' and write the words. In his speech when he presented us with an Ivor Novello award Elton John said that it was one of his favourite songs. He said he'd recently felt like giving it all up and he put this record on coming out of the shower and changed his mind. It has one of my favourite lines: 'but for all of those who don't fit it/ who follow their instincts and are told they sin/ this is a prayer for a different way'. I originally had a more explicit, sort of gay rights bit, but I took it out. It's about waiting for someone to tell you they love you. Possessions are meaningless, love is everything, and everyone in the world has the same aspirations - it doesn't really matter who they are, everyone wants love, to have some excitement in their life, to have a sense of security at the same time as to be loved…and it's very difficult to achieve. It quotes the Bible: 'what on earth does it profit a man?' Eventually, when I tried to sing it, we realised that the key was wrong, so we redid the whole thing and it stopped being in C major. Somewhere along the way we looked up why 'red letter days' were called red letter days. Chris: "Isn't it literally a red letter that used to be sent for a special occasion? You get a red letter for being invited, or something. Neil: "When we were in Hong Kong in 1989 I had written this other piece of music called 'Black sun', and when we were making the album I put it at the beginning of 'A red letter day'. The SheBoom drums are slowed down so that they sound threatening. I hadn't intended the choir to sing on it but when I got to Moscow I found out that the tape they'd been working off had this introduction on so they started singing this bit too. Then when we were working with the three singers on 'Before', one of them sang like an opera singer for this. And we put sleigh bells going past - I kind of imagined sleighs going through Red Square. Anyway, having faffed about with this for forever, we decided the introduction was too pretentious so we took it off the album version, though you still get the sleigh bells at the end. The following year we decided to work with Motiv 8, who'd done the fabulous single 'Oooh Aaah Just A Little Bit' for Gina G, and they reworked 'A red letter day' for the single. They made the bassline follow the chords, and put in a really good sequence towards the end. Chris: "We made the worst video of our career for it. Neil: "The single version we released didn't have the long introduction on it, but it was always still on the mastertape of all the versions, and on the b-side of 'A red letter day' we did release the original full album version, which was called the 'Moscow Mix'. But the other version here [CD2, track 12] is the complete Motiv 8 single mix with the long introduction at its beginning, which has never been released before. [Always In My mind] Neil: "We were approached by Central TV to be on a programme called Love Me Tender, commemorating the tenth anniversary of the death of Elvis Presley, and for some reason we agreed to do it. Rob Holden, who worked with Tom Watkins, got us a load of Elvis cassettes and the first track on the first one Chris picked up, Magic Moments With Elvis, was 'Always On My Mind'. Chris: "I'm not a fan of Elvis Presley. The only songs I like are 'Suspicious Minds' and 'Always On My Mind'. I always like the Canadian Mountie backing vocals on 'Always On My Mind', but we don't put those in our version. Neil: "Originally we were going to do a house version of a song called 'Baby Let's Play House', which was a really good idea, but there wasn't time or something. So we just started doing 'Always On My Mind' in the studio with David Jacob for two days. Chris came up with the brass riff, and I put a different chord in at the end of the chorus, a B flat, which made it more disco-sounding. I changed the words slightly too and made it ungrammatical: 'maybe I didn't treat you quite as good as I should' instead of '…should have' because I wanted it to be more definite. And then we went up and filmed it for the programme, and everyone said it was fantastic. We dressed in leather, in clone outfits, and walked down a railway track. That demo version [CD2, track 9] was released on a seven-inch single with Japanese copies of Actually. We were going to release it as the b-side of 'Rent' but Jill Carrington said, 'no, it should be a single'. For the single version we just tarted up the demo and put tank noises on it. The demo fades out sooner. They were furious in America that it was a single because it wasn't on the album, and they had to repackage the album with a twelve-inch of 'Always On My Mind'. I remember travelling around Scandinavia doing promotion and EMI were phoning up, trying to stop us releasing it. But we thought it stood a good chance of being Christmas number one, and it was. The twelve-inch [CD2, track 12] has Joss Ackland on it near the end, shouting 'Stop the car!', taken from our film, It couldn't happen here. 'Always On My Mind' wasn't in the film originally and then during the filming we decided to release it as a single and a whole new scene was written for the film so that it could be included. That's why the dialogue's so corny in that scene. Joss Ackland ends up quoting 'What have I done to deserve this?' It's hilarious. I think our film is arguably better than Spiceworld. We also mixed another, short version of 'Always On My Mind' [CD2, track 13] with Phil Harding, with no drums. I don't even remember doing it, to be honest. Chris: "I like the way it ends. [Always In My mind/In My House] Neil: "We were very much aware of the fact that 'Always on my mind' had been a number one single [see Actually sleevenotes] but hadn't been on an album. When it was a single one of the twelve-inch versions had been a mix by Phil Harding and Ian Curnow, and a new riff replaced the brass riff. That's the tune at the beginning of this version. So we started this mix quite stripped down, and then took it on a journey, through a whole new bit, until you ended up back with it sounding like the original seven-inch. The 'in my house' section at the time, believe it or not, was supposed to be acid house. At the time there was the name 'acid house' but the music didn't really exist. I added a rap, just continuing the idea of the song. It was an interesting musical exercise trying to work how to get back to the original tune, all flags flying. I think we used a lot of bluster. At the end you can hear fireworks from J.J. Jeczalik's fireworks party. J.J. was having a bonfire party and Julian Mendelsohn went, so I said, 'Tape his fireworks - we can use those on the record'. [Absolutely Fabulous] This was the official Comic Relief record for 1994, with all proceeds going to charity. Neil: "I know some people are horrified that we did a charity record, but it just seemed a way of dealing with it. It made it simple, because we did the record for fun, not as a major artistic statement. It doesn't say 'this record saves lives' on the sleeve or anything. And, of course, we've always been inconsistent anyway. Chris: "Very under-rated. The title is a description of the track. Neil: "We were huge fans of the programme, Absolutely Fabulous, like everybody else, and we had the idea one afternoon in the studio at Chris's house of sampling good lines from the show. It took about three hours. Chris: "It sounds like an authentic Euro-disco record of the time. There were tons of records like this then. Neil: "Actually the chord change is not remotely cheesy. You could make something very beautiful with the chords. But we did it as a Euro thing because we thought that was the kind of the music that they would make if they made a record - what the characters would think was trendy. We mainly sampled lines from the first episode: 'Lacroix, Sweetie…' Chris: "'Names names names…' Neil: "We thought it was hilarious beyond belief, so we sent it to Jennifer Saunders who phoned up and said, 'How long does it take you to do that?' I said, 'About three hours'. She said, 'It's very good'. So we suggested it for Comic Relief for a) a reason to do it and b) Comic Relief was the BBC so we'd have no problem getting the samples. As we've often said, we really just did it as an excuse to have dinner with Jennifer Saunders and Joanna Lumley. Chris: "Which we did. Neil: "It was hilarious. It was at Orsino. We were completely drunk. We did a video with them at the BBC. Before that Jennifer had come to Sarm West and done some ad-libs: 'it's the bloody Pet Shop Boys', 'ride on time ride on time'. Chris: "She wanted to know what the dance clichés were. 'Let the music lift you up'. Neil: "We thought the single was really funny and on its own terms really successful, but the NME put us on the front cover and slightly slagged it off, and in rock magazines it is often referred to as our second great mistake. The first one, of course, being the film. Chris: "Both of which I think are fantastic. I think it's the highlight of this CD. I was listening to it in the bath, laughing my socks off. Which, of course, I wasn't wearing at the time. [Before] Neil: "In the song I'm talking to someone else saying 'if you went long enough...'. It's the same message as 'Love Comes Quickly', really, but from a different point of view. When you're feeling down about love, when you're in a difficult situation, suddenly things can straighten out. The right person comes into your life. Chris: "I love this. There's nothing extraneous on it. There's no unnecessary musical things happening. Neil: "We set out to make it for America. This is the song described by Atlantic records, our American label at the time, as a 'straight out of the box smash'. It wasn't a hit there. Chris: "I love Neil's vocal style on this. Neil: "It's very smooth. I sing like a girl. Chris: "Maybe you should sing like a girl more often. Neil: "It sounds like no other record we've made. It's a very gorgeous, loving record. We wanted to work with Danny Tenaglia whom Tom Stephan had recommended to us. We didn't really know Danny's work. We were going to work with David Morales in New York, and David Morales's agent cancelled two days before we were going. The studio was booked. And Tom said, 'You should be working with Danny Tenaglia anyway', so we phoned him up and he, now to my astonishment, just dropped everything. Danny was a hip in-crowd thing at that point, but he wasn't the world's most famous DJ. Now, of course, it would be a big event. Chris: "And we discovered that Danny, unlike most DJs, can bloody play the keyboards. Imagine our surprise. He did a great production job on this. When he put the bassline on I thought 'wow', because he didn't make the bassline follow the root note of the chords. Neil: "We did it there in the studio. Chris: "We deliberately didn't arrive with anything. Neil: "It was based on two bits of songs Chris had written on his Ian Wright tape that he put together, very reluctantly. Chris: "I'm always reluctant. It's two different songs being shoved into one. It's a waste. Neil: "Danny had programmed some drums, and we put these bits in, and then in the studio I started singing the 'before' thing and Chris said, 'Go and sing that immediately', because it's good to sing immediately because you get the nuances. I forget nuances terribly easily. I went back to the hotel and wrote all the words, and I sang it the next day. The vocal sounded great and then the engineer wiped the third verse by mistake. I think the three girls' vocals on it are lovely. At first Danny didn't like it where they go 'before…before…before', but we realised it was the hook of the record. It's the same message as 'Love comes quickly', really, but from a slightly different point of view. When you're feeling down about love, when you're in a difficult situation, suddenly things can straighten out. Suddenly the right person comes into your life. The middle bits - 'there's a story of a man who loved too much' - are slightly different. I think they're about O.J. Simpson because that was on the telly the whole time then. Chris: "This was just one of those things that sounded good from day one. Neil: "I don't know why it wasn't a bigger hit. It was a hit in England but it did nothing in Europe. It's great when someone who you expect to do some big white record does some gorgeous smooth black record. I think it may be too linear. Quite quickly, you've heard everything. My ear expects, on the second verse, something else to happen. We tried to remix it in London but it didn't sound right - what we added sounded too different from what we'd recorded in New York - so we didn't use it. Chris: "I have to say that people are wrong sometimes. The trouble is, we've set ourselves up as releasing big records, so if we do something different people are always going to be disappointed. [Being Boring] Chris: "We wrote it in Scotland. Neil bought a guitar. Neil: "We decided to go to Glasgow because we'd been there on tour in 1989 and liked it. We hired a little studio in a grim part of West Glasgow and there was a guitar shop next to the studio where a man made guitars so I bought this electric guitar. We did the music for 'My October symphony', 'The end of the world', 'Being boring' and a rock song which has never materialised called 'Love and war', which I always imagined Bryan Adams singing: 'now you know the score/ that all is fair in love and war/ and this is a war.' But the one plan we had when we went there was to write a song called 'Being boring' and we wrote it very quickly. I can remember Chris deciding that the song itself should go up into the chorus like a Stock Aitken Waterman record - it's actually very influenced by them in the way it changes key completely, going up a semitone. The verse resolves on G and then it goes up to A flat for the chorus which is a very Stock Aitken Waterman thing to do. We were quite impressed by the way they'd always just shift up for the chorus. I'd got the idea of writing a song called 'Being boring' after someone in Japan said something about us being boring; it just seemed to be a very musical phrase and I wrote it down. And I liked the idea of confronting this image of the Pet Shop Boys being boring by actually writing a song called that. I thought only we could write a song called 'Being boring'. And then it gave me the idea of writing about this friend of mine from Newcastle who'd died and whose funeral was written about in 'Your funny uncle'. It's just about our lives together. He threw a party in Newcastle in 1972 where you had to dress in white, and it was called The Great Urban Dionysia, and it had a quotation on the invitation from 1922, from Zelda Fitzgerald, F. Scott Fitzgerald's wife, which the phrase 'being boring' had made me think of. The quote was: '…she covered her face with powder and paint because she didn't need it and she refused to be bored chiefly because she wasn't boring. She was conscious that the things she did were the things she had always wanted to do.' It just made me think about the way our lives had gone. It's three verses, in three different decades. When we were recording it, we thought at one point of having musical references to the different decades, but in the end we didn't. The first verse is set in the 1920s, when the woman writes the invitation, then we move forward to the hedonistic 1970s when I'm moving to London to seek my fame and fortune. Someone said to us, 'the trouble with you lot is that you'll have experienced everything by the time you're 18 - you'll have nothing left to experience'. And then it moves to the start of the 1990s, when my friend has just died. It's just the sadness of having a close friend die, because I always thought he'd be somewhere there with me. When we were teenagers we would always discuss that we weren't going to settle for boring lives, we were always going to do something different. And then when it came down to it, I did become a pop star and at exactly that time he became very ill. Chris: "We had loads of problems with this song getting the key right. Neil: "The vocals are almost hushed. It's recorded very very quietly, and I wanted it to sound like it was someone whispering in your ear. It's hard to sing. That's why we didn't do it on the tour in 1991, though eventually we added it as an encore because people - Axl Rose, for instance - complained. The version which opens Behaviour started off as the twelve-inch mix [CD2, track 4]. We got Julian Mendelsohn to do a twelve-inch mix because the track didn't sound vibey enough, and as we often do we hope that a twelve-inch mix will give us ideas which we can use on the original version, as it did in this case. You've got J.J. Belle playing the guitar forwards and backwards on it, and Dominic Clarke played this plastic tube - that's the noise you can hear at the beginning. We were just having a laugh in the studio. Chris: "The faster you spin it, the higher the note. Neil: "The instrumental section at the beginning was actually recorded at the end of the track, and then edited onto the start. You can also hear the influence of rave. The 'Funky Drummer' sample is on 'Being boring', except that it was replayed. Chris: "Harold Faltermeyer took for ages doing it, because the Synclavier wouldn't quantize to what it needed so he had to do it all mathematically. Neil: "'Being boring' was released as the second single from Behaviour. We were in our office one Sunday afternoon doing a photo session and it went into the charts at number 36. I remember looking at each other. The following week it did go up, and it limped into the top 20. But it's one of those songs - it took on a life of its own, and suddenly everyone really really liked it. Now it's one of people's favourite songs by us. Chris: "It just shows that chart positions aren't the be all and end all. 'Heart' isn't in the same league as 'Being boring'. [Bet She's Not Your Girlfriend] Neil: "Inspired by George Michael. Chris: "We can say that now. Neil: "One of us saw a photograph in a newspaper of George Michael and a woman and said, 'bet she's not your girlfriend'. People always assumed that George Michael was gay but we didn't know for sure. When I actually wrote the lyric I made it about me. When I was at school I briefly went out with this girl, Krysia - who I still know and who used to run the Pet Shop Boys fan club many years ago - and she was very beautiful and she used to meet me outside the school gates occasionally, and people could not believe that she was meeting me. And that's what I made the words about. So all the verses are about me. The song is really about people being bitchy. It describes me as 'shy, dry and verging on ugly'; that's definitely how I thought of myself. Chris: "We wrote the music in the studio in Notting Hill. Neil: "Then we recorded it with Pete Schwier in the gap between our two Munich trips, at the same time as 'It must be obvious'. It's Chris music, I can tell that. I think I considered it for the album, but Chris didn't. Chris: "I don't like having fun tracks on albums. [Betrayed] Neil: "'Betrayed' started off as a song that I wrote when I worked at MacDonald Educational publishers. We were all sacked from our jobs in 1980 in a dispute over redundancies, and we occupied our offices for three-and-a-half months and then we got our jobs back. There was a freelancer whom I used to employ, a very good friend of mine, and when we were all unable to work and sacked, she did my job. I just couldn't believe it. I was betrayed. She was in the NUJ so she was a scab as well. That inspired this song, and I'd also just seen The Coal-Miner's Daughter with Loretta Lynn so that was also an influence. When we heard Dusty Springfield was doing what became her final album in Nashville, her manager Vicky Wickham phoned up and said, 'Do you want to write a song for Dusty?' and we didn't have anything, but I had this song, which was then a country song, and I sent it to her. And then Vicky said, 'Dusty's not doing a country album'. She also said, 'Dusty says, "great words - why don't you record it?"' Chris: "The reason we did it as jungle was because of something Neil read on the Internet. Neil: "I read someone saying that the Pet Shop Boys have never done jungle because Neil Tennant is too old and he doesn't like jungle. So I thought, 'Right! We're doing jungle!'. The template for this track was definitely Walking Wounded by Everything But The Girl. I listened in the studio to their arrangements on that album. Again, it's not really like any other records we've made, but then we've never done any other drum'n'bass songs. The good thing about b-sides or bonus tracks is that you always feel you can do anything you want, and so on our b-sides you get an incredible array of musical styles, because there's no reason you can't. I suppose you can indulge yourself, in a way, which is not to say that they end up self-indulgent. But you can do a swing version of 'Can you forgive her?' or something that sounds a bit like The Beatles, which you probably wouldn't do on an album. [Can You Forgive Her?] Neil: "It's not really a true story...it's based on pieces of my life, if you like, but it's not absolutely true. It's about sexual frustration, but it also meant to be quite funny. 'Can you forgive her?' is about someone not coming to terms with being gay and really being in love with the first person they ever had sex with at school, and their girlfriend knowing about this and being rather jealous about it. It's a vicious little thing, really. Chris wrote the music to this. I thought it was a bit James Bondy when I first heard it - when we were doing the arrangement I was thinking more of 'Goldfinger'. It was the one everybody was going mad about, though it wasn't our choice as first single." Chris: "We're just puppets of the record company." (Select, Oct 1993) Neil: "It's a classic Pet Shop Boys beginning -- someone lying in bed in the middle of the night, unable to sleep. It examines the relationship of a man who's been ashamed because his girlfriend thinks he's gay. There's a little joke about it: "She's made you into some kind of laughing stock/Because you dance to disco, and you don't like rock." The point of the song is whether he's going to become bitter and twisted. People might assume that it's some kind of picture of me. But I'm not bitter and twisted." (laughs) Neil: "It was intended to be funny. We originally thought the first single would be 'I wouldn't normally do this kind of thing' but we played EMI a few tracks and they loved this. The Americans liked it too. I wrote the words coming back from Rye on the train. I walked from Charing Cross station home to Chelsea, making up the words in my head, and I started to laugh when I thought of 'she's made you some kind of laughing stock/ because you dance to disco and you don't like rock.' It seemed to sum up the Pet Shop Boys. The title comes from the novel of that name by Anthony Trollope - I was reading it on holiday and Jon Savage said to me, 'that's a very modern title'. So I started with the title and then I had to justify it. Chris wrote the music for it. It's in 6/8 time. Chris: "I think the starting point was wanting to do something that wasn't in 4/4 time. It doesn't really sound like anything else. Neil: "I like the way the 6/8 beat makes it sound sneaky. It's got a sneaky quality to it and that may have inspired some of the words. It's about a closet queen. The person in the song is so deluded he's pretending he's in control and he's generously wondering whether he will forgive her for insulting him in this way, when all she's done is actually say the truth to him. He's probably gay, and his girlfriend has realised this, but he hasn't admitted it to himself, and that's why he's in a bad mood with her. He looks back to his boyhood when he was in love with someone from his school; his girlfriend knows his first sexual experience was gay and is 'not prepared to share him with a memory'. It's not an autobiographical song. I've never been in that situation, and I've never had sex behind a bicycle shed. [Confidential] Neil: "This was written specifically for Tina Turner. Tina Turner had indicated to us when we worked with Liza Minnelli - we bumped into her once with Liza at a film preview - that she wanted to work with us. She said, 'I'm so jealous that Liza got you guys first'. So we sat down and listened to Tina Turner's Greatest Hits. We've always loved 'Let's Stay Together', and I think we listened to the verse of 'We Don't Need Another Hero'. We just needed to get the idea of her voice. There's also a sort of sound, with the sax and everything. I suppose we were trying to write something that was a little bit more r'n'b, but I don't think we really succeeded in that. But in particular the sax intro, which was played on an Emulator sample, definitely sounded like something from a Tina Turner record. We wrote it at Chris's house. Chris was writing the music and got a lovely chord change, and I saw that the headline in the Daily Mirror - Pete Gleadall reads the Daily Mirror - was CONFIDENTIAL. I think it was about a Tory sex scandal - it's our second song to be inspired by the same person's misbehaviour, the first one being 'In Private'. That was on his first sex scandal. I think it's a weakness that 'Confidential' has exactly the same theme as 'In Private': a woman who's having a love affair with a man who's married. Having said that, when Tina Turner recorded it, she said, 'Oh yeah, I can relate to this'. We worked on it some more in Sarm West and I re-sang the backing vocals and put in the harmony section in the middle bit, and we did a quick mix of it and sent it to Tina's manager. We didn't release our version until several years later, when it was a b-side of 'Single-bilingual'. For Tina's version, which we produced with Chris Porter, we used our programming, and in fact on hers you can still hear Chris's Emulator sax solo. There are also the same backing vocals, though I added to them. I kept turning them down but Tina kept wanting more of them. It eventually appeared on her Wildest Dreams album. I think Tina was secretly disappointed - she really wanted an 'It's a sin' stomper. And actually Tina Turner doing an 'It's a sin' kind of thing would be great. [Decadence] Decadence was written (originally around a sample from Aretha Franklin's version of "Say A Little Prayer") as the theme song for the Steven Berkoff film, but Neil didn't like the rough cut he saw of the film so PSB never actually offered the song for that use. Neil: "It's got one of my most pretentious lines: 'Stop this caprice/You've got to cease/ This fin de siecle pretence'. The fin de siecle at the end of the nineteenth century was also regarded as a decadent period. The end of *any* age is sort of a decadent period..." Neil: "In my opinion, possibly our best b-side. I remember Bernard Sumner saying to me, 'that track's too good to be on a b-side', and it is. This came about because we were asked to write the title song for Stephen Berkoff's film of his own play, Decadence, which starred Joan Collins. We liked the idea of Stephen Berkoff and Joan Collins, so we wrote this. I only had a vague idea of what the film was about. My words are actually about a former friend, saying that he doesn't care about anyone, he just cares about money. Decadence often prefigures the end of something, like the Roman Empire. So the song is comparing someone's personal behaviour to the end of an era. In this instance, the friendship crumbles. You can't have a relationship with someone because they can't tell the truth, they lie, their behaviour's just totally selfish. When I wrote the words, Chris said, 'Oh no! It's an anti-decadence song. I'm not very happy about that.' Chris: "I'm all about decadence. It's good, isn't it? Neil: "It's got one of my most pretentious lines: 'stop this caprice/ you've got to cease/ this fin-de-siècle pretence'. The fin de siecle at the end of the nineteeth century was regarded as a decadent period - the end of any age is sort of a decadent period. Musically, the song was based on a sample from the beginning of Aretha Franklin's 'I Say A Little Prayer'. That was the whole starting point. Chris: "I love sampling a famous piece of music and then building around it. But I always want to keep the sample in and Neil always wants to take it out. Neil: "You just use something as an inspiration. In the end all we've taken from that is the rhythm. The chords aren't based on that. But without that we'd never have written a song with that rhythm. We really got into this track. We asked Johnny Marr to come and play guitar on it - he's very Johnny on it; you can imagine him swaying from side to side - and we got Richard Niles to do a string arrangement for a small orchestra. I think we wanted it to sound glossy. I always think of a Rolls Royce convertible driving on the Grand Corniche, and this is the kind of music that should be playing. It's got a brilliant introduction. I was listening to the Billie Holiday album Lady In Satin recently and noticed that every single song starts like this. After we'd written it, we saw a rough cut of the movie and we didn't like it, and we had nothing else to do with the song so we put it on a b-side. Also, we were in a phase of doing b-sides that sounded like the a-side, rather than offered a contrast, so 'Shameless' was on the b-side of 'Go West' and this was on the b-side of 'Liberation'. [Delusions Of Grandeur] Neil: "This is part of the take-a-chord-change-from-a-famous-classical- piece-of-music-and-write-a-new-song-over-it range. This is 'The Moonlight Sonata' by Beethoven. On Chris's demo it was called 'Give Me The Moonlight'. Chris: "It's definitely in the 'Shameless' category. Neil: "It's arranged at the start a bit like in a Hollywood musical about something happening in the theatre, where you get those scenes where the curtain opens and it keeps going back and back and there's this ludicrously huge spectacle that could never be in a theatre, then right at the end it comes back to the theatre and the curtains close. The idea came from the book Hadrian VII by Baron Corvo, who was an embittered English writer living in Venice at the turn of the century. His book is about an Englishman with megalomaniac fantasies who becomes the Pope. It's imagining you're being crowned Emperor of the world - you hate people because they've treated you so badly and so you want to rule the world and get your revenge on them. When I was a child I had delusions of grandeur - my earliest ambition was to be the Pope. And I had the title 'Delusions of grandeur' for years and years and years, since the 1989 tour. It took me quite a while to write the words. Originally there was a first verse which was cut out because the song was too long. The 'ring the bells' section is inspired by the D. H. Lawrence poem, 'A sane revolution', which ends: 'Let's make a revolution for fun!' Chris: "It's another of our marching songs. Neil: "Marilyn Manson would do this great. He's got the right kind of snarly voice. It would really work as a rock song. Kind of Euro-rock anyway. [Disco Potential] Neil: "One night we ended up going on the town with Chris Evans and Gazza and Chris's sister Victoria. The day had started with us appearing on Richard and Judy and carried on from there: it was a long night and we ended up at Justine Frischmann's house, who was still going out with Damon Albarn, and there was a guy in the basement of the house, who may have been one of Weezer, and we went downstairs and started doing a jam session. Anyway, the following day someone reminded me that the song we'd been jamming had been called 'Disco potential', though I couldn't remember it at all, and I thought it was a good title. Not long afterwards we were in the studio doing b-sides for 'Somewhere' and I couldn't remember any of the jam but I used the title. The music is Chris being The Chemical Brothers. Chris: "It's more The Prodigy than The Chemical Brothers. It's more 'Firestarter'. Neil: "There's also something in this that's a kind of reference to 'Discotheque' by U2 which was out at the time. I think it's supposed to sound a bit like Bono really doing disco. The words are about Tamara Beckwith. Chris and I had seen a documentary about Tamara Beckwith on the television, and we loved the fact that they used to call Fulham Road 'the beach'. 'I'm just going down the beach,' they used to say, because it's got all the trendy shops on it. Chris: "It shows they've got a sense of humour. Neil: "'Daddy sells shares in a distant shore' has something to do with what Tamara Beckwith's father did, but I've never quite worked out what the 'disco potential' line means. [Discoteca] Neil: "I think "Discoteca" is a very intense song, which is difficult for people to understand because it's not stated very obviously. The song is about someone discovering they're HIV positive. I'm not HIV positive, but it's about a friend of mine who's quite young. When we were making the album he told us he was positive. He's only 24 or something. So the song is really about dealing with it. How does that change your life? How does that make you feel about things? How do you communicate what you feel to other people?" (The City Pages, October 16, 1996) "I had the idea that it would be about communication, and about how difficult it is for people to understand each other, and how difficult it is to understand oneself sometimes when you're in a deep emotional situation.The point of the song is contained in the lines: 'I'm going out and carrying on as normal'. What are you meant to do when something terrible happens to you? You carry on as normal. You go out clubbing or whatever to try and forget." Neil: "We started this in New York, in Unique studios, when we worked on four songs: this, 'The view from your balcony', 'It always comes as a surprise' and a song we've never finished, which sounds a bit like Madness and a bit like The Walker Brothers, called 'Yes in a no kind of way'. I'd liked this Spanish record that had used Spanish phrases as a hook, and that had given us the idea to do something in Spanish. So we asked Dainton to go to a bookshop in New York to get a Spanish phrasebook, and started writing this music. It's got very odd chords. Chris programmed the rhythm and did the verse chords. Chris: "Neil did the chorus chords. Neil: "If it is a chorus. Dainton came back with the Penguin English-Spanish dictionary and a Berlitz phrasebook, and I flicked through them, looking for phrases, and I thought, here's a good one: 'hay una discoteca por aqui?' It had a good rhythm and it'd work as a chant: 'Is there a discotheque near here?' Then I also found, 'te quiero', 'entiende usted?', 'digame' and 'cuanto tiempe tengo que esperar?' - 'I love you. Do you understand? Tell me. How long must I wait?' I think the 'How long must I wait?' came from the going-to-the-doctor's section. At that point it wasn't going to have any more words. The following April we decided to put words and a melody to the verse. To begin with, it had totally different words and the tune was different. I was trying to make sense out of the whole concept of why it was in a foreign language, and at this point it started being about being lost in a country. Not knowing where you are. Later in the year I changed it again, and the final version is about someone dealing with HIV or Aids. There's a sense of catastrophe. It's saying: how do you deal with something going so wrong? Do you panic? Or do you go out and carry on as normal? Which is what I think most people do. And then it uses the idea of being in a foreign country as a metaphor: suddenly everything that was familiar is unfamiliar. 'I don't speak the language, I can't understand a word.' And in the chorus the person singing goes to the discotheque because he's going out and carrying on as normal. It's quite a grim song, but it sounds very beautiful. The start, a classic Pet Shop Boys start with a sequencer line followed by a minor chord coming in, never changed from the original demo. Chris: "This is part of the 'Dreaming of the Queen' range of Pet Shop sounds. It's got a very unusual bassline as well, and the drum pattern is very odd. Neil: "When Chris first did the drum programming I couldn't get a handle on it. I couldn't work it out. Chris: "It sounds really big, doesn't it? Neil: "Well, it is big. There's twenty women called SheBoom playing drums. SheBoom came down from Glasgow, and they looked fantastic. It was dead loud in the studio. We thought we'd discovered a new sound. It's like nothing else. It's all very moody. Chris: "I think it's very uplifting. Neil: "Well, it is. It's about survival. Chris: "This wasn't a single, was it? We're mad. Neil: "The fans all hate this track. Chris: "Well, they're wrong. Neil: "We tried to record a single version of it, because we thought it should be a single. After Bilingual was finished, we went back into the studio. Katie Kissoon came in and sang 'one day we'll be free', because we thought it sounded like a really clubby line. We used that as a hook and did that version [CD2, track 8] and we really liked it but we thought it wasn't a single. That version was never released, though it was the basis of the version we played on the Nightlife tour in 1999. Then we decided to re-record the whole track, and we had some Spanish-speaking backing singers come in and sing the chorus with me - they also shout 'bacalao', which is Spanish for a type of salted cod, believe it or not, but which I was told they shouted in Canarian clubs when they were very excited by house music - and sped up the whole thing and did a totally different version [CD2, track 10]. We spent ages and ages working on it and then we decided it wasn't a single, so it was just released as a b-side to 'Single-bilingual'. Chris: "We used a Bobby 'O' type riff. It's like his 'I'm So Hot For You', which itself was heavily lifted from The Human League's 'Don't You Want Me'. Neil: "We were trying to get more of a chorus. I did this rap, and I took the rhythm from Stretch And Vern's 'I'm Alive' which had just been a hit. Chris ordered me to write a rap in the same rhythm as that, and I dutifully complied. Chris: "He's a jobbing writer. Neil: "What I actually say is: 'Understand the man who can talk in tongues/ and you're ready to speak like a Shakespeare'. It seemed to mean something at the time. [DJ Culture] Neil: "[DJ Culture was our reaction] to the attitude of the press regarding to the war in the Gulf. The press wrote about the war if it had been a glorious war which we had won in a glorious way, and the use of the language which people used to desribe this came directly from the second World War...while the case was much more ambivalent. In World War II people fought against facism. But with this war we first considered Saddam as our friend, we gave him weapons and the American even gave him a signal that it was okay to attack Kuwait. The essence of the song is in the first place insincerity; about George Bush who acted like he was Winston Churchill. He referred to World War II and as a matter of fact; he sampled things Churchill said, just like artists do with records from the past. That is why it is called 'DJ Culture'." Neil: "This came out of two things. At this time Chris used to write on a Fairlight in his sitting room in Islington, and he wrote a load of bits and pieces, one of which became 'In private', one of which became - much later - 'Dreaming of the Queen', and one of which became the chorus of 'DJ culture'. Then, when we were touring on the Performance tour, I wrote down in my notebook this phrase 'DJ culture'. At the beginning of 1991, just as we were about to go on tour, the Gulf War happened, and I'd had this idea - rather a pretentious idea in some ways - of the way that everyone talked about the Gulf War as though it was the Second World War. It was a very odd war, the Gulf War, because it wasn't really hand-to-hand fighting - it was like a computer game, almost, on television. And at the end of the day no one really won it. At the same time the cult of the DJ was becoming a big thing, and records being sampled too, and I thought: people don't just sample records, they also sample attitudes from the past. Things don't tend to be authentically experienced now, they tend to be expressed as samples from the past so that we all understand them, and that was what I really wanted to say. People pretend President Bush and John Major are successful war leaders. People pretend to sound concerned, or have that empty positivism. Musical culture in particular had a relentless positivism that was completely and utterly banal, a brainless positivism that just consisted of empty catchphrases. There were a lot of bullshit attitudes going on in the early Nineties, and the song is about how facile and pretentious modern life was. The third verse is about how, if you have no history, you can reinvent yourself. There's a reference to Madonna in it - 'She after Sean'; after her marriage with Sean Penn broke up she sort of came back as a sex goddess. 'Liz before Betty' is something Heather Carson, the lighting designer, said on the Performance tour: 'that's so Liz before Betty' i.e. Liz Taylor before the Betty Ford Clinic. It's one of those things I've always liked, like 'West End girls', trying to be a bit like The Wasteland meets Grandmaster Flash. In this there are all these different voices like there are in The Wasteland. It also quotes from Oscar Wilde who, when he was sentenced to two years' hard labour, after the judge read the sentence, said, 'And I, may I say nothing, my lord?' I misquote it on the record. He wasn't allowed to say anything. He was just led away. The chorus is about how, with all the media and satellite television channels, there are very few genuine responses to anything, only fake ones, drowning out people's genuine responses, hence the Oscar Wilde quote. We'd had the idea of writing a song with a song structure a bit like 'West End girls': spoken words and a sung chorus. I wrote a chord change which became the verse to lead into Chris's chorus. Chris: "We recorded it with Brothers In Rhythm at Sarm West. They'd done remixes for 'How can you expect to be taken seriously?' and 'We all feel better in the dark'. I loved their records, 'Such A Good Feeling' and 'Peace And Harmony', and also Sabrina Johnston's 'Peace In The Valley' which they'd done. The funny thing was, all those records were really uplifting piano house, and of course what we get is miserablist… Neil: "We went into the studio with Brothers In Rhythm to make two hit singles for Discography. Chris: "Obviously an impossible task. Neil: "Chris spent the whole time saying, 'Obviously they'll both be flops'. Chris: "And I was right. I've always had a problem with the idea that you write 'hits' for a greatest hits that haven't been hits, therefore it's a bit presumptuous to put them on the album in the first place. Neil: "I agree. But I think it's a really good track, 'DJ culture', actually, but it's not a huge international hit single. At the time this was a record we thought might do something in America - are we insane? But I love the chorus - we took the idea of Tessa Niles singing behind me in the chorus from 'Absolute Beginners' by David Bowie; there's a girl singing with David Bowie all the way through that and I've always liked that. We did the twelve-inch [CD2, track 10] in the studio at the same time. We weren't quite happy with the Brothers In Rhythm seven-inch so we did the twelve-inch thinking we might get ideas for the seven-inch. Then, quite some time later, we brought in Stephen Hague to work on the seven-inch. He suggested I change the words in the chorus - in the twelve-inch the words don't change when there's a double chorus, but in the seven-inch I add the '…wondering who's your friend' bit. He also put a string line in the middle section which is really nice. [Do I Have To?] Neil: "The idea came from Chris's frequent complaint while doing promotion: 'Do I have to?' Chris: "Is that where it comes from? Neil: "That's where it comes from. I originally had the idea of writing a song called 'Break his heart, don't break mine', the idea being that someone you're going out with is two-timing you, saying, 'Do I have to love you?' It's a really bitter song. I love the way that it's bitter and very romantic at the same time. You're telling your lover what to say: 'say this to them, say that to them, say what you like but you're not finishing with me and that is that'. I like the line, 'it's a fatal mistake that you're dying to make'. I wondered if I'd nicked it from Elvis Costello or Bob Dylan or someone like that. Chris: "The bit before the chorus has the same chords as 'King's Cross'. Neil: "Don't think that wasn't pointed out at the time. We did the whole thing in two days because we wanted a b-side for 'Always On My Mind'. If we were making it now, I would suggest making it shorter. It faffs about a bit. It was the first time we worked with Bob Kraushaar. We were trying to do something that sounded like David Sylvian. Chris wrote the chorus and I wrote the verse. At the beginning, that's Chris Lowe playing the piano live. Chris: "I can't believe I used to play the piano on records. I would never do that now. Neil: "Chris also plays a sax solo on the Emulator. Very David Bowie. Chris: "It's funny how our best b-sides tend to be the b-sides of the best singles. Neil: "I once went into a pub and this was playing. I was thrilled. [Domino Dancing] Neil: "That came from when we staying at a hotel in the middle of nowhere in St. Lucia years ago. In the evening there was nothing to do except play dominoes; this friend of ours always used to beat us, and he used to do this celebratory dance." (The Face, April 1996) Neil: "We wrote this in the studio in Wandsworth a year and a half earlier, but we could never think of a chorus for it. We thought it was a bit like 'La Isla Bonita' by Madonna. Chris: "Only in that it's Latin. I love this song. Neil: "We wanted to write something Latino because we used go to America and hear all these Latin hip hop records and like them. We worked on it some more in a Los Angeles demo studio. We'd just been on holiday to Antigua, then flown to America to do some promotion, and booked this studio in Los Angeles. This guy had a really neat demo studio, and, being imperial, we used to drive over every morning in a stretch limousine. We were working on this song, and we needed a chorus, and Chris went 'well, you could just go like that…' Chris: "Put in another obvious chord change. Neil: "…and I immediately sang 'all day, all day…' When we had been in Antigua, playing dominoes, our friend Pete would do a dance when he won and Chris said to him, 'stop doing your domino dance', and I wrote in my notebook: 'watch them all fall down, domino dancing'. I was thinking of the domino theory: push one and they all go down. They used to talk about the domino effect, that if Vietnam went communist, all of South-East Asia would go. In the song the idea is that someone is so attractive that everyone fancies them, and how difficult it is to go out with someone who's fantastically attractive because you feel jealous. The people falling down are the people she dances with; she's totally bowling people over. It's a bit like a Cole Porter lyric with all these hot ideas - the thunder crashing, the storm breaking in your heart, the hot climate, the love being hot - all put together. At the end of the song the singer has decided it's not working - he's going to tell her to stop messing around or he'll leave. Chris: "We were really pleased with the demo version [CD 2, track 3] we did in Los Angeles. Neil: "Even though there were no vocals in the verses of the demo, because I hadn't finished all the lyrics at that point. Chris: "We liked all these great Latin hip hop records made by this bloke in Miami, Lewis Martinée. Neil: "He was having all these hits with Exposé. We were so excited by 'Domino dancing' that we flew immediately to Miami and made the record with him. We stayed in the Hilton on South Beach, which smelled of hamburgers. There was this van there on the beach - Latin American Party - and as soon as we saw that, we thought that would be the cover of the record. Pete took a Polaroid, and that's the photo we used on the sleeve. All the musicians on it are Cuban. There's tons of people playing on it. This trumpet player came in who couldn't really speak English and he played loads of notes for the solo, and so I said, 'Can't he play the tune, and then halfway through play loads of notes?' and he did that, and it was great. And he came up to me afterwards and hugged me. I hate it when the solo has none of the tune in; it's the jazz version of a remix not having any of the song in. We made the seven-inch version, and then Lewis Martinée expanded it to the twelve-inch version on the album. Towards the end there are lots of edits, all done by hand. You could see all the white sticky tape going past. When Lewis Martinée finished the mix we suggested to him that he did a mix without the drums [CD2, track 4] and that was done in half an hour. I've always liked that mix. Chris: "It brings out more of the beauty. Neil: "'Domino dancing' was the first new single released from Introspective, and we were very disappointed when it only reached number seven in the British charts. I remember driving back from my house in Rye and listening on the radio when it entered the charts at number nine and I thought, 'That's that, then - it's all over'. I knew then that our imperial phase of number one hits was over. Chris: "I was in Liverpool, I think. I remember stopping the car to listen to the chart. The English don't generally like Latin-tinged music, anyway. When you look back, the chart positions are irrelevant. I love this track, so I couldn't care less. [Don Juan] Neil: "The basic song was written in the Seventies, in about 1978, before I knew Chris. It was written on the guitar and was supposed to sound Spanish, which was why I thought of reviving it to go on the b-side of 'Domino dancing'. While Chris complains that I write songs about Russian history all the time, this is about the Balkans in the 1930s. I was trying to write lyrics in the style of Façade by Edith Sitwell, a sequence of poems she wrote with music by William Walton. Façade was very controversial when it was first performed at Cheyne Gallery on King's Road as Edith Sitwell declaimed it through a curtain with a megaphone while the music was playing. Chris: "Was it slightly pretentious? Neil: "In the Balkans in the 1930s, they were caught between Stalinist Russia and Nazi Germany leading up to World War II. They had all these funny monarchies. There was King Zog of Albania, King Boris of Bulgaria and Prince Paul, the Regent of Yugoslavia, and they were all trying not to be allied to Hitler while trying to stop Stalin annexe half their lands. Don Juan is supposed to be Hitler or Stalin but I could never quite work out which. I think it's Hitler. It's always interested me, that area. I suppose it's the hopelessness of it. The song attempts an Edith Sitwell use of words: 'an impasse has been reached with the teacher of the rich'. It's like someone coming to their senses: throughout all this decadence and complex language, they have this flash of complete reason. Chris: "Then it goes into a bit which is like 'Flashdance (What A Feeling)'. Neil: "In the last verse, everyone's resigned. Marie Lupescu - I got her name wrong; it's actually Madame Lupescu which is a bit embarrassing - was the mistress of King Carol of Romania, and practically ran the country. His wife was Marie and I confused the names. King Alexander of Yugoslavia of Marseilles was assassinated by terrorists in Marseilles. Chris: "We recorded our demo [CD2, track 2] at the same time as 'Domino dancing' in Los Angeles. Neil: "When we got there Chris wrote the 'I've got this sinking feeling' bit of music. Chris: "A marvellous chord change, and it also goes with the lyrics. I also added the housey stuff for the intro. Neil: "We had the idea of calling it 'It would be a disaster'. But we didn't. We released two versions of the finished song - the one here [CD2, track 7] is the disco mix, the longer of the two. [Dreaming of the Queen] Neil: "Well, the song itself is an anxiety dream. I read somewhere that it's a very common dream for people to have in Britain where the Queen comes for tea, that's where I got the idea from. And a very, very common anxiety dream for people to have is that they're walking down the street with no clothes on. I know I quite often have that dream." Chris: "I've never had that dream!" Neil: "Oh, it's really, really common. Maybe you're just a very secure person." (NME, 29 May 1993) Neil: "This is my favourite track on this album. Chris: "It's bloody good. I wrote the music for this. Neil: "I always loved the bit at the start - it's very un-Chris. It's a fanfare. I think that's what gave me the idea about the Queen. Chris: "I always imagined that bit being sung but Neil could never hear it. I imagined a big diva-type thing, but Neil was never going to think of doing something like that. Neil: "Being the Julie Andrews in the group. That's Chris's accusation - that I sound like Julie Andrews. Anne Dudley did a lot of work on this arrangement. She has all sorts of funny references - when I mention carriages, horns go off. The piano is so Jim Webb - Anne Dudley plays it. There's so much going on here. The whole vocal is double-tracked in octaves all the way through, and that's before auto-tune, so it took forever. Chris: "Which is very un-Neil. Neil: "I'd read that one of the most common dreams people share is that the Queen comes round to their house. Sometimes it's an anxiety dream and sometimes it's a nice dream. I already had the chorus, which was originally 'only lovers left alive', from the title of a Sixties book which Jon Savage gave me about a world where there were only teenagers. We worked on that chorus when we were doing 'DJ culture' and I realised that the song was about Aids and that 'no more lovers left alive' was better. Then, one day, the window cleaner was around and I was typing out the words to this song. Normally I get inhibited with people around, but for some reason while he was cleaning the windows I thought of the idea of dreaming of the Queen. It made sense because of Lady Di's work with Aids, and the break-up of her marriage, so that she is saying 'there are no more lovers left alive' because one of her friends has died of Aids, and 'that's why love has died' about her marriage. And the Queen starts to cry, because it's sad and true. It's the idea of living in a world with no love. In the second and third choruses, it is the person singing the song who is saying the words. It's a sadder song than you think. The idea of the song is that the person singing it has got Aids. He says, 'I woke up in a sweat…' He's having anxiety dreams about it, so maybe he thinks he's got Aids. [Electricity] Neil: "I had some words in my Psion organiser which I'd written in Jamaica in January 1996. I had a dream one night that we were making a record with David Bowie, and when I woke up I remembered the song we had written in the dream. It was called 'Friendly Fire' and it had lyrics like 'I'm an artist, honey...' which I used in this. At a separate time I'd had the 'since Disco Tex and the Sex-o-lettes' idea, so I put them together." Chris: "When we were recording it we thought 'right, we need a sample on this' and we just flicked through what was on the telly right there and then, and there was this film with these really good bits: 'get out of here and take your cake with you', 'what are you doing here in San Francisco?' 'what does it all mean?'. If you flick through all the television channels you'll always get a great sample." Neil: "There's always some line that seems very profound, so I wrote the rest of the words as an answer to the question 'what are you doing here in San Francisco?'. The song is an interview with a drag queen. On the day I sang the vocal I had a really bad cold, so I sang quietly, and my voice had a funny texture to it. The chorus bits I sang about eight times and we put them together, this sinus-y chorus." Neil: "We had finished the album, more or less, and we were at Sarm West with Bob Krausaar in March 1996, and we did this track in a couple of days. It was one of those things where we were doing something else and Chris wanted to do a new track because he was bored. The conversation at the beginning was on the television in the studio. Chris: "We flicked through what was on telly just then. If you flick through all the television channels you will always get a good sample. Neil: "There's always some great line that seems very profound. In my notebook I had the idea for a song about electricity with the 'power to be' line. Chris: "Another rap. Neil: "It's almost a rap album. Chris: "It's a bit Madonna doing 'Erotica' and 'Justify My Love'. Neil: "I love the line: 'it's the greatest show with the best effects/ since Disco Tex and the Sex-O-Lettes'. In the Seventies I always loved, by Disco Tex and the Sex-O-Lettes - whose name, unfortunately, was misspelled in the original Bilingual booklet but has been corrected here - their record 'Get Dancin''. It ended with Disco Tex saying 'my chiffon is wet, my chiffon is wet'. This lyric is a monologue by a drag queen. She's talking to a boy in a bar after she's done her show in which she lip-syncs to a tape recorder with a couple of dancers: 'I take them on the road with my reel-to-reels/ I'm an artist, honey - you know how that feels'. She's on this tour, playing gay clubs around America. And I think she is an artist. I've no idea why I wrote it. Chris: "It's very atmospheric. Neil: "The organ sound on this is so sleazy. It's very funky for the Pet Shop Boys. Chris: "Yes. I don't know how we did it. Neil: "We decided to break all of our rules. Chris: "Oh yeah. We weren't allowed to do anything we normally do. So we started off with it being slow. Neil: "It's 96 beats per minute, I think. Chris: "Whereas we'd normally do it over 120. And then we decided to only use sounds we wouldn't normally use. You just had to think of what you would do…and then not do it. Neil: "We lost interest in that after a while, but that's how we started it. Chris: "I wasn't allowed to have a string pad, but then I decided to put one in anyway. It's a bit influenced by the 2-Pac record, 'California Love'. Neil: "On the '…electricity' line I think I sound like David Bowie. My voice sounds like it does on this track, very thick, because I had a very bad cold and I could sing a different way. [Euroboy] Chris: "Another song with 'boy' in the title. It sounds quite Eastern European. Neil: "Chris did all of the music. There are lots of vocal effects. Chris is saying 'euroboy' low on the Vocoder; the high voice is me. It's just sexy. We recorded it at the same time as the other 'Yesterday, when I was mad' b-side, 'Some speculation'. [Falling (demo for Kylie Minogue)] Neil: "'Falling' started off as a remix Chris did of 'Go West'. He'd re-harmonised it. Chris: "I made it an ascending chord change, but the 'Go West' melody still worked over it. Neil: "I thought the chord change he'd come up with was wasted on the remix. Also, we didn't really need a remix of 'Go West', but we had been asked to write a song for Kylie. And I thought this introduction sounded pure Kylie Minogue. So this turned into our song for Kylie. When I heard the chord change I immediately started to sing 'I'm falling in love all over again'. I think this has the distinction of having one of the worst lyrics I've ever written, even though I was writing from experience. It's about realising you're still in love with someone when you've finished with them. Writing it, I always imagined Kylie doing a very Kylie dance routine, but this was for Kylie's first post-Stock Aitken Waterman album and it was a little bit contrary of us to give her a song like that. Kylie wanted to be New Kylie, not Old Kylie, and we were being very contrary and did Stock Aitken Waterman Kylie. It's got that soaring quality. She recorded it with Farley and Heller, and they did it as a sort of deep house thing and she spoke the words rather than sang the melody. I was very disappointed because I thought it was a strong melody. We did this demo at Sarm West and mixed it. I really disliked the original version of the first verse which is what Kylie sang - it began 'kiss the past 'til it's better' which is terrible - so at some later point I changed the lyric on our version. We nearly put this on a b-side but we never did, so it's never been released. I think we forgot about it. Chris: "Actually, I think it worked better as a 'Go West' remix. [Forever (Forever In Love)] Neil: "This was originally to be the b-side of 'Go West' at the end of 1992, the version we didn't end up releasing. I've never liked the first verse of 'Forever'. Even now, I'm embarrassed by it. After we didn't release it, I realised that you could take off the first verse, without losing anything. Then it fitted on Relentess, where it was called 'Forever in love', but this is the original version. We liked the idea that you'd got songs with little bits of verses, a David Bowie Low kind of thing, unfinished songs in a way. Chris: "Because I had this studio in the country I was writing a lot of dance music which wouldn't work as traditional verse-chorus pop music. I was writing stuff knowing that it wasn't going to be on Very, some of which became Relentless, though there's still some other tracks lying around, which I'm sure will never see the light of day. Neil: "It's about falling in love for the first time. I don't think I was thinking about anything specific from my life. Chris: "It's got a huge big disco bit in the middle, at 3.13. It comes as a complete surprise. You're not expecting what's coming up next. And then there's the obligatory house piano which had to go on every track then. [Generic Jingle] Chris: "We recorded this for when we stood in for Simon Bates for a week on the Simon Bates show on Radio One in 1991. Neil: "We made a few jingles but this is the only one we could find. We recorded this one specially in Sarm West. They said to us, 'you could just do a generic jingle', and we thought, 'Oooh, "Generic Jingle".' [Girls And Boys] Neil: "When Blur were recording their third album, Tris Penna at EMI said that they had this really good song. He said, 'Why don't you two produce it because it's meant to be a disco song?' and played it to us. We thought it was quite good, but we don't produce groups, it's a well-known fact. But I was interested in Blur because I thought that Damon looked like a pop star. They weren't very successful at the time. Later, we were in Paris doing 'Go West' on French TV and we'd been given 'Girls and boys', which was now finished, with the suggestion that maybe we might want to remix it. We sat in the back of this limo and listened to it, and decided we'd do it. We were being rather arrogant. Chris: "I knew we could do something with it. The chord change was good. And the lyrics were good too. Neil: "So we phoned up EMI and said we'd do it but, in our typical way, said that our version had to be the seven-inch. We were told that it was too late but that our version would be the a-side in Europe. We did it at Westside studios and Damon came down and listened. Chris: "We'd made it much more electronic. We replaced Alex's bassline with an electronic bass part and added some sequencer lines. Alex has never forgiven us. Neil: "Then, when we toured South America in 1994, we decided to perform it ourselves. Chris: "It was very enjoyable to play live. Neil: "We made it faster than our remix, and took out the guitar. This version - which was on the b-side of 'Paninaro '95' - was recorded live in Rio. Damon said to me, 'It sounds like you wrote it'. Chris: "I like the way Neil sings in the style of Damon. Neil: "It's very difficult not to sing this song in a cockney accent. [Go West] Neil: "If you take away this outrageous image the Village People had, it's a song with a traditional classical-music chord change, exactly the same as Pachelbel's Canon. It's a song that expressed this gay dream of moving to to the West Coast and living this ideal lifestyle. Of course, it was before AIDS, and no one knew that paradise wasn't necessarily going to exist...in hindsight, it had a very poignant quality. We weren't doing a tribute to the Village People. (Having said that (laughs), I think 'YMCA' and 'In the Navy' are great records.)" Neil: "Derek Jarman was having an exhibition for local Aids charities in Manchester and asked us to do a concert for him at the Haçienda. We were rehearsing in Nomis and we wanted to do a cover version. We were going to do 'The Fool On The Hill' by The Beatles, and then Chris came in the next morning and said, 'I've looked through my records and decided we'll do this song called "Go West".' Chris: "Which Neil didn't know. Neil: "He played it to me and I said, 'this is ghastly'. I thought it was ghastly beyond belief. Awful. Anyway, Chris just carried on regardless. Chris: "Neil just couldn't hear it. Neil: "Then Chris enticed me into it by pointing out that it was the same chord change as Pachelbel's Canon. And that indeed worked. Chris: "I knew that would swing over Neil to my way of thinking. Neil: "Actually he just brushed me aside and said, 'I'm going to do it anyway'. He said, 'You're going to like this, you know - you're going to like this'. Chris: "I've always liked it. I've always been a huge fan of the Village People, and I thought 'Go West' would suit Neil's voice. And I thought it would be a good song to play at a Derek Jarman event - a song about an idealistic gay utopia. I knew that the way Neil would sing it would make it sound hopeless - you've got these inspiring lyrics but it sounds like it is never going to be achieved. And that fitted what had happened. When the Village People sung about a gay utopia it seemed for real, but looking back in hindsight it wasn't the utopia they all thought it would be. Neil: "When Chris put the chords in and played the tune on the French horn, that's when I was sold on it. To be perfectly honest, I didn't even bother to learn the Village People's words. I copied them off the record once, and the first time we performed it, at the Haçienda, I had the words written out and I put them down and the wind machine blew them away and I had to improvise the words all the way through the song. 'Together! We will…do something! Together! We will…all have to sing!' At that point I think, as usual, we imagined it might be a b-side at some point. Chris: "Then we performed it again in America for a Lifebeat charity concert in New York, and the Indian from the Village People came along. Neil: "And for the second time running the words blew away, but by that time I was vaguely more familiar with them. From the beginning we had put in the whole new middle bit - 'there where the air is free…' - which doesn't exist in the Village People's version. Chris wrote the chords, I think, and I wrote the new words. I don't think they're very good. '...where the air is free…' - what does that mean? Chris: "It's good. Neil: "I think 'the promised land' bit is good, because I'd isolated what the core of the song is - it's about finding a promised land. Some of the other lyrics are mine, only because I could never be bothered to work out what the Village People were singing. The weird line - 'rustling, just to feed' - I'm sure that's not what they sing. I've no idea what they sing. We first recorded our version in 1992 as a one-off single. Chris had just had a studio built in his house and we wanted to do a track to try it out, so we did 'Go West'. We also went to America and recorded a choir - I liked the idea of doing vocals like 'There Is Nothing Like A Dame' from South Pacific on a pop record, a big choir of butch men, so we got a group of Broadway singers in New York arranged by Richard Niles to perform it in that style. We also put on seagulls from a sample CD, because of the beach…'Go West'…California. I also, being a kind of Guinness Book Of Hit Singles type of person, realised that 1992 would be the first year we wouldn't have had a top ten single since we started having hits, and that it would ruin our run. So, to be perfectly honest, that was my main reason for wanting to release it before Christmas that year. We mixed it with Mark 'Spike' Stent, and did b-sides, and then I spoke to Tony Wadsworth, who was the managing director at Parlophone. He phoned me up and said, 'What do you expect to achieve by releasing this now?' And I thought, 'You're right - I don't know.' I couldn't say the truth. If we'd been a hundred per cent happy with it we would have gone ahead and released it anyway, but secretly between the two of us we weren't happy with the mix of it. So we thought, let's not do it. I now think the original twelve-inch [CD2, track 1], which has never been released, is pretty good. It's dominated by this synth riff of Chris's which isn't even in the final version. The version on this album is actually even longer than the twelve-inch we were going to release in 1992 - we were going to fade it out much earlier. After we decided not to release it, we asked Brothers In Rhythm to work on the track. Chris: "We thought the rhythm track wasn't good enough. Neil: "They re-did the bassline, and Steve Anderson put in some piano at the beginning. We just kept on working on it. We took stuff away and put some back. On the 'Spike' Stent version of it there's no brass in the instrumental section after the first chorus because we'd taken it out. We'd already got Richard Niles to do the brass arrangement you can hear in the final version but when we first heard we absolutely hated it. We thought it was too cheesy. Chris: "Brothers In Rhythm put it back in. Neil: "And we realised it was perfect for the song. Then Stephen Hague mixed it, and that was basically it. Then, after it came out, we had the whole how-we-changed-Russia thing. Chris: "It does sound surprisingly like the former Soviet anthem, we have subsequently discovered. It's remarkably similar. Neil: "We did bits in Moscow for the 'Go West' video simply because we were going to Moscow for the launch of Russian MTV. It was just a coincidence, and we thought, 'Where do you go when you're East? You go West', so we did some filming in Red Square, pointing. But according to this artist we know in Russia, people thought that we had done a song that was based on the Soviet national anthem, and these Hungarian fans wrote to us and said, 'I hear this song and I am frightened,' because they thought it was suggesting that the Russians should invade Eastern Europe again, because they would go west. Maybe that's why the Russians like it. Chris: "It's also incredible that it ended up as such a big football anthem. Who would have thought that an obscure Village People song covered by the Pet Shop Boys would become the song of football. It's fantastic. I think it's our greatest achievement. [Heart] Neil: "This is inspired by Phyllis Nelson's 'I Like You', which Shep Pettibone produced, and is why we worked with Shep in the first place. We decided to record 'Heart' for Actually with Shep. Before that, we'd sent Narada Michael Walden a tape of this and 'What have I done to deserve this?' and he said he was interested in working with us but he couldn't hear the song. With Shep we just remade our demo - at the time, as well as for the album we were doing it for a movie Steven Spielberg was producing called Inner Space - but we didn't think that version [CD2, track 2] was glossy enough, so it was never used. We then asked Andy Richards, who worked with Julian Mendelsohn, if he wanted to do a song with us. I only wrote the third verse when we did it with him and I think I changed the lyrics a bit as well. The first version we did with him, with the syn drum on it, ended up being the seven-inch single the following year, in 1988, and has J.J. Belle playing guitar on it, but for some reason we went off that and so then we asked Julian Mendolsohn to mix the song for the album. He took out the guitar because he said it was too complicated, and he actually accidentally wiped a bit off the track - that's why it comes in going 'beat…beat…heartbeat'. He was slightly embarrassed about it. This was the song we wanted to give to Madonna, but we never even tried. And at one stage we were going to give it to Hazell Dean. But then we decided we liked it too much and that we'd keep it for ourselves. I think it's got one of the best middle bits we've ever written. Of course, the words are just ordinary. I thought of the verse on a bus going up the King's Road - I was going to Advision when we were recording Please. I was passing Peter Jones and I started singing, 'every time I see you/ something happens to me/ like a strange reaction/ between you and me/ my heart starts missing a beat…' We started writing it in Advision - Chris was just vamping at the piano one day for hours and it sounded really brilliant. Chris forgot it but I remembered it. Chris: "I'm classic at forgetting things. Neil: "The song was originally going to be called 'Heartbeat' but just before the album came out Jon Moss from Culture Club had started a group called Heartbeat UK and they had posters all over London, so we decided to change the title. We were very surprised when the single version got to number one. By this time Bros were around, and at Massive Management, Tom Watkins' company, they were saying they thought this would get to number 15. But it went to number one and stayed there for three weeks. I think the reason it was so successful was because it was a completely straightforward love song with a wacky video. We did a twelve-inch of the single version [CD2, track 7], which includes the seven-inch within it. At the time it was rather daring having syn drums. [Hey, Headmaster] Neil: "This is a very old song, written on the guitar before I knew Chris, and I remembered it one day. I don't know why. Chris wasn't in the studio so I started to do a demo of this song, and I asked Pete Gleadall to get some really heavy drum sounds up because I thought the song otherwise would be kind of indie. It didn't take very long to do - it took about three hours. The story's quite interesting - there's been a ghastly scandal in the school. It's set at a minor public school. I think I'd been reading some book. Before the First World War Oxford undergraduates would go on reading weekends with their tutors. I always think there's been some terrible sex scandal and the headmaster's about to be arrested or something like that, because there's a whole shadow cast. But the song doesn't spell it out, and I don't know. Actually, I think that at the end of the song the headmaster is going to kill himself. I like the fact that it has the word 'bibliophile' in it. The other week I was in a taxi and the taxi-driver said, 'You're in the Pet Shop Boys, aren't you?' and I said, 'Yes', and he said, 'You know what my favourite song of yours is?' - and I thought he'd say, 'That "East End girls"…' - and he said, ''Hey, headmaster'.' I said, 'That's a very odd one to choose'. He said, 'Was that a true story?', and I said it wasn't. [Hit And Miss] Neil: "This dates back to the previous year. It's a very romantic song. It's a bit Beatle-y. I wrote it on the piano at home, and then I came up with the words at the end of 1994 on the Discovery tour. I play the guitar on the record. I like the 'ooooo's. I don't think this sounds much like any of our records. It's a rock ballad. It's about the end of a relationship, looking back at the start of the relationship. It's reminding someone why you were in love in the first place. It's autobiographical. [Hit Music] Neil: "Chris and I went to this house near Croydon to write some songs and we wrote 'King's Cross' and this. You may think it sounds a bit like 'Peter Gunn', which was a hit for The Art Of Noise. That's because we were in a New York club, The Pyramid, and they were playing The Art Of Noise version of 'Peter Gunn' and I found myself singing 'hit music - on the radio' to it in the taxi on the way home. The sort of idea you think of in America. So we did the song anyway. It's not exactly the same. Chris: "You can't copyright a bassline. Neil: "It's also very like 'Venus'. And the strings are a bit Beatle-y, a bit like 'I Am The Walrus'. And the 'I've been working hard all day to pay the bills I have to pay' line is a complete nick from the Abba song, 'Money Money Money'. It didn't occur to me until years afterwards. I mean, it's not a very original lyric anyway. Someone at the time suggested that I was obsessed with bills because I'd already mentioned them three times in songs - I was actually rather horrified when I realised that. But I like 'in Kensington or Spanish Harlem'. I wanted to have two totally contrasting places. The best bit of the song is the end where it goes into half-time. We did that because we always liked the end of 'Careless Whisper' by George Michael. The song is partly about the idea of pop music as a prop or a crutch, and about the annoyance and banality of hit music - 'desperate hit music' - even as you really like it. But it's really all about Aids, this song, though I sort of hid it at the same time. There were some more direct references, but I took them out because they weren't very good. It's about how sex had gone out of the entire nightclubbing ethos because of Aids. Nightclubbing is about sex, really, so when it's not, what's left? [How Can You Expect To Be Taken Seriously?] Neil: "In 1990 Bobby Brown was very popular, particularly the song 'Every Little Step'. Chris used to be able to do the dance. Chris: "I'd like to have been able to do it. Neil: "He used to do it backstage. So we decided to do a swingbeat song. This was the song which made an American friend of mine take this album back to the shop. He was so shocked we'd done a swingbeat song - he was absolutely appalled. There's also a guitar solo by me, actually played on the guitar. I'm also playing the power chords. We wrote this in Scotland. I'd just got a distortion box. I think if I was really being honest the idea for the lyric started with Bros. We'd had the same manager and we were always rather fascinated by Bros. Bros came back with their second album and they said to Terry Wogan on Wogan that they were 'about longevity'. Chris and I just loved this so much - we used to go on and on talking about longevity. The idea that you could be 'about longevity', not that you would achieve longevity… it just seemed like a really weird way of thinking. And of course, as it happened, Bros only had about three months to go. The words are about the aspirations and pomposity of pop stars and it just lists all these things that pop stars do and then says, 'how can you expect to be taken seriously?' There's the normal attack on any number of rock stars supporting humanitarian causes. We'd ranted on about this for the second half of the Eighties. 1990 was kind of rainforest time, and the ozone layer. My point always was that these were, and are, very serious issues and they were trivialised by pop stars going on and on about them, and I predicted that pop stars would very quickly lose interest in them and therefore the issues themselves would seem to be tired early Nineties issues and no one would take them seriously. I think I was right. There's also an attack on the Rock 'n' Roll Hall Of Fame. When you think of how rock started as this amazing rebellious thing, this fusion of country'n'western and r'n'b and some wild white trash called Elvis Presley… and it ends up in an annual dinner in the Waldorf Astoria hotel in New York with a lot of people in dinner suits nominating each other to the a Rock 'n' Roll Hall Of Fame. It always seemed sort of ridiculous to me to have institutionalised the whole thing. The bit where I ask, 'Do you have a message for your fans?' was a boy band thing - people hadn't had a message for their fans for decades, since the sixties, and suddenly people were doing it again. When I was writing the song Chris said, 'Do you think you should make the words nastier?', because actually the words at the start were a bit airy-fairy. It hadn't occurred to me, and suddenly I thought, 'Oh, it should be really horrible.' It's a bit of a 'You're So Vain' concept, really. [How I Learned To Hate Rock'n'Roll] Neil: "Another title I'd had lying around for ages, but the song was written at Rocky Lane. We'd never written a song about hating rock 'n' roll. Chris: "It's a bit ironic putting this after the previous tracks. I think we don't really know what we like and don't like. Neil: "The song is a statement about the things about rock 'n' roll that I don't like - all the pomposity and hypocrisy and the rest of it. I'm saying that when I grew up, I hated all these things. It suggests that one once liked rock 'n' roll but was disillusioned by it. Really it should be called 'How I became disillusioned by rock 'n' roll'. You get disillusioned because it's insincere, everyone copies everyone else, everyone sets themselves up as wanting to change the world and then joins the rock aristocracy. We're going through it again at the moment. Chris: "There's even a dance aristocracy now that's even worse. You've got all the DJs flying around the world in private jets and swanning around in Ferraris and going on about their wine collections. It's dreadful. Neil: "I don't know what we were trying to be musically on this. I don't think it was ever going to be anything other than a b-side. The album was sort of finished when we did it. [I'm Not Scared] Neil: "We originally wrote this for Patsy Kensit in 1987 and it had been a hit for her group Eighth Wonder earlier in 1988, at the same time as 'Heart' was a hit. We used to meet Patsy Kensit at parties and she'd asked us to make a record with her. We'd never produced anything for anyone else before, and Phil Harding and Ian Curnow did tons of the work. The original demo, which we'd written in 1985 in Camden Town at the same time as 'Love comes quickly', had been called 'A Roma'. Chris: "One of my useless puns. Neil: "It was only an instrumental. We thought it sounded a bit like Shannon. At the time Patsy Kensit had been in Absolute Beginners and she was in this group Eighth Wonder and they hadn't had a hit, and she was seen as a little girl and a controlled hype, and I thought the way that she was perceived could be changed. I thought it would be good if she could be seen as a strong woman. She seemed to me to be a very strong-willed person, slightly ruthless even, and I didn't think it was good that she was just portrayed as a sexy bimbo. Chris and I were obsessed at the time by this record Princess Stephanie had made, 'Irresistible'. We liked that kind of French pop music and we liked the idea of making Patsy a European pop star. I think we did a demo with four verses but there wasn't room for all of them in her version. I wanted the song to sound as though it was translated from French, hence the line 'what have you got to say of shadows in your past?' I've tried for years to rationalise the line 'tonight the streets are full of actors'. I suppose it's just about people posing. 'Take these dogs away from me…' is actually a quote, or a misquote, from a John Betjeman poem called 'Senex', which is about it being disgusting to feel sexy when you're old. In the song, the idea is that she's got this horrible gangster boyfriend who's pushing her around but she's going to stand up to him because she's not scared. The dogs are the hooligans and criminal elements around them. So when I sing it I'm doing one of my singing-from-the-point-of-view-of-a-woman songs. I'm singing it as a woman. Chris: "You don't get the spoken French bit in our version. Neil: "No. But, doing one of our filmic things, we decided to set it in 1968 in Paris, because there was something French-sounding about the track anyway. The band at the start is taken from 1968 news footage, and you can hear a fascist speech - it's from a counter-revolutionary rally in Paris. I had been reading a book about that period at the time. It was just the romance of revolution: students and workers. We got the tape from ITN but we weren't allowed to use the newscaster, which was a shame, because we wanted to put this bit over the end where he said, in this camp posh voice, 'the workers of France are marching…' For our version, we reinstated the missing fourth verse. It was after this track that I started singing much higher. If you listen to the first two albums I don't really sing high on them. We produced it ourselves with David Jacob. We did it in a much more Europop way with Patsy and we felt we could do it in a more luscious film soundtrack way, because the melody line is very string-based and romantic. Our version also sounds more electronic. It's very over the top. I think this is also the only song we've written with a coda where a whole new bit comes at the end. [I Get Excited (You Get Excited Too)] Neil: "This was originally done with Bobby 'O' in New York. The first version of 'West End girls' had come out in England, and we were going to America that weekend: I was going to Miami to interview Wham! for Smash Hits and then I was meeting Chris in New York. It was meant to be our Bobby 'O' single after 'One more chance', and he got some Puerto Rican people to remix it, but it never came out. When we recorded this at the beginning of 1988 it was going to be for Introspective. We wanted to have a guitar on it and we phoned up Eric Clapton's manager to see if Eric Clapton would play on it. Amazingly that was where our heads were at at the time. They said no but they were very nice about it. When we recorded it, we did the whole thing as we had done it on the demo, and then I went to the loo - if I go out of the room Chris often gets wickedly creative - and Chris turned it into a house track. Then we decided to put in a middle bit with really silly words about the neighbours talking. We got Stephen Lipson to play a really rock guitar solo. Chris: "I think we realised it would make a good b-side. In retrospect, I think it might have been better as a Bobby 'O'-style record. Neil: "The basis of the song is the famous Oscar Wilde quote: 'we are all in the gutter but some of us are looking at the stars'. Originally it had a funny lyric about being really excited about things. It had a rap where I shouted things, and I know I mentioned lots of funny names like Dame Anna Neagle at one point. I remember I made up the words 'I hear the sound of the subway, the sigh of the heat/ the click of the vistors' heels on the street' walking down Regent Street and I was rather pleased with them. It's about being in New York. Being me, I don't think it ever occurred to me that it sounded rude. It's never entered my head that it had any sexual connotation at all. Chris: "I think we can safely say that Neil's subconscious is very active. Neil: "It probably is, but it's not about sex - it's about being in New York and being really excited about it. Though you've got no money and you're having a grim time you're still excited. Two friends having a laugh. Maybe they're excited because they're in love, but maybe they're just tourists. I just like the idea of irrational excitement. [I Want A Dog (Actually Era)] Neil: "'I want a dog' came from our friend Pete. He said, 'I want a dog. A chihuahua. I've only got a small flat'. I laughed, and wrote it down straightaway. Chris wrote all the music to it. The piano bit was going to be the main tune and then Chris pointed out that it was a bit like 'look now, planet earth'. I remember David Jacob doing a very good 'meow' for us to use. Chris: "It's an unusual track, this. Quite interesting. Probably spoiled by my vocal. Neil: "We wrote it in the studio in two days, as a b-side for 'Rent'. I think we were trying to do a Detroit techno thing. Chris: "Of course, in those days with house music every record was different. Dance music wasn't formulaic yet. I like the 'woof!' as the snare drum. Neil: "On it, Chris reads out a list of dogs. In the middle there's a reference to Kraftwerk where he goes 'und dachshund'. Chris: "Sardonically. It was good fun coming up with a list of dogs. Though we don't mention Lakeland terriers, which is the kind of dog Neil now has. It's one of our silly range, isn't it? Neil: "I think it's really sad, myself. It's about loneliness. It's why people have dogs - for love and security. We always planned to write a song called 'I want a baby' as a follow-up. [I Want A Dog (Introspective Era)] Neil: "We really liked the song, which was first released as the b-side of 'Rent' [see Actually sleevenotes] and we thought it could be better, We liked Frankie Knuckles, so we approached him to remix it. Chris: "I really liked 'Your Love'. Neil: "We went to New Jersey to this studio to hear the finished mixes. He was a big guy, very gentle, and the mixes - there were four of them - just sounded fantastic. It sounded really black and so there was this incredible contrast with my voice. This was still, relatively, the early days of house music. We drove around New York in a limo playing the mixes. Chris: "It really went well with the Manhattan landscape. Neil: "When we got back to London we played it to Trevor Horn and Steve Lipson, and Trevor said, 'See? Cheap gear sounds better'. Our version was a bit experimental; this version had a kind of dark deep house atmosphere to it. It brings out the song's sad sinister quality, and it's got a fantastic rhythm track. [I Want A Lover] Neil: "We wrote this at Ray Roberts studio one night in 1983. Ray Roberts had a bass guitar which I played. This is us doing gay disco - the words are completely about going to a club and picking up someone. When we first started writing together Chris was very keen that we should write sleazy songs - it had never occurred to me before. It's about standing at a corner of a nightclub and everyone's leaving and you've seen someone you fancy, and who's going to make the first approach? It emphasises the transitory nature of it - it was totally a pre-Aids song. It's recorded with Blue Weaver who we'd met when we did the first single version of 'Opportunities'. He played on all the Bee Gees records and he was in Amen Corner. He's a great keyboard player and programmer. Chris: "Blue Weaver always understood disco. Neil: "He lived in Miami. He played at the White House with the Bee Gees for President Carter - how much more disco than that can you get? There's real guitar on it, played by a friend of Blue Weaver's. There was more guitar originally - it sounded like 'Fame' in the middle - but we edited it out. There's another car crash on this - a different car crash - and there is a sample of Chris playing the trombone. Chris brought his trombone into the studio. He wasn't very keen on doing it. Chris: "Blue Weaver insisted. I learned the trombone when I was about ten. My grandfather played the trombone. Neil: "It's got my favourite line: 'driving through the night, it's so exciting', followed by a car crash. Chris: "Was that the first song with a bass drum on the fours? Neil: "Yes, it probably was, and that's now what you'd think of as really Pet Shop Boys. Chris: "It's all about turning off the lights and it all getting a bit steamy. Our records aren't sexy enough now. It's all bloody politics and the intricacies of Russian history. No one wants to hear about that, do they? [I Want To Wake Up] Chris: "I went into the studio on my own and did an entire backing track by myself, which I loved, and handed it over to Neil to write some lyrics. Neil: "I'd written a song on the guitar before I knew Chris, a rocky kind of thing called 'I heard what you said'. When I originally wrote it I'd literally just heard 'Love Is Strange' and 'Tainted Love' on the radio - originally it said 'songs like "Tainted Love" and "Love Is Strange" and "Yesterday"' but 'Yesterday' got taken out. I took these words I'd written and started singing them to Chris's tune. It's about unrequited love. At the beginning the narrator is really saying, 'I want to wake up from this nightmare of unrequited love' and by the end it has changed to 'I want to wake up with you'. Which was a single by Boris Gardiner, but that didn't occur to us until afterwards. The idea is that being with someone is like a dream, or a nightmare. We got Shep Pettibone to produce it. The 'oooo-oooo-ooo-ooo-ooo's are a complete New Order rip-off, from 'Everything's Gone Green', I think. At the end of the song I'm doing harmonies for the first time. On this album, everything was trying to be more ambitious than Please. We also mixed a more atmospheric version, without drums, to see what it would sound like [CD2, track 1], but it was never released. [I Wouldn't Normally Do This Kind Of Thing] Neil: "I was going to Edinburgh to see a painting by James Pryde, which I own, exhibited in the National Gallery of Scotland, and I can remember quite clearly in the taxi on the way to the airport - the bit where you drive past those skyscrapers on the M4 going to Heathrow where the road goes up - I suddenly thought, 'I wouldn't normally do this kind of thing'. Maybe it was because it was what I was thinking - I wouldn't normally fly back and forth from somewhere in a day. And it was in my head all day long; I had the whole thing, the whole song. It was all very easy. And we were in the studio the following day and did a demo, and the version on the album isn't very different. Stephen Hague put the little guitar riff at the front - we just had the piano. Chris: "For the single version [CD2, track 7] we roped in some hip and happening dance producers. Neil: "The Beatmasters took the guitar riff and made the whole thing much more Sixties. At the time I thought I preferred the single version, but now I quite like the economy of the album version, and I like the instrumental break Chris wrote in the middle, and that's different in the seven-inch. It's a song about a reserved Englishman, falling in love and going bonkers. It's partly based on my own experiences, but it would be a mistake to think of it as a picture of me, because I'm not a totally reserved person. It's written a bit like a Noel Coward song - it's a list song, just a lot of things he wouldn't normally do. I was very pleased with the line about taking all my clothes off and dancing to The Rite of Spring. I always used to like the cartoons in The Observer by the American cartoonist, Feiffer where a woman would say, for instance, 'this is my dance for spring…', and jump in the air, and then there would be a funny pay-off line. I always imagined it being like that. I think the man in the video who does that bit is somewhat disappointing. I remember when we finished the album I went to Manchester and played it to Johnny Marr and when I put this on he started laughing, and laughed all the way through it. [In The Night] Neil: "We had the musical idea of writing a song with the same chord change and tempo as 'Opportunities', which it was going to be the b-side of. We thought you would then be able to mix one into the other. The words were inspired by a book I read about Paris in the occupation, Paris In The Third Reich: A History Of The German Occupation, 1940-1944, by David Pryce-Jones; I read about these people called les Zazous who were like prototype beatniks. They were apolitical and used to grow long hair and listen to American jazz music, which of course was illegal under the Nazis. They were very existentialist and sat round talking about love and the meaning of life. I was just fascinated that they were totally out of the context of their times; that you had this beatnik culture in the middle of the Second World War in occupied Paris. The lyric mentions the clubs they went to, like Select and Le Colisée. They also sneered at the masculinity of both the resistance and the Germans; I suppose I sympathised with them. The song looks at the moral implications, because the Nazis hated them and the Resistance hated them, because they were fatalistic and didn't participate in the resistance, and the song asks whether that's collaboration. It revolves around the chorus - 'there's a thin line between love and crime and in this situation/ a thin line between love and crime and collaboration' - because the fact of the matter is that if you're not really against something, you're for it, and in a way they collaborated with the Nazis by just carrying on a normal life. So, in the end, I am criticising them. We recorded it in PWL. Tom Watkins said there was this really good engineer at PWL called Phil Harding, and he'd done a mix of Bronski Beat's 'Why?' so we worked with him and his programmer Ian Curnow. We recorded it across two nights because they were working during the day on Brilliant's album. We'd work from ten o'clock at night until ten o'clock in the morning. Chris had already written the music on Blue Weaver's Fairlight. Chris: "It was so boring making 'Opportunities' over three weeks that we decided to beaver away on the Fairlight while they were doing that, and we knocked this out. And the great thing was, the bloke who was mastering the record thought this was the a-side and that 'Opportunities' was the b-side. Neil: "When I sang it, I tried to sound like Donovan, because I was thinking of a Donovan song, 'Goo Goo Barabajagal'. Although he was a hippie he had a rather cool way of singing. [In The Night 1995] Neil: "We re-made 'In the night', which was originally the b-side of 'Opportunities' [see Please sleevenotes], in 1995 in a new instrumental version for The Clothes Show, because they'd used it as their theme for so many years and wanted a new version. Chris changed the chords slightly. Chris: "I put in a fourth chord. Just to change it. It's very house-y. It's house heaven. Neil: "At the time we also tried to record another new version of this more like the original, trying to mix the Phil Harding version with the Arthur Baker version, but we gave up. Chris: "We turned this version into a bit of an opus. Neil: "As Chris pointed out at the time, it has symphonic form. It has three movements. This is one of these tracks that I think is rubbish until I listen to it, and then I find myself enjoying it. Chris: "There's a mad bit near the end where it suddenly goes faster. Neil: "The voice at the end is Sylvia Mason-James. We got her in to sing 'hey yeah'. [If Love Were All/Can You Forgive Her] "If Love Were All" and the swing version of "Can You Forgive Her?" were arranged by Richard Niles for Neil to perform live with Niles' group Bandzilla. When the date of the gig came around (25 Mar 94) Neil had a cold and couldn't perform, but he recorded these versions with a live orchestra a month or so later. (The Bandzilla gig was also slated to include a vocal version of "Overture To Performance", unfortunately never recorded.) Neil: "While we were doing 'Decadence', Richard Niles and I discussed how 'Can you forgive her?' would sound good as a swing tune by a band. Richard Niles said that if I would sing it with him and his group at a concert they were doing, he would do an arrangement of it as a swing tune. He also wanted me to sing another song, and I'd always liked the song by Noël Coward, 'If Love Were All' - in fact it's my favourite song by Noël Coward. It's not often recorded, the full song. Normally you just get the end bit. There isn't actually a recording of Noël Coward singing the verse. I knew it from a live recording of Judy Garland singing it. But I like its philosophy about love: 'I believe, the more you love a man, the more you give your trust, the more you're bound to lose…' I think I should have double-tracked it, but I left it very vulnerable. I can barely sing it - I had to go back and record the vocal again because I didn't like what I did the first time. Richard Niles produced it, and suggested certain phrasing. The arrangement sounds very Radio Two. It reminds me of my childhood, listening to The Light Programme. It's a very unusual track for us. I ended up not singing at Richard Niles' concert because I got flu. [It Always Comes As A Surprise] Neil: "It's a love song, it's quite obvious what it's about; the excitement at the start of a love affair, when someone seems magical and different and you're thinking 'How amazine, I'm here with you'. The two characters are two different types of people - personality-wise, age-wise, culturally - so it's a surprising pair of people. It's autobiographical." Neil: "This was originally a Phil Collins-style ballad, and Chris Porter very sensibly said, 'Aren't you trying to do this album in a sort of Latin style - why don't you do it in a Latin style?' And we thought: 'Why don't we do that?' It starts off with a sample from Astrud Gilberto's 'Corcovado', then a berimbau comes in. I've always loved the sound of this Brazilian instrument. Chris: "We put Astrud Gilberto backwards, which we thought would hide that it's her, but the fact is that she sounds the same backwards as she does forwards. Neil: "We paid to use it. It comes back later in the song. When the rhythm kicks in, it always reminds me of 'La Vie En Rose' by Grace Jones. The guitar on this song was played on a keyboard, as well as two guitarists having a go at it. What you hear on the record is a mix of all three. After the middle bit, which goes down chromatically, you get a cool sax solo. It's so like Stan Getz. 'Cocktail jazz', as a Rolling Stone critic would call it. There's loads of bottom end. Chris: "I don't know why we don't have lots of bottom end all the time. Neil: "It's a very straightforward love song, saying what it says: you fancy someone so much you're surprised you've ended up with them. You can't believe they wouldn't rather be with someone else. It was inspired by the relationship I was in at the time. I wanted this to be the first single off the album but Chris wouldn't have it. We could never work out a good edit of it, anyway. [It Couldn't Happen Here] Neil: "We'd written this song 'Jealousy' - one of the first songs we wrote, which would eventually be recorded for Behaviour - and we wanted Ennio Morricone to do the string arrangement. So Tom Watkins tracked down Ennio Morricone's manager and he came to Sarm West and we played him 'Jealousy' and he liked it, but months passed and in the end Ennio Morricone didn't want to arrange 'Jealousy' but he said he'd write a song with us. They sent over this song in Italian which sounded like David Bowie in about 1970. It was a funny song about a man building an ark. We liked the tune of the chorus, so we took the tune of the chorus and wrote a new verse, and that was what became 'It couldn't happen here'. We sent it to Ennio Morricone and heard nothing. Finally Chris and I went to see the film Blue Velvet one night and we liked the music, which was written by Angelo Badalamenti, who later became very famous for doing the Twin Peaks music, so we thought, 'let's get him to do the arrangement instead'. We were recording the song with Stephen Hague and I remember we had a bit of a row with him because he hadn't arranged an orchestra to record Angelo Badalamenti's arrangement. So, instead, Blue Weaver brought in his Fairlight and spent two days programming the entire arrangement using orchestral samples. It took three different passes of the Fairlight to record all the parts, and actually it gives the whole track a very eerie quality we would never have got from an orchestra. It sounds tighter, and also more weird. So, ultimately, it was a happy accident. It's probably my favourite track on the album. I remember Dusty playing it as one of her favourite records on Radio One, saying it reminded her of Elgar. The lyric is about this friend of mine who was diagnosed with having Aids. In the first verse we are all teenagers in Newcastle in the whole glam period, and the song describes the Newcastle scene: 'in six-inch heels quoting magazines' - we'd always buy Harpers & Queen. We were all very ambitious. 'Who do you think you are?' refers to the idea that gay people were too public. There was a lot of anti-gay rhetoric in the Eighties. And then Aids comes along. I remember my friend and I discussing Aids, and how people said it wasn't going to develop in England like it had in America. We said it couldn't happen here. Chris: "Originally the line continued '…just before it did', which I never liked. I always thought the word 'did' was too funny. Neil: "In time-honoured fashion, Chris got it removed by laughing at it. The song then becomes about how Aids affected the gay community, and the way people reacted to the gay community and suggested it was almost as though the gay community had been too visible and had themselves to blame. There was a lot of that going on at the time. The third verse reflects how people just reacted illogically to the whole thing and weren't able to react like it was a normal illness. The line about 'battle scars' refers directly to my friend because he'd just recovered from having pneumonia. I played him the song and he liked it, but I don't think he knew what it was about. Or maybe he did, but I didn't tell him and I didn't want him to know. [It Must Be Obvious] Neil: "This is a hilarious song. It started off as a joke about whatever must be obvious and I came up with the couplet: 'Everyone knows when they look at us/ of course they do, it must be obvious'. Which I thought was hilarious. Then, having written those lines, it turned into another unrequited love song, about being in love with someone and everyone knowing apart from the person you're in love with. I've always liked the lyrics because it mentions The Sound Of Music: 'it feels like the flight of the Von Trapps…' There's also a Noel Coward reference, to his short play Shadowplay, in which two people go back in time. Chris: "It's quite interesting, the backing track. Neil: "It was written in Glasgow, hence the guitar. Great snare fills - that's what makes this track. Chris: "It's very funny quantization. Everything is quantized to triplets. Neil: "It was the b-side of 'So hard'. Jill Carrington played it to someone from another record company who said, 'You might get a lot of people saying that the b-side's better than the a-side'. At the time, Chris wouldn't have this on the album. [It's Alright] Neil: "We bought the album Acid Tracks, which was the third The House Sound Of Chicago compilation, and we were listening through to it at Sarm West while we were recording something else, and 'It's Alright' by Sterling Void was on it, and we absolutely loved it. We suggested to Trevor Horn that he recorded it with this girl harmony group he was working with at the time, The Mint Juleps. And he started to do it with them. Chris: "They didn't like it, did they? Neil: "When we started working on Introspective and were working with Trevor on 'Left to my own devices' we listened to what he'd done on 'It's Alright', and decided to do it ourselves. This first version, which appeared on the album, was very much based on the original Sterling Void record. Chris: "Trevor Horn was very concerned with what the song was about. He went on and on about it. That's why Neil sings 'I hope it's going to be alright'. I've always preferred the original Sterling Void lyrics. The original line was 'it's going to be alright' and Neil added an element of doubt. Neil: "I did, but then halfway through the song I throw the doubt out of the window in a flurry of optimism. Chris: "I remember Neil and Trevor talking about it for ages. Neil: "We were never quite happy with the album version - it's got a much more of a raw sound than the rest of the album and I think it's the weakest track - so we re-recorded it with Trevor Horn for a single. I wrote some new lyrics - Trevor asked me to write another verse, which I did, setting up more problems. The original lyric was more political, and I brought in ecology in the second verse. My understanding is that the song goes from uncertainty to optimism. In fact, we re-recorded 'It's Alright' twice. The first attempt [CD2, track 12] has got the same start as the eventual single version - that's all we kept, though we did let this version slip out later on a ten-inch single. It's got a really pretentious bit in the middle: 'There's a boy standing by a river/ There's a girl lying with her lover/ There's a statesman standing at a crossroads/ There's a soldier polishing his gun'. I was saying that people were standing at a crossroads and there could be war or it could be peace. We took it out because it was fantastically pretentious and not very good. Though there was a feeling at the time - this was early 1989 - that the world was somehow changing, because of Gorbachev and South Africa and the rest of it. Trevor mostly did the third version [CD2, track 14], which became the single version, without us, because we were busy making Liza Minnelli's album. The third version was great. He had a new programmer, George DeAngelis, who had been working at PWL. Trevor had the idea of Chris saying, 'It's going to be alright', so you can hear that too. Chris: "I hate it. It spoils the record. [It's A Sin] Neil: "One day in 1982, when we were in Ray Roberts' studio in Camden, where we used to write songs in the early Eighties, Chris started playing those chords, and it sounded very religious to me, like a hymn, and I started singing 'it's a, it's a, it's a sin', and I wrote the words in about five minutes. Having thought of the phrase 'it's a sin', I thought 'what's a sin?' and having been brought up as a Catholic you thought everything was a sin. You're told that thinking about it is as bad as doing it. The song was meant to be kind of big and funny and camp. Chris: "Neil played cowbell. We were obsessed with cowbells in those days. Neil: "The middle bit, which became the 'father forgive me' section, was from another song Chris had written and I said, 'let's put that in "It's a sin".' We spent ages working on it. It was originally very Euro and had a different tune, very French-sounding. We demoed it in New York with Bobby 'O'. We thought of recording it with Stock Aitken Waterman for Please because we like 'So You Think You're A Man', the Divine record they did, but Pete Waterman didn't like the song. We also submitted it to Divine's manager and were going to send it to Ian Levine for Miguel Brown to do but they'd just done 'He's A Saint, He's A Sinner' so when I phoned him, he said, 'Another song with sin in the title is no good, is it?' When we recorded it for Actually, we decided to make the whole record gargantuanally Catholic and over-the-top. There was the famous faff where we went to Brompton Oratory with Julian Mendelsohn and recorded the ambience. You can hear it in the background of the 'father forgive me…' section. Chris: "These days we'd have gone for a cup of tea and a cake and let him do it. Neil: "There was a man cleaning candle-holders and we recorded that too. Then we went to Westminster Cathedral and there was a priest who was preaching - you can hear him at 0.39 - and there was a choir who sang 'amen' which is at 4.44. '20 seconds and counting', at the beginning, was a sample on Andy Richards' Fairlight and I just said, 'let's use that'. It's from one of the Apollo missions. It has absolutely no relevance whatsoever. And then I brought in a Catholic prayer book with the Confitior, which is from the Latin mass, and recited that in Latin: 'I confess to sins I have committed in my past…' Julian produced it, but we then weren't totally happy with it. We made a seven-inch version of it which we never released but I didn't think my vocal sounded good enough. So we gave it to Stephen Hague to work on it some more. Chris: "He took out half of the orchestra hits. Neil: "I did some of the vocal again and he put a vocoder or harmoniser with the vocals. Tom Watkins didn't like Stephen Hague's mix but we went with it. But this wasn't going to be the first single from the album. 'Heart' was agreed to be the first single. It had 'You know where you went wrong' on the b-side and we'd done artwork for it with Chris and I smiling, because we were so sick of people saying 'please smile'. Then, one day, we were in Paris promoting 'Suburbia', the famous time we had to rehearse miming on the radio and we threw a major wobbler because it was so stupid. Anyway, Tom Watkins phoned up and said, 'Right, no one at EMI dares say this to you but everyone thinks you're mad not releasing "It's a sin" because it's easily the most commercial track on the album. I know you're not going to listen to anything I say but I think you should think about it.' So we did. We were going to use the same artwork, but Jill Carrington - who worked at EMI and later became our manager - said, 'No, it's stupid for "It's a sin".' So we did a new session with Eric Watson in a church in Spitalfields. We did the twelve-inch with Stephen Hague [CD2, track 5] - it was just an extended, exciting mix. [Jack The Lad] Neil: "It started with a knock-off of one of Erik Satie's Trois Gymnopedies. We'd had the idea that there was going to be a Neil track and a Chris track on the 'Suburbia' single; Chris's track was 'Paninaro' and this was mine. The idea of calling a song 'Jack the lad' came from Big Audio Dynamite, whose song 'E=MC2' had a very similar chord change to 'West End girls'. On 'E=MC2' there's a sample from the film Performance which says, 'Who do you think you are - Jack the lad?' And I had been reading about Lawrence of Arabia at the time, and about the spy Kim Philby: people who go too far, and people who practice deception. The second verse refers to the fact that Lawrence of Arabia is supposed to have been homosexual - 'telling lies in public, breaking codes at home, underneath the blankets…' When I say, 'Are you only Jack the lad?', I'm saying: are you just messing about? 'To feast with panthers…' is a reference to Oscar Wilde who said that when he was going out with all these rent boys it was like feasting with panthers because they were all so dangerous and it was all likely to destroy him. Which, of course, it did. Lawrence of Arabia, Oscar Wilde and, in the third verse, Kim Philby - they each lived as an establishment figure but lived another life at the same time. The song is asking why they're doing it. It is just for bravado? 'Are you only Jack the lad?' Or, another suggestion, 'They must have hurt you, Jack'. Is it some kind of resentment against your fellow upper class people that makes you want to betray them? It's a sort of anti-bravado song in a way. It's saying: why not come to terms with all this resentment you have? 'We all fall' - everyone makes mistakes. When I sing 'this is your only religion' I'm suggesting that to not be restrained has become the main point of their lives. To never want to grow up and face responsibilities. I'm kind of talking about myself there as well. [Jealousy] Chris: "It's got cobwebs on, this song. Neil: "It's the first proper song we wrote. Chris wrote the music for this in his parents' house in Blackpool. It was about 1982. Chris: "That year I was at college in Liverpool and I used to go home quite often. There was a piano at home, in the dining room, and I'd sit playing it. I would doodle, normally, and not be able to remember anything I'd done, and I'd think: I'm just wasting creative juices here - what I need is a computer that's going to be able to save it all for posterity. But one day I sat down at the piano and this just came out. It was probably meant to be a bit like that big ballad in the Seventies, 'You're A Lady' by Peter Skellern - 'you're a lady, I'm a man' - which was very popular with the Lowe family. Neil: "Chris actually liked it so much he made a cassette - he was bubbling with excitement - and it was the moment when I realised we were actually quite serious about writing songs together, because he actually did that. There was a sort of commitment. I knew I was quite serious about it, but I didn't really know whether Chris was. This was before we'd ever been in a studio. I was amazed at the sophistication of the music. He said, 'Why don't you write some words for that?' Chris: "It was probably the first time I'd ever constructed a song. Neil: "The structure has never changed since he recorded it in Blackpool. The first time we went into the demo studio - we hired it with my redundancy money from Macdonald Educational - we did three songs, 'Bubadubadubadum', 'Jealousy' and 'Oh dear'. Chris just played it on the piano and I sang it live, and I think maybe he overdubbed strings. Chris had said he wanted it to be very intense, so I wrote about jealousy. When I first met Chris, my other friend called Chris was very jealous, and that inspired the song. My friend and I had an argument once where he said, about Chris Lowe, 'You see a lot of him, don't you?' because the other Chris was my official best friend and this wasn't a part of his life. I turned it into a story. It's about unrequited love. The 'strangers roaming the street' was about the King's Road at night. Chris: "There's some good lyrics in there, like 'you didn't phone when you said you would'. You know when you stay in and they say they're going to phone at eight o'clock and they don't phone all night and you go absolutely bonkers? Neil: "We considered doing 'Jealousy' on Please, and again on Actually; in 1986 we did another demo of it in Wandsworth. But I think we didn't record it then because we didn't want to have too many old songs on Actually. On Behaviour we just remade the Wandsworth demo. The orchestra is all samples played by Harold Faltermeyer, but on the single version - it was the final single from Behaviour - we used a real orchestra. I think we re-did that because of Musicians' Union rules - we'd had a problem with them, and we thought it would be easier if we were going to play the song on TV shows. We also remixed it so that it sounded slightly more electronic, and there's an extra sequencer line it. The twelve-inch version [CD2, track 8] has a long introduction over which I quote a Shakespeare speech about jealousy from Othello. I only knew it because I did Othello for A-level, by the way. It's Iago, who has put the idea into Othello's head that his wife is being unfaithful to him, and so Iago says to the audience, as an aside, 'not poppy nor mandragora nor all the drowsy syrups of the world shall ever medicine thee to that sweet sleep which thou owedst yesterday'. I always loved that line at school. When we were recording the twelve-inch I didn't know how you pronounced 'mandragora' so I phoned up our foremost Shakespearean actor, Ian MacKellen, and he told me. [King's Cross] Neil: "This was started off in a house near Croydon and then demoed in Wandsworth. It's basically a remake of the demo we did there. The idea came when we were driving through King's Cross with these two friends of ours, Pete and Steve, and Steve actually muttered, 'someone told me Monday, someone told me Saturday…' and I thought, 'King's Cross…what a good idea for a song'. I have no idea what he was actually talking about. It was about a football match or something. I liked the idea that you'd been given contradictory instructions, and it gave me the idea of a song where you're being pushed around. And then I thought, 'wait until tomorrow, and there's still no way'. I wrote it down when we got to Chris's flat. I started writing the music on my guitar and to begin with it was very very Bob Dylan. The demo was much slower, more hymn-like. King's Cross is the station you come to when you come down to London looking for opportunity from the North-East, then the most depressed part of England. And there's lots of crime around King's Cross - prostitution, drug addicts, and a lot of tramps come up to you there. I just thought that was a metaphor for Britain - people arriving at this place, waiting for an opportunity that doesn't happen, waiting for the dole queue or some documentation for the NHS. It's about hopes being dashed. You can read a book about what you should do, or write a letter to the paper, and still nothing happens because no one cares. The first line sets up the song. It's an angry song about Thatcherism. Mrs Thatcher came in on the promise of firm government and I'm interpreting 'the smack of firm government' literally as hitting someone. That's what firm government tends to mean - you hit the weakest person, the man at the back of the queue. I think there's something almost Biblical about 'only last night I found myself lost…' It's like an epic nightmare. 'The dead and wounded on either side, it's only a matter of time,' is another Aids reference. At the end - 'so I went looking out today' - there's a detective, and he's looking for someone, and this mythical place, King's Cross, is the end of the line, the place from where there is no escape but death. It's the death of all hope. And I'm saying that waiting there isn't enough. You've got to break out, you've got to react, start a revolution. You can't just behave in a fatalistic way. I still think it's one of our best songs, and I love the video where Chris gets off the train that Derek Jarman made of it for our 1989 tour. Chris: "It's very sad. Neil: "When we recorded it with Stephen Hague, he suggested that it should have a key change in the middle, which we added. He also went and recorded the trains going through North London to King's Cross, which you can hear. The last verse came from an argument I had with my best friend from Newcastle. He was very down, and he said we'd got where we were because we'd had so much good luck and he hadn't had good luck. He said, 'you can't deny, Neil, you've had a lot of good luck in your life'. I said, 'it's not about good luck - it's a matter of knowing what you want to do and sticking with it'. I felt a bit guilty the next day. There seemed to be this appalling contrast between the ways our lives were going. In the original running order of the album 'King's Cross' was the first track. My friend listened to it and said, 'well, that's great, you've managed to make the album sound really boring'. After the album came out there was the King's Cross fire, and The Sun wanted us to release it as a charity single. Chris: "And in our film It couldn't happen here, there was a man on fire when it's playing. Neil: "That was very spooky. Jack Bond, the director, asked the widow of someone who'd been killed and she said, 'you should leave it in'. [Later Tonight] Neil: "This is played by Chris on the piano in Advision. Stephen Hague insisted. He thought it would be great if we played something live on the album. Chris: "I'm amazed I agreed. Neil: "I sat on a stool and sang the song, and Chris played the piano, and we had dim lighting and it was really lovely and I really enjoyed doing it. Chris: "I would never do that now. Neil: "You play a solo. Chris: "How come I'm doing that? It's absolutely absurd. Neil: "This is such a sad song. This is the most gay song we've ever written, practically, and no one noticed at the time. It was about three of us staring out of the window from the Smash Hits office at a cute boy walking down Carnaby Street. He was a mod. The line 'he is the head boy of a school of thought' was quoted in Select magazine as being one of the terrible lines of all time; I thought it was a good line. I've always thought we'll put this song in a musical at some point. It was originally written on a guitar. The song is saying that the boy is so out of your reach you will never meet him…but then, you wait till later. Maybe it's destiny, or fate, because tonight always comes. So it may happen. Really it's about sex and class. People who like rough trade, it's an idealised and frustrating idea because you're fancying them for something they're not - they don't consider themselves to be rough trade. There was a whole other verse: 'you stare like a fellow new to town who can't believe his eyes/ through plate glass you can always see so much you want but can never touch'. It wasn't very good. [Left To My Own Devices] Neil: "'Left to my own devices' started off as an instrumental Chris wrote in EMI's demo studio in Abbey Road. We had asked Trevor Horn to do a song with us but we hadn't written it. We'd got to know him while making Actually in Sarm West. Chris: "We'd always liked his productions. Neil: "'Slave To The Rhythm', particularly. Chris: "'The Look Of Love' by ABC. Neil: "And The Art Of Noise. I've always liked big orchestral pop music. I've always liked Phil Spector's records, and the big Beatles records like 'A Day In The Life' and 'I Am The Walrus', and Trevor comes out of that school of production. Also, he was fun. We'd chat with him in the studio and have a laugh. Chris: "He's very good at anecdotes. He's always got one about being in a backing band for someone up in some Northern club. Neil: "Hazell Dean, for instance. And he'll tell you about how he played Madison Square Gardens as the lead singer of Yes. Also, he has this way of looking at you and his glasses seem to go opaque and you get this very blank look from him. Chris: "It's hilarious. Neil: "So we thought it would be fun to work with him, as indeed it was. We went into Abbey Road, the day before we'd arranged to meet him, to write something. Chris was doodling on the keyboard, and I was reading the Melody Maker and making phone calls and thinking 'I can't be bothered - can we go out for lunch?', and suddenly Chris got a bassline and I suggested we put it with these chords he had and it sounded quite good. Chris was in quite a hard-working mood, so he programmed it and I progressed onto the NME and then I realised - with joy - that I was singing to myself 'left to my own devices I probably would'. I don't know where it came from - it certainly wasn't Melody Maker. Chris: "It was more like a Motown song, to begin with. Neil: "The demo was much more moronic. It was slower than the finished record. I put onto it these guitar power chords from the Emulator and suddenly it was seriously happening so Chris read the Melody Maker and I did this mix where it built up from not very much to this enormous throbbing thing. It got louder and louder and louder until it distorted. Chris: "Neil was enjoying himself. Neil: "Across the road from the studio Trevor Horn and Jill Sinclair had a little flat which they used for making demos, and I played Trevor a cassette of this instrumental. He was quite interested in working with us, but when the track was playing it got so distorted that he stood up and turned it down in case it damaged his speakers. A very Trevor moment. He said he didn't want to judge this song because it had no words, apart from 'Left to my own devices'. Two mornings later I sat down at the typewriter. I thought, 'I've got to write this bloody song'. I didn't get out of bed at half past ten, I used to get out of bed at half past nine, as I still do, but I just thought it sounded better. I know that the 'party animal' was my friend Jon Savage because he always phoned up in the morning. Actually he's not a party animal but in the Eighties he'd go out more and we'd talk about what had been going on. Originally it was going to be 'drink some tea, maybe if you're with me, we'll drink some coffee'. When I thought of 'do some shopping' instead, I knew everyone would say it was pathetic - another Pet Shop Boys song mentioning shopping - but I decided 'coffee' was even more pathetic. Even though it is the kind of thing I'll do - I'll decide on my own I'll drink some tea, but if someone comes round I'll offer them coffee. The line 'pick up some brochures about the sun'…sitting in front of me on the table that morning were some brochures about holidays in Italy, because I knew a travel agent who'd given me these brochures about Italian villas. And then it goes into a major childhood experience: 'I was always told you should join a club…' Which is completely not true, by the way. That's when I realised what the song was about - that this person goes through life always doing what he wanted to do. I liked the idea of writing a really up pop song about being left alone. Chris: "I wonder what I would do if I was left alone. Neil: "I had been to see my parents not long before and my mother had said to me that she worried that when we were children we each had a corner of the garden - mine was the top left-hand corner - and I used to spend a lot of time there. I had a bit of bush in my corner and when it rained you could sit under there and you didn't really get wet and I used to like to sit there for hours and hours playing with my toy soldiers. I used to make caves for them there and bury them with twigs and leaves over the top, and then soil over that, so that they were secret caves, and only I knew where they were. This was when I was about eight. And I used to pretend not to be a Roundhead but to actually be a Cavalier - I used to jump around the garden pretending I was on a horse. My mother used to say she worried that I wouldn't have any friends because I'd sit there and live in a fantasy world. When she heard this song she said she was worried by the line 'I was a lonely boy, no strength no joy', but in fact I wasn't remotely lonely. The third verse was originally a rap in the middle of one of the first songs Chris and I ever wrote, 'It's not a crime'. The rest of the lyrics went: 'Love is all I want to see/ now I want you here with me/ through the morning afternoon/ all night long is none too soon/ and oh I've got the time/ I've got the time/ and oh it's not a crime/ it's not a crime/ Now I've fixed it we're all alone/ don't look back and don't go home/ through the morning afternoon/ lock the door and lose the key…' Chris: "Of course it was a crime then. But it was a bloody good song. Neil: "The song is a day in the life of someone, so it starts off with getting out of bed and being on the phone and drinking tea and all the rest of it, and it ends up with coming home.The last section of 'Left to my own devices' is meant to be a dream. That's why everything is jumbled up - Che Guevara is drinking tea and takes to the stage in a secret life. Che Guevara becomes a drag queen in the dream; that's what I always imagined. The 'Debussy and a disco beat…' section was written in the studio with Trevor. I mentioned that it should sound like Debussy, and Trevor said, 'I've always wanted to do Debussy to a disco beat'. I was going to mention Che Guevara in 'Domino dancing'. I'd been very interested in him since I was 14 when I'd bought his book on guerrilla warfare. So I paired him with Debussy to combine revolution with beauty. By this time I was making the words very exaggerated and camp, though writing a book and going on the stage were both things I had wanted to do when I was young. Chris: "I just wanted to get married and settle down with kids. Neil: "I had put on a guide vocal of the first three verses and the chorus at Advision, and the guide vocal is the one they used on the album. Trevor and Steve Lipson put it into the Synclavier, and I never changed it apart from putting harmonies on the chorus. Trevor Horn had this fantastic idea that we would programme all the keyboards and the computers, we would commission an orchestral arrangement, and then we would go in and record the whole thing live: the machines, the orchestra and the vocal. And it would all be done in one day. Six months later the record was finished, because it wasn't quite as simple as that. Trevor was working on a Simple Minds record at the time, and also with Paul McCartney. This was the first time we worked with the arranger, Richard Niles. We did the orchestral session at Abbey Road, and we were slightly appalled by it when we first heard it. Trevor said, 'now, don't worry - if we don't like anything we can edit it out'. But we were quite shocked. Chris: "There was too much of it. Neil: "But in the end we kept most of Richard Niles' arrangement, which is actually really brilliant, and we ended up working with him a lot after that. We really liked the idea that you had a dance track with this vast orchestra playing. The opera bit - 'I would if I could' - is sung by the opera singer Sally Bradshaw. Trevor had the idea that she should sing 'house' at the beginning because there were lots of records in the chart at the time that would go 'house music'. We did the seven-inch version [CD2, track 11] much later. We went back into the studio in the autumn of 1988, and I think we improved it. Steve Lipson plays guitar, and we added some extra backing vocals - Trevor got his mate Bruce Woolley to sing backing vocals on it because he could sound like me and I wasn't available. [Liberation] Neil: "It's a straightforward love song. The incident referred to in 'all the way back home at midnight/ you were sleeping on my shoulder' never happened, but it is about the relationship I was in at the time. There's nothing more to say about it really. The music was triggered by Prokofiev's music for the ballet, Romeo and Juliet. There's a version for piano, and in the theme for Friar Lawrence, the first two notes - just the first two notes - triggered the melody. I was lying in the bath at home listening to this and I suddenly thought of the melody for what became 'Liberation' and ran downstairs to work it out on the piano. Chris: "Doesn't it sound a bit like 'Being boring' - the same drum pattern and the same bass? Neil: "J.J. Belle plays guitar on it. It was never a struggle, this track, which is why I don't remember much about recording it. You normally remember things when they're a bit of a struggle. I think the song is about how, in a way, a relationship is trapping you, but it makes you feel free. And I'm saying: don't worry. It's one of our 'live for today' songs, like 'Tonight is forever'. It's terribly sweet, this song. There were always a lot of 'complications' and 'obligations' and 'hesitations' in my relationship, and it's saying: maybe we will make it work and maybe we won't, but it's fabulous now and it's worth enjoying the fact - and that makes you feel free. [Losing My Mind] Neil: "Our version of this is basically just the demo we made before recording it with Liza Minnelli, which we released much later on the b-side of the 'Jealousy' single. This disco mix is the longer of the two versions. This was done in our ZZ Top period, putting electric guitar samples on everything. The show Follies, by Stephen Sondheim, had been on in London, which is where this song comes from. In the show, two girls who used to be showgirls get married, and they both come back to New York for the party for the demolition of the theatre they used to work in. One woman would rather have married the other husband, and in this song she describes how she lives in the Midwest and every day she thinks about the man she loves. When I saw the show I thought this song could be a hit record. It's a very beautiful song, though we obviously did it in a less sensitive way. We went into RAK demo studio to do this version as an experiment to see if it would work for Liza, and Chris came up with the riff that sounds a little bit like 'Physical'. Liza hated the screaming bit, which was taken from a sample CD, and refused to have it on her version. On reflection I think she was right, because it's a bit gimmicky. The same day as we recorded this, we recorded the demo for 'Nothing has been proved'. [Love Comes Quickly] Neil: "This was written in the studio in Camden on the same evening we wrote the song that became 'I'm not scared', and they both have very much a similar mood. We were in our beautiful Italian disco mood that evening. This was in 1984 or early 1985, right towards the end of the time we were working in Ray Roberts' studio, and it was a much more mature-sounding track for us than we were used to. I was playing some chords, and Chris was playing some bass notes which made the chords rather interesting, and I immediately came up with the chorus and the 'ooo-ooo-ooo', and then I just sang the melody with some fake words. And we really really loved it - we thought we'd written a hit single. Not long afterwards we had our a meeting with the head of A&R at EMI, Dave Ambrose, and then we had to drive from EMI's offices to a pub in Fulham Road where he was meeting a man who was going to put Duran Duran on stamps in South America. And I said, 'You must hear this new track we've done - it's great'. It was very difficult to actually get him to listen to anything. I remember turning it up in the car. Anyway, by the time we got to the pub in Fulham he announced he was going to sign us, but I was slightly frustrated because I don't think he'd really taken in what a lovely track it was. There was another song on the tape, called 'Beautiful beast', totally camp nonsense which had this line we always laughed about - 'then you caught me there within your snare, you beautiful beast' - and had the most corny tune, and Dave Ambrose loved that. And I was trying to play him what I thought was the most amazingly cool 'Love comes quickly', about which he said absolutely nothing. So maybe we got signed on the basis of 'Beautiful beast'. But Stephen Hague always loved this song, and when we were recording it for Please he did an accidental thing with the production. Chris: "We used a sequencer on this track, and the sequencer shifted the bassline by a sixteenth, so that it played off the beat, and that was what he worked on. Neil: "This and 'Two divided by zero' were the tracks on the album that were what we wanted to be like: very electro, the middle-range sequencer part holding everything together, and also incredibly beautiful. We loved the handclaps fluttering from side to side, which we'd loved ever since that Sharon Redd record 'Never Gonna Give You Up'. Chris: "High strings, too. Neil: "This was the first appearance of a high string line, which has appeared in nearly every record we've ever made since. Stephen Hague said we should have a middle bit - he was right - and he wrote the first two chords, where it goes 'I know it sounds ridiculous…' Chris: "They're really good, though. Neil: "That's why the songwriting credit is 'Tennant/Lowe/Hague'. We also decided we needed a sax solo, and always being labels kind of people… Chris: "It was the Eighties. Neil: "…we thought, 'let's get the sax player from Roxy Music, Andy Mackay'. So Andy Mackay came in with his wife, who was fabulous, a real rock wife. We spent most of the time chatting to her. Andy Mackay played for hours and we used a tiny bit on the fade out. It's a good bit, though. We wanted the twelve-inch [CD2, track 8], which we did with Stephen Hague, to sound even more Italian disco. We wanted to just have more of it. When we finished it, we had an acetate run off and Chris and I went down to this club off Charing Cross Road we used to go to, the Jungle, and we got the DJ to play it. It was all very very exciting. It didn't clear the dancefloor. I remember that Stephen Hague was puzzled by the lines 'it may seem romantic/ and that's no defence/ love will always get to you'. The whole song was about how you can suddenly fall in love with someone and you can't help it. I was writing something gorgeously romantic, but I don't think it was about my life. Unless, now I think about it, it was about a friend falling in love, going through the traumatic start of a relationship, always rushing off and bursting into tears. The song is about the surprise. When you fall in love with someone, it's totally disruptive. You're having a comfortable life, and suddenly everything's just turned upside down. All your priorities change. But the song is also saying that, after it's happened, you suddenly realise you hadn't really been alive at all. [Metamorphosis] Neil: "This started out as a song we did with Mark and Trevor, the dancers and rappers on the Performance tour, using a backing track we'd written in Scotland when we were writing songs for 'Behaviour'. We had Sylvia Mason-James sing the chorus bits and they did this incredibly fast rapping, but they didn't like the end result so it never got issued. We thought about recording our own version for 'Very', but it took me ages to decide what I was going to write about. I had the first lines for ages 'please allow me to try and explain/I'm living proof that man can change' - and then it occurred to me it should be about being gay. About not wanting to be gay, and then being gay and all the rest of it. So it is completely autobiographical and more or less true." Chris: "I just rapped the odd line over Neil, like those rap records do." Neil: "'Metamorphosis' had been around for ages. It started as an instrumental Chris and I wrote in about 1989 when we were in Scotland writing songs for Behaviour. We gave it to Mark and Trevor, two of the dancers on the Performance tour, and they did a rap on it. It was Trevor's title, 'Metamorphosis', though I wrote the chorus for their version: 'you grow up and experience this/ a total metamorphosis'. It was a positive song about not getting into trouble with the police and stuff like that. But then they became the group Ignorants and they didn't like it - they thought it was too uncool. Then we did a version based on that original backing track, and that didn't really work either. Chris: "It sounded great in the studio but when we took it home it sounded crap. Neil: "It was too slow. It was irritating - we were stuck with the original tempo. Trevor rapped at twice the speed and, unfortunately, I can't do that. I tried, in the privacy of my own home - at one point I was going to do Trevor's rap - but I eventually realised that I would never be able to do it. We asked Jam & Spoon to work with us on it, but they didn't like the song. We'd been approached to work with K-Klass and so we got them to produce it. They came down to London from Manchester and spent a week or so doing it. They really did it all - they had their own programmer, keyboard player, engineer. They changed the music of the verse and I worked out how to get from that into the chorus. Sylvia Mason-James sings the chorus, and Chris does a bit at the end of most of the choruses, and at the end of the last verse. I like those bits. Chris: "I never like my bits. I've got a terrible voice. Neil: "It was very difficult thinking of all the words for this, and also thinking of the voice to do it in. Me rapping is a difficult issue in a way, because you always think of rapping in an American accent. I couldn't think of what to write the lyrics about if it was called 'Metamorphosis', and then I wrote the first two lines - 'please allow me to try and explain/ I'm living proof that man can change' - and I suddenly thought, 'Oh, it can be about coming out - about not wanting to be gay and then being gay and all the rest of it'. And that's what it is. It's pretty much autobiographical. I like 'the long term suppression of an adolescent urge'. There's a quotation from the Beatles in it: 'somebody spoke and I went into a dream'. I thought it was good to say these things in a form of music which is considered rather macho. The thing about a rap song which I had never realised, which has given me a lot of respect for people who rap, is that they eat up an incredible amount of words. Chris: "Maybe this came a bit too soon on the album, but it's good. Neil: "Hidden in this album there's a New York dance album as well: 'Metamorphosis', 'Before', 'Saturday night forever', 'Electricity'. [Miserablism] Chris: "Is it a real word? That's the first question. Neil: "It's become one, I notice. I've seen it used. I think we wrote this at the beginning of 1990, during the shoe-gazing period, when Morrissey was huge as a solo artist. It's another song sort of written from the point of view of being Morrissey - the first song like that being 'Getting away with it', the Electronic single, which I wrote most of the words of. 'Getting away with it' is looking at Morrissey's persona of being miserable and all the rest of it, and saying that he's been getting away with it for years. It's meant to be humorous. 'Miserablism' is a satire, a little like 'How can you expect to be taken seriously?' What bugged me about the shoe-gazers always looking really miserable is that people think someone like that is really serious. It's something that endlessly bugs me in pop music - that someone with the style of being serious is always accepted as being serious. And also that anyone being playful is then not taken seriously, whereas actually being playful is actually more difficult than being 'serious', and possibly can end up being a lot more serious at the same time. The words to this song were inspired by someone telling me that they asked their father on his deathbed what it was like, and he said: 'is is, isn't isn't'. And I thought that was a great quote, and a very kind of miserablist way of looking at the world. There's no romance - the only thing that exists is what really exists. Chris: "And of course it was quoted by Clinton only a couple of years ago. 'That depends what the definition of "is" is'. A direct reference to the lyrics of Neil Tennant. Neil: "Anyway, as quite often with us, in the middle bit you get the real sentiment. It sounds a bit pretentious, but it says: 'if "is" wasn't and" isn't" were/ you can't be sure/ but you might find ecstasy'. We recorded it in Germany for the album. It was meant to sound Giorgio Moroder-ish. Harold Faltermeyer thought it should be a single when we were doing it, and it was on the album until very late in the day. Doing these reissues, we found all the Behaviour half-inch mixes together on one huge reel, and you can see where 'Miserablism' has been cut out. We decided that it was too jocular. It was mostly Chris who didn't want it. I think it's a really good song. Chris: "It's alright. [Music For Boys] Neil: "Chris did this track upstairs at Sarm West while I was in a different studio doing something else. Chris: "This was influenced by going to Crazy Club at the Astoria on Saturday nights. I used to go every Saturday, and it was when there was all the stadium house - all very masculine music, a lot of lasers and dry ice. Apparently this track was conceived to go with a film I said I was making, an experimental movie called Film For Boys, but I have no recollection of that. Neil: "I remember that. Chris had, at this point, acquired a Bolex camera because he did a video for Cicero, for the remake of 'Heaven Must Have Sent You Back To Me'. Chris: "That was good fun, that video. But I was never really going to make a film. I did two versions of 'Music for boys' - this is the one I like best. Neil: "It's called the ambient mix - don't ask me why. Chris: "Well, it's a lot more ambient than the other mix. [My October Symphony] Neil: "My favourite song on the album. The beginning, where they're shouting 'October' in Russian, is also taken from Shostakovitch's Second Symphony. Chris: "It's very ravey. House piano. Neil: "We wrote the music for this in Glasgow, hence the guitar. I'd also bought a wah-wah pedal. On the finished record we had Johnny Marr playing the guitar. We faffed around for ages with the song because we couldn't work out how to make it work. Originally it had more words - the lines were longer - and I thought it sounded naff. I also tried to do a rap. Then I realised I could make it shorter and we could use the 'ooo's. We had a copy of Marvin Gaye's What's Going On in the studio - we always have a point in the album where we say, 'Let's make it like Marvin Gaye'. We realised there was something really good about having two voices doing different things at the same time, but I have never been very good at doing the other thing, so we got Jay Henry who had sung on the previous tour to sing on it. I'm also singing all the way through in low and high octaves together. We got the Banalescu Quartet to play on it. During our Derek Jarman tour they were the support act and at the first concert they played, astonishingly, Shostakovitch's Eighth String Quartet to the whole bemused audience. Chris: "It wasn't my idea. Neil: "This is one of my songs about Russia. I had been reading this book by Ian MacDonald about Shostovokitch and I was just fascinated by the idea that all artists in the Soviet Union used to produce official works of art to commemorate the October Revolution, and therefore that all composers had written an October Symphony, celebrating the great achievements of the October Revolution. And then when the whole thing collapsed, and those values were regarded as worthless, people were left with these works of art that were valueless. Shostakovitch's were revealed as actually being in opposition to the regime and all having a subtext of opposition to communism in them. I was just thinking of some composer looking at their October Symphony and wondering how they could salvage it. The verses are explaining what's happening in Russia: it's all very confusing, because they used to march in October, 'so shall I rewrite or revise my October Symphony - change the dedication from revolution to revelation?' The composer is wondering whether, by just changing two letters, you could sort of claim that you'd never believed in the revolution anyway. He's someone who has compromised to survive. The song mentions different revolutionary periods in Russian history. It asks, 'Shall we worry about February?' because the February Revolution was the first revolution in 1917, the middle class parliamentary democracy revolution which was overturned by the Bolsheviks. November was the end of the First World War. December was when there was the famous Decembrist Conspiracy. The October Revolution - which happened in November because the Russian calendar is different - was the Bolshevik revolution of 1917. Or, as we now say, the Bolshevik coup d'etat. In a way, the song is really about confusion. When three generations have been brought up to believe in a strict ideology and suddenly the ideology is abolished, you don't really know what to think to any more. I always felt that pop songs should be able to be about contemporary life, and these changes in Russia were a very powerful thing that was happening, that was changing the world at the time. But also it's a song about music. Consequently in it we have quite an interesting mix of musical styles: it's quite rave, it has this Marvin Gaye thing going on, and at the same time it has this very classically-arranged string quartet. The end always reminds me of Yellow Submarine, where they go to Pepperland. [Nervously] Neil: "This was written by me, primarily, before I knew Chris, but I could never finish the end of the song. I'd written it on acoustic guitar. I was going out with a woman when I wrote it. I wonder what she thought of it. Chris: "Maybe it was fantasy. Neil: "I think maybe it was fantasy. Chris worked out the chords at the end of the chorus. He said, 'Isn't it this?' and I said, 'Oh, I've been trying to work that out for the last ten years'. This is such a gay song. It's a bit like a show tune. We went through a phase with Harold Faltemeyer trying to make it into what he calls 'an LA ballad', as though Whitney Houston was going to sing it. But then we did the arrangement which ended up on the album, very stripped down, which was also Harold's idea. It starts off just with synthesisers, and it gradually builds up and finally drums come in right at the end. The lyric is about two gay boys meeting each other and being too shy to have sex. I think I denied that at the time. It's sort of about sexual trepidation. It's all nervous and jittery, and it's got sexy breathing in it as well. And, actually, listening back to it now I think they do get together at the end of the song. Because he smiles. [Nothing Has Been Proved] Neil claimed in a 1989 interview that this song was based on the Profumo Affair, a 1963 political scandal involving then-Prime Minister John Profumo. (Hence the line "Please Please Me is number one.") The affair was also explored in the 1989 film Scandal, which included "Nothing Has Been Proved" in its soundtrack. Neil: "We were approached by the film producer Steve Woolley, who told us he was making a film about the Profumo affair, Scandal, and asked whether we'd like to write a theme song for it. Many years beforehand I had written a song about the Profumo affair on the guitar having just read a book by Ludovic Kennedy about the case of Stephen Ward - a very sad story, because he ended up killing himself, and really he was a victim of the establishment. The words simply describe the true events. So we wrote new music for those words - the verse was written by Chris and the 'it may be false, it may be true' bit was written by me - and I made the line 'nothing has been proved' into the refrain. Chris: "All the crashing drums were done on the Fairlight, and there's a really good orchestra sample all the way through it. It's a really atmospheric backing track. Neil: "Dusty was going to sing it so she came round to the rented flat I was living in by the Royal Albert Hall. I had a piano there and I played it to her, and she agreed to do it. I think she might have said, 'It's got a lot of words'. When I went out, one of the porters said, 'Excuse me, sir - would that have been Miss Dusty Springfield?' They were dead chuffed. Her version was released in 1989 and as we were going on tour then, we decided to perform it. Chris played the keyboards live. Chris: "I can't believe I was able to remember the chords. Neil: "This version is our demo version, which has never been released, though the lyric here is my final version, the one that Dusty recorded. [One And One Make Five] Neil: "This is about the same relationship mentioned earlier. The song is saying: Don't listen to gossip, but also don't behave in such a way as to make people gossip. Chris: "I was oblivious to all this intrigue. But musically it's a masterpiece. This is so Kylie, this song. Neil: "Kylie had stopped making Kylie records at this point, but we hadn't. When we did this track we thought this was the obvious single off the album but EMI couldn't hear it at all. We wrote the music at the studio in Chris's house. Chris wrote the music, I think. Chris: "It's uplifting house music - that's how I would describe it. Or 'house lite', as The Face would probably call it. Neil: "In the middle and end sections you can hear Dainton, our assistant, going 'here we go, here we go, here we go…' He loved doing it, of course. [One In A Million] Chris: "Wasn't this once in Italian? Neil: "Yeah. The chords were written in about 1984, and it had a different verse, and it was just when we'd first signed with Tom Watkins as our manager. We did a big promotional brochure and tape, and we had 'two in a million men' translated into Italian, a little logo thing on the press release. Tom thought it was a ghastly idea, and it has to be said he was right. Chris: "We thought it was too pretentious in the end. Neil: "It was unbelievably pretentious. Chris: "A ridiculous idea. Like the statues of us. Neil: "I've never quite got over that idea. Making Very, we were in the studio one day, and as we were struggling over this song called 'It's up to you' - this is one song we did struggle with - Chris said, 'You could sing that old song we had, "One in a million men", over this', and that was that. The original chorus for 'It's up to you' was really weak - 'whatever you do/ tonight/ it's up to you/ tonight' - but that's why there's a computer voice talking at the end of the song saying 'it's... up...to...you'. Late in the song there's a key change. Chris: "Always a sign of desperation. When we did it live on the Discovery tour it went into Culturebeat's 'Mr Vain'. Neil: "This was the Take That single that never was. Take That wanted us to work with them, and I thought we could do this song. I was worried this song was too young for us. I once took a straw poll in Sarm West - 'do you think we should produce a single for Take That?' - and everyone said, 'Yes, because if you do it'll be cool'. I said, 'See?' and Chris said, 'Well, we're still not doing it'. Chris: "They would have done it rather well. I could imagine Take That all doing their little things. Neil: "Robbie would have done the main vocal, not Gary. It would have been great. The words are about a difficult relationship. It's autobiographical. It's about your lover wanting to break up, and you don't want to, and you realise that it's a hugely important decision that you're going to try and change their mind about. The person being sung to is so obstinate that only one in a million men could change their mind. And the person singing is saying it has to be them. [One More Chance] Chris: "This was originally recorded with Bobby 'O'. He had this old Divine backing track and suggested we write something over it. We were very excited, getting an old Divine backing track. Neil: "There was a vocal on the tape - it was called 'Rock Me'. I don't know why it wasn't released because it sounded quite good, but I think Divine hadn't thought of any other words for it apart from 'rock me'. But it was a totally finished track and I just wrote a song over the top of it in New York, sitting in a flat of a friend of Bobby 'O''s on Broadway, with a completely different melody. Bobby 'O' absolutely loved it. It's about being in New York at night. The idea of being chased by someone - the mafia are after you, like you're the patsy or something - and at the same time you're looking for your love. There's a desperation. It's really Eighties paranoia - there was a lot of paranoia in Eighties pop lyrics and this is a very good example. It's just romantic paranoia. The Bobby 'O' version was our second single, in 1984, though it was only released in America and Belgium. We only put in the middle section bit when we re-recorded it for Actually. Chris wrote the chords. Andy Richards said he thought it needed a middle bit, and it was like Chris and I showing off really - we wrote it in about two minutes. I'd already had the words - it was originally 'you're so extreme/ your silk-screened life shot through with bullets' but then I thought that was too over the top; and I like 'I want to take you home with me' which is what it became. The song is sort of masochistic - you're pleading, but maybe you quite like being chased because, after all, it's exciting. Chris used to have these dreams of being chased and he told me he was scared but he liked it - I think that may have been one of the things that inspired the song originally. We did a normal seven-inch version with Julian Mendelsohn for the album, and we also thought it would be a single. Then we weren't quite happy with the mix so we got Julian to do a twelve-inch mix and we liked that so much we put that on the album instead. The seven-inch [CD2, track 4] was never released. Chris: "We were brave, weren't we, starting the album with a twelve-inch remix? Neil: "This was the early days of house music. We thought it had a lot of attitude and sounded really housey. This is just when 'Love Can't Turn Around' had been a hit. Chris: "There's another one of our car crashes in it. Neil: "Driving through the night was still exciting. [One Of The Crowd] Chris: "It was just one of my rare vocal performances. It's one of those songs without much of a chord change. I think I wrote it in Sarm West. Neil: "We had decided for the b-sides of 'It's Alright', as we had for the b-sides of 'Suburbia', to repeat the idea of having one song each. We thought: that worked before - let's do it again. The original idea for this song came because Chris said in an interview on TV that he liked following fashion and that he didn't like to stand out, he liked to be one of the crowd. Chris: "Wanting to just fit in, rather than stand outside it. This is where I invented lads' culture. Pop music has never been the same since I released that. After that you had the likes of Liam and Damon all dressed up in ordinary clothes, wanting to be one of the crowd. Neil: "Interesting thesis. Chris: "Because before then, everyone wanted to be different. Neil: "Like I still do. Chris: "Neil would never have sung 'One of the crowd'. Neil: "Although I do on the record, in fact. Chris's voice is through a vocoder. I remember we were in the studio doing this - it was a Saturday afternoon; we were working on a Saturday, unusually - and I went down to the Portobello market with my friend Rosemary while Chris put the vocal on this, because of course he didn't want anyone in the studio while he did the vocal. And we came back and he played it to me - 'when I go fishing with my rod/ I often get that urge…' - and we were rolling around the studio with laughter at the sheer moronicness of the words. [Only The Wind] Neil: "We'd rented a studio in Notting Hill belonging to one of Ultravox, and we worked on 'So hard' and 'Only the wind' there, and did a rough demo of 'Maybe This Time' from Cabaret, which Liza Minnelli turned down. Chris: "Let's not forget we had an office in Notting Hill before the All Saints had even got their name. Neil: "And before the film came out. Chris started playing the piano and I thought, 'wow, that is a fantastic tune'. Chris: "I'd already written it on my piano at home in Highbury. Neil: "I wrote the words on the spot, and the reason it's called 'Only the wind' is because in fact there was a hurricane outside, and there were bins blowing down the road. You weren't supposed to go outside because there were dustbins flying through the air in Notting Hill Gate, and corrugated iron flying about. The wind made me think of anger. So the idea of the song was someone's gone round to see some couple… you know when you arrive at someone's house and there's obviously a major row going on and one of them's not there. It's a couple, and he's a wife-beater. Everything he says is a lie. 'No one's been lying…' - he thinks she's been lying to her so he's whacked her. It's a very violent song, and the wind is a metaphor for the domestic violence, and for a huge row. He keeps denying you can hear anyone crying, stuff like that. The whole song builds up to him saying sorry, because he knows that he has done wrong. But, listening to him, we think that he is absolutely pathetic and she should leave him. Angelo Badalamenti did the strings. Chris: "It's a very fragile vocal. Neil: "Robbie Williams once sang the whole song to me in the Groucho Club upstairs bar. It was in his drinking days. [Opportunities (Let's Make Lot's Of Money)] Neil: "This was another song we originally recorded with Bobby 'O', and to be honest I think I might prefer the Bobby 'O' version. When we wrote this track in early 1983, before we'd met Bobby 'O', it was right in the thick of our Bobby 'O' obsession, and we were trying to sound like him. One of the things we always liked about Bobby 'O''s music is we thought it sounded like punk disco. Chris came up with the idea of the lyric for 'Opportunities'. He was playing the three chords - C minor, E flat, B flat, which was like Bobby 'O''s 'Shoot Your Shot' for Divine - and he said, 'Can't you sing "let's make lots of money"?' This was in the Eighties, during Thatcherism, and suddenly there had been this huge philosophical shift in the country where the idea of making money was a good thing. People started talking about yuppies and buying Filofaxes and all that kind of stuff, and this was meant to be a sort of satire on that. It's a classic Chris idea: let's say the unsayable. Chris: "I was at university during the whole punk thing. Groups of our era were still very punk in our attitudes, as opposed to musicians today who have a completely different attitude to the industry. Neil: "It was what you would have called, at the time, a wind-up. You wouldn't have said 'ironic' at the time, you'd have said, 'it's a wind-up'. It was meant to be provocative. Chris: "It always used to bug me that it was always the really successful wealthy people, your wealthy rock stars, who are supposed to be not doing it for the money, whereas it is all the scratching disco artists with no money who are criticised for being commercial. Neil: "Chris having said that, I wrote the words in about fifteen minutes. It's meant for everyone to hate it: here's this nauseating synth duo singing a song called 'let's make lots of money'. It was meant to be an anti-rock-group song, singing about the things you're not supposed to sing about. It's the same idea, really, as that anti-hippie album by Frank Zappa and the Mothers Of Invention, We're Only In It For The Money. It's like punks used to sing about unpalatable everyday things in a way that supposedly glorifies them but doesn't really. The two people in the song are supposed to be absolutely hopeless. I vaguely thought of the film Midnight Cowboy, in which Dustin Hoffman is the guy who wants to go to Florida and Jon Voight is the hustler, a brains and brawn combination. People have often thought, and asked, if it was about me and Chris, and actually I don't think it was. This was the first song that I played to Bobby 'O' when I met him. He said, 'Oh, I could do this', and I thought, 'Well, of course you could, it sounds like you anyway…' But when we recorded it with Bobby 'O' we actually didn't give it an octave bassline, which is the classic Bobby 'O' thing, Chris wrote a hip hop bassline. Chris: "Electro. Neil: "The Bobby 'O' version was much much more moody - it started with, and made more of, the pretty melody. It's much more like New Order. It sounded very very sad. We always thought the song was sad, because it was about two losers. We re-recorded it first with J.J. Jeczalik from The Art Of Noise for our first EMI single. We chose him because he'd had a hit record with Tin Tin, 'Kiss Me', and we liked The Art Of Noise. He did it on the Fairlight, which we were very excited about. Before we even got to the studio he'd come up with this weird sound which sounds like scaffolding falling down, which became the basis of the rhythm track. We spent three weeks making a single with him, in at least three locations. It cost about £40,000. And no one was ever very happy. We found it an intensely frustrating experience. They brought in a real bass player and it all seemed to take a lot of time. It originally had a bit in the middle which we edited out weeks later, and would eventually use as track six on Please, as 'Opportunities (reprise)'. Chris: "Best track on the album. Neil: "I think Stephen Hague thought it was a rather strange thing to do. Chris: "It was the start of side two of the vinyl. Neil: "It was like: and the beat goes on. The original idea was that there was a party scene in the middle of the song. It was part of our filmic thing. You can hear Lesley White, who was the assistant editor of The Face, saying 'where's Neil?' at 0.10. We had a party at Sarm East, to get a party atmosphere. The version of the original 'Opportunities' single on this album [CD2, track 2] is the unreleased full version before the party scene was edited out. We also did our own twelve-inch version [CD2, track 4]. Around that time, we'd heard this record called 'Loveride' by Nuance featuring Vikki Love so we had the idea of finding the producer of that, Ron Dean Miller, and going to New York and doing the twelve-inch with him. Money was still being spent. It was a major remix and he put the big chorus drums all the way through. Stephen Hague wanted to re-record 'Opportunities' completely but there wasn't time. The version on Please was based on the single version, but also used elements of Ron Dean Miller's mix and then Stephen Hague did some reprogramming and I re-sung the vocal as well. The vocal is much better on the album - on the first version the vocal is really weak. We also faded out the album version before the final section: 'all the love that we had and all the love that we hide/ who will bury us when we die?' We decided it was too pretentious. I remember hearing the original version played on Radio One. We were all in Tom Watkins' office, listening, and the guy on the radio took the piss out of it at the end and I thought, 'right, I'm not doing that again'. The album version was subsequently a hit, though even then not as big a hit as we'd hoped. Listening now to the way it starts, it's very grandiose. We always used to like the grandiose, as well as the street. Actually, it's a dialectic. We've always been trying to bring the two things together. [Paninaro] Neil: "Chris wrote this piece of music by himself in the studio. Tom Watkins had a group at the time called The Hudsons who'd brought out a record called 'One Man's Meat (Is Another Man's Poison)' and Tom Watkins had a really brilliant idea for a gay disco record, 'I'm In Love With A Woman', and we said we'd write it. And so when Chris wrote this music, we decided this would be it: 'I never thought I would leave you - but I'm in love with a woman'. It was great, but Tom got sniffy all of a sudden and didn't want us to do it. Chris: "I'd already put my vocal on when I did the track. I just thought I'd have a go. It's just a list of words. Neil: "Very Andy Warhol. Chris: "They were the first words that came into my head. Neil: "Weren't they things that really excited you, supposedly? Chris: "Well, they're obviously going to be the first words that come into my head. Neil: "Then we heard about the Paninari. Chris: "The Italian youth cult. Neil: "So we decided to make a song called 'Paninaro' and made this it. I liked the fact that all the trendies in Milan loathed the Paninari because 'they all like Wham! and Duran Duran and Madonna'. We thought, 'How fabulous - so do we'. I like fashion cults, and theirs were the kind of clothes we liked. Chris: "The original lyric went 'Armani…Armani…Ar-Ar-Armani…Versace…cinque'. Then I edited out 'Versace', but I forgot to edit it out of the twelve-inch version. Neil: "We didn't like Versace that much. Also Versace wasn't Paninaro. Chris: "The twelve-inch was called 'The Italian mix' because originally it was just released in Italy. Neil: "The talking in the middle is also Chris, from an American TV interview, on Entertainment Tonight. We did the original version at Abbey Road but then we decided it wasn't good enough, so then we went in with Adrian Cook and did it all again. Adrian Cook was going to programme the first tour, the one that famously went on sale in Los Angeles without anyone telling us, five nights at the Pantages Theater sold out, and which we didn't do. He was programming all our songs onto Fairlight in Abbey Road - as usual, money was flying around - so we decided to do a record that recycled sounds, so almost every sound in 'Paninaro' had been used before on one of our records. It's a recycled record. It was a nightmare, Chris doing his vocal. Chris: "You know what I'm like. Neil: "I think he only did it twice. Chris: "I was only saying a list of words. Neil: "It was like getting blood out of a stone. [Paninaro 95] Neil: "The original version of 'Paninaro' came out in 1986 [see Please sleevenotes]; 'Paninaro '95' was released as the single from Alternative, our bonus tracks and b-sides collection. It seemed a bit weird having a single off a b-sides album. We thought about releasing 'Shameless', but it had been on the b-side of the 'Go West' single and that had done so well. And we did have a new version of 'Paninaro' Chris had done, and it's always been a very popular track. Chris: "This is based on the live version from the Discovery tour. Whenever I have to do this song live I always get fed up with doing it as it was originally, so I end up messing around with it. If we had the time I'd probably redo every song every tour because I always get fed up with them as they are. And then, after a while, you can go back to the original. You go, 'It wasn't that bad, was it?' There's a new rap in this version which took me, oooh, weeks to write. A sad rap in the middle. There's also a new French horn line, which I like, and a new, slightly ragga bassline, and a funny noise thing. There's also new percussion from Oli and Liliana who played on the tour. The only things that remain from the original are Neil's chorus vocals and the squeaky synth noise at the start. On tour I did silly dancing to it. It's the bits where I have to go from one side of the stage to another that are embarrassing. Neil: "They're great. Pure Manc. Chris, coming from the North-West, actually does the Manc goldfish look. The Ian Brown look. They're all just born with it. Chris: "It's in our genes. A lot of shame. Or no shame. [Postscript] Chris: "It's meant to be a secret. It's a secret track. I wrote it on the piano. I'd like to know who's singing on it. Neil: "Chris is. I play all the keyboards on it. It's a reversal of roles. Chris plays the piano though. He just said, 'I've written this thing and I want to do it like this'. It was in the style of REM - that's what I thought. Chris: "To me it sounds like The Last Of The Summer Wine. It just came out. I wrote it at home. The shame of it. It's a one-off. Neil: "I think it's really sweet, this song. Someone's father complained that the Pet Shop Boys had put out a song at the end of their album with a secret message encouraging the use of the drug ecstasy. Chris: "It's not about that. It's personal. [Rent] Neil: "I've always thought of Rent as a love song, although it's had all sorts of interpretations given to it. It's about love at its most basic. People always thought it was about that rent boy arrangement but in my head I've always thought that it was about a politician's mistress. It takes place in New York, and it's a long-standing affair and they are in love but he's made no other commitment to her than taking her to restaurants and buying her furs and paying for an apartment for her off Madison Avenue or somewhere. But the currency that she has spent is that she's given her whole life to him. But she loves him. So 'I love you/You pay my rent' is saying, I've had a life anyway. You've paid for my basic needs. "A lot of love songs tend to be about compromises. 'I love you/You pay my rent' is about compromise. It's really saying, it could be worse, this relationship isn't that bad, really. It's not perfect but then nothing is." Neil: "We wrote 'Rent' in Ray Roberts studio in 1984. We thought of the title first, and we thought it was hilarious. It took us quite a long time to write it - there were three or four versions, though I immediately came up with 'I love you - you pay my rent'. It was almost like a puzzle, working out what the song meant from that. We were very into Italian disco - there was this record I'd been sent at Smash Hits called 'I Love Chopin' by Gazebo and it was meant to sound a bit like that, though it never did. Bobby 'O' couldn't believe it. He thought it was the most weird thing he had ever heard in his life. He thought it was a very strange song. He was almost embarrassed by it. Chris: "Originally it was a high energy song - with Bobby 'O' we recorded it with this brilliant orchestral sample nicked from a Barry White album - but Julian Mendelsohn thought we had too many high energy songs on the album so Andy Richards very cleverly gave it a half-tempo feel. Neil: "I didn't double-track the vocal so it sounded more real. I sing it differently now, with different phrasing. I don't like 'you-ooo'. Nowadays I just sing 'you'. When the album came out I wasn't sure whether I thought it was that great, but I was always impressed how much people liked it. For the single version, [CD2, track 10] Stephen Hague re-edited it, because we thought it repeated too many times. We've done the song several different ways live, and we also recorded it again with Liza Minnelli for her Results album, and got Angelo Badalamenti to arrange it - it makes it sound like it's from a Broadway show. The song is from the point of view of a prostitute - a female prostitute. I've always imagined it's about a kept woman, and I always imagined it set in America. I vaguely thought of one of the Kennedys, for some reason, and imagined that this politician keeps this woman in a smart flat in Manhattan, and he's still got his family, and the two of them have some of relationship and they do love each other but it's all kind of secret. He pays the rent of the flat. But there's a tremendous loyalty at play on both sides, and the money doesn't really matter. She thinks about whether or not it's been a wasted life, this emotional currency spent on a relationship which is not totally satisfactory. At the same time maybe she's quite a lazy person - she's had quite a nice life, thanks to him, and she hasn't had to go out to work. She's survived, but it's not satisfactory. There's a sense of excitement, but also an enormous sense of resignation, a little like 'Why don't we live together?' on Please: 'Is this it, then? Is that all there is?' But, also: 'It's not so bad'. At the time I was worried about having '…you, you…' together in the lyric: 'I love you, you pay my rent'. I thought it was clumsy, but I like it now. It's 'I love you; you pay my rent'. A semi-colon, I suppose. If there was any conjunction it wouldn't be 'but' or 'because', it would be 'and'. [Saturday Night Forever] Neil: "In the Eighties we were always fascinated by the way Stock Aitken Waterman songs would go into the choruses. Sometimes they would just go up a half step, like we did in 'Being Boring' in imitation of them. It always fascinated us how you could just go suddenly from one thing into another, and sometimes it just sounds natural. I wrote the words so quickly, I can't even remember what I was thinking about. It's about 'Isn't it great going to a disco on Saturday night?'. It's about picking somebody up in a club, the twist being that it has a cynicism about it. When we first did it I thought 'Oh, we'll have to write proper words for that', but. Neil: "I like the way that 'To step aside' is followed on the album by this. It asks a very difficult question - are you going to step aside? - and then you go out and carry on as normal. We wrote this at Rocky Lane. I started singing 'forever forever' and it sounded really disco but I couldn't think of anything else so Chris said, 'Why don't you just go "Saturday night, Saturday night"?' It's a real disco thing to do. With the 'forever forever' bit, I thought, 'Oh, I'll have to write proper words for that', but Chris said, 'No, it's great - it just goes "forever forever".' Chris: "It's a bit cheesy-sounding. It's the brass-line that makes it sound cheesy. Neil: "Danny had this mad keyboard player who came over to England with him to do this. We recorded this at Sarm West and then Danny took it to New York and mixed it. We very nearly shoved it into our musical. I like the brass line. It's very Stock Aitken Waterman. Kylie could have done that. I can also imagine Robbie Williams singing it in his Take That incarnation. The words are completely nothing. I wrote them so quickly I can't even remember what I was thinking. It's about picking someone up in a club. It's a very circular song. It just keeps going round and round. It could on forever, really. [Se A Vida E (That's The Way Life Is)] Neil: "The lyric was written to cheer up a depressed friend. It says: stop moping around at home, and come out and rejoin the world. I like the phrase 'gothic gloom' in the middle of it. It throws the rest of it into relief a bit, because the verses and choruses have such incredibly simple lyrics." Chris said 'No, it's great. It just goes forever! forever!...'" Neil: "I bought an album by the group Olodum in São Paulo in December 1994 when we were on tour, and I was flicking through the tracks in the studio, listening through to drum sounds for samples, and I liked the bit of this song, 'Estrada Da Paixao' where it went 'Se a vida é', so I started to do my own version of it. And I didn't really understand the chorus so I changed it. I phoned up a Spanish friend and asked him, 'What does "Se a vida é" mean?' - of course the song was actually Portuguese, because it's from Brazil - and he said, 'something like "that's the way life is".' And I said, 'That's great!' and slammed the phone down and starting singing 'that's the way life is'. Then he phoned back half an hour later and said, 'It doesn't really mean that - it means sort of "if life is"; it's not a proper sentence'.' And I said, 'It's too late now - I like "that's the way life is".' No one speaks Portuguese anyway. Apart from in Brazil. And Portugal. But then I changed it right at the end, in the second part of the chorus. 'Come on, essa vida é', and that does mean 'that's the way life is' in Portuguese. At the time I was never really that happy with the words, because they are so simple, but I think they're sweet now. It's sort of saying: get over it - come outside and see the sunshine. Everyone thinks it's a gay song because it uses the word 'closet', but it wasn't meant to be. Though I think people were quite surprised at the time because this has such a normal, sweet, could-have-been-written-by-a-pop-star lyric. Although it does spark the debate: is life more simple when you're young? I think it is. Chris: "I disagree entirely. Neil: "I know you do. Chris: "Life's a lot simpler when you're older. It just is. As simple as that. You can deal with the complications easier. What might have been a complication when you were younger, when you're older no longer becomes a complication. Everyone knows that adolescence is the most traumatic time of your life, because it's difficult. Neil: "The song is saying that you see things in very black-and-white terms when you're young. Chris: "Well, you should have said that then. Neil: "I love this song, always have done. I like the way my voice sounds in it. Chris Porter did a very good job on this, fiddled around with it forever. Even after the album was cut, we went back into the studio to add some more percussion, and re-cut the album with it on. [Shameless] Neil: "'Shameless' has always been a very Pet Shop Boys word. We've always accused ourselves of being shameless at various times. Chris: "We'll do absolutely anything. Anything at all. Neil: "At the beginning of the Nineties, pop music went really shameless. Chris: "And has stayed shameless ever since. Neil: "Yes, it's been an amazingly long phase. In fact it's got more shameless. But back then, in the wake of Take That's success, there were suddenly a whole raft of boy bands whose names I can't even remember now. It's when this whole stage school thing started. So we wrote this song. It seemed hilarious at the time, particularly 'we have no integrity - we're ready to crawl'. It's sung from the point of view of someone really naff in a shameless group. We'd seen it around us, someone who'd think promotion was the entire point of what you do, not some ghastly chore. It's someone on the cusp of showbusiness and pop music. I actually quite admire the person singing the song - 'you don't know how tough it is'. He knows people are laughing at him. Chris: "With the music we were probably trying to do a high energy stomper - we always feel obliged to do one from time to time. Neil: "We go into a different style and rhythm for each verse. We did tons and tons of work on the production, so we must have been thinking it was going on the album. The problem is, like a lot of funny songs, when you work on them for a long time, the joke wears a bit thin and you suddenly decide it's not going on the album. It's certainly as good as anything on the album. It's now in our musical. I like all the 'do you know who I am?' and 'how dare you?' kind of business. They're my voice sped up. We always imagined doing a Spitting Image video for it. Chris: "It'd be great. One of those great Spitting Image choruses. Neil: "We live in more shameless times now. Then we thought it was the peak, but it was the distant foothills compared with now. Now shamelessness is a national culture which overpowers everything else. [Shopping] Neil: "Chris and I loved 'Word Up' by Cameo, so we decided to write something in the style of Cameo. Being us, we then thought, 'why don't we get Larry Blackmon of Cameo to produce it?' So we met him - he was on tour - and played him the track, and it was sort of going to happen, but it didn't. Then we wanted Keith Forsey, who had worked with Giorgio Moroder and had just been producing Billy Idol, to do it, but he had no interest in doing it. I was rather hurt, actually. The song started as a joke, with Chris and I walking down Oxford Street singing 'S-H-O-P-P-I-N-G' when we were shopping. The word 'shopping' is somehow a humourous word. Chris: "We used to sing it everywhere. It was like 'P-A-S-S-I-O-N'; 'Passion' by Bobby 'O'. Neil: "I think we decided we were actually going to write a song called 'Shopping' one day in Milan, shopping. I don't think anyone had ever written a song about shopping, and it's such a common human activity, and in the Eighties it ceased to be presented as a necessity and instead became a leisure activity. The Eighties were very concerned with buying and selling. However I couldn't think of anything particularly interesting to say about shopping so the words are about the government selling off nationalised industries. We were obviously against it. At the time it was oppressive in London - there were these flaming adverts saying 'Tell Sid', the campaign for the government gas sell-off. When this album came out many people, including ourselves, took the whole album to be loosely about Thatcherism, because you have this song, about nationalised industries, you have poverty in 'King's Cross', you have Aids in 'It couldn't happen here'. 'Shopping' is also the other song, along with 'Opportunities', which created the myth that the Pet Shop Boys were ironic. Songs where you take the character of someone you hate. 'Shopping' takes the character of this hideous city type in Fulham or somewhere, and the idea that, in the same way you might go shopping for a Hermes scarf, they'll go shopping for essential services and nationalised industries. We recorded it with Julian Mendelsohn. The keyboard which sounds like a guitar is a tribute to Hooky from New Order. Chris: "'Shopping' is always used on consumer programmes. Neil: "We still get requests. Chris: "At the end there's a cash till. [Single - Bilingual] Neil: "The narrator is a very glib Euro businessman, a glib Eurocrat who flies business class and likes all his privileges. he tries to pick up chicks at meet 'n 'greets. He's pretending to be a sophisticated ladies man: 'single! bilingual!'. But he's not really communicating either and he knows it. In actual fact he's a hopeless, tragic wreck. He's a bit like the person in 'Opportunities (Let's Make Lots Of Money)' who's never going to make any money. He's superficially got all the right things but he's just not getting there. He doesn't understand why, but he knows he's not." Chris: "He doesn't understand that business class is a rip-off on a short flight. You get no more leg room." Neil: "Exactly. That's why it ends with a reprise of 'Discoteca'. He could be literally going to a club, but it's also saying that he's a lost and frightened person." Neil: "We had the idea that this would be a great opening statement for the album - you get this sad song going into this very funny comic satirical song, linked together by the drums. It is all, by the way, recorded as one mastertape. The drums joining the two songs sound fantastic. Chris: "To me it sounds like the theme from Thunderbirds. Or even Captain Scarlet. Neil: "I always think it sounds like The Specials. It's a sort of satire on the European community. Once we'd decided that the album was going to be called Bilingual I had the idea of 'single…bilingual'. Originally this song was called 'Latino' and the only lyric I had for it was 'single bilingual', which I just thought was moronically funny. And then, as ever, there was a lot of rubbish about the European Union in the papers, and we were always travelling and I thought it would be funny just to write a song about the minutiae of business travel. The guy in the song is superficially confident but really is absolutely hopeless. He thinks he is really on the ball and sexy - he's staying in a junior suite and flies business class; he likes all his little perks and everything - but really he's scared. He's pretending that he's a sophisticated ladies man - he's single bilingual! - but he's not really communicating either, and he knows it. In actual fact he's a hopeless, tragic wreck. He's a bit like the person in 'Let's make lot's of money…' who's never going to make any money. He's superficially got all the right things but he's just not getting there. He doesn't understand why, but he's not. Chris: "He doesn't understand that business class is a rip-off on a short flight. You get no more leg room. Neil: "Exactly. Chris wrote the music, but I wrote the middle bit. The song had what we wanted in the album - it's going in and out of English and Spanish. Another reason we thought of doing a Latin album was as a reaction against Britpop, and that we like being in Europe - that we are a very international group and like the fact. This song fitted in with that. Also I've always wanted to mention my name in a song, ever since Martin Fry did, in 'The Look Of Love': 'and then my friends just might ask me, they say, "Martin, maybe one day you'll find true love…"' In this you get 'perdoneme me llamo Neil'. It was the album's third single, but when it was released as a single, Everything But the Girl had just released a single called 'Single', so we changed its name to 'Single-Bilingual'. Noel Gallagher commented on this song to Johnny Marr at the Q Awards in 1996. He said, 'That new Pet Shop Boys single is really mad, isn't it?' Which I took to be the highest possible compliment. Chris: "I don't know if I liked this at the time but I like it now. It's ageing very well. Neil: "It ends with a reprise of 'hay una discoteca por aqui? ' He could literally be going to a club, but it's also saying that he's a lost and frightened person. Right at the end, you get the chord of the album. We come back to this chord three times. That chord is at the beginning of 'Discoteca', and 'It always comes as a surprise' also starts with it. [Some Speculation] Neil: "We decided to do a track like Bobby 'O' again - every so often we go back. We decided to update the Bobby 'O' sound. Chris: "Yes. We're back where we started. Harking back to the early Eighties. It sounds a bit sleazy. It and 'Euroboy' have a kind of Germanic quality. Neil: "These two songs are both very atmospheric and electronic. It's about speculation and sexual infidelity. The words are about an ex-boyfriend meeting a new boyfriend. 'There's been some speculation, about a recent invitation…' It's a 'what's going on?' kind of song, like 'Confidential' and 'One and one make five'. I hate gossip when I'm the subject of it. When I'm not, of course, I love it. I wrote the words to this very quickly one evening when I was leaving the recording studio to go to the theatre. I made the taxi wait for half an hour and kept popping back into the studio with new lines. Chris finished it off after I left. [So Hard] Chris: "I don't like 'So hard'. It's a blot on this album. Neil: "I like the lyrics. The song is a true story, about two friends who lived together. One of them came home and found that his boyfriend was in bed alone, and there was an ashtray beside the bed, and he didn't smoke. Chris: "Make of that what you will. Neil: "And he finds out his boyfriend has loads of letters from contact magazines. Chris: "It's a Donna Summer Giorgio Morodor kind of thing. Actually, it's got some good bits, and the David Morales Red Zone remix is one of our best twelve-inches. Neil: "This has got very analogue-y synths. And at the beginning there's a sample saying 'kiss'. It's quite a different vocal style for me - like whispering in your ear again. Chris: "Is 'So hard' a Carry On-style double entendre? Neil: "As with most of my innuendo, it wasn't intended, but obviously I very quickly realised it would be perceived as that. I quite like the fact that it's there. The 'so hard' element is actually that it's so hard for them to give up their affairs. People get caught, I think, very much between their desire to have a permanent relationship and their desire to play around or whatever. It was released as a single before the album came out. I remember we really liked the very electronic sequencery quality and we wanted to bring that out in our twelve-inch version [CD2, track 2]. That old-fashioned Patrick Cowley or Bobby 'O'-ish sequencer thing that we never get sick of. [So Sorry I Said] Neil: "This was a demo done very quickly at Abbey Road Studios, around about the same time as 'Nothing has been proved'. Chris wasn't there when I did the demo. It's basically an attempt to sound like Stephen Sondheim, and was written for Liza Minnelli. Our demo was never mixed, it was just put onto cassette, so this is the one song we have remixed for these re-releases. I wrote the music on the piano at home. I'd had the sheet music to work out 'Losing my mind' and so I started to play some other very Stephen Sondheim chord changes. The song was written to be a duet. That's why you get lines like 'how tough it gets' then 'don't talk to me about it'; those are the two people talking to each other. We had this fantastic idea that, as Liza Minnelli was touring with Frank Sinatra in The Ultimate Event, and as we knew that Liza was coming to the recording studio after having done the concert, that we would get her to sing it as a duet with Frank Sinatra. It would just be great to be able to say to people, 'Oh yeah, we had Frank Sinatra in the studio the other day'. But it didn't happen. Chris: "I don't know if she's ever forgiven Frank Sinatra for nicking 'New York, New York' from her. Neil: "She said she thought she and I should sing it together. We did actually try it - I sing it higher than she does, or it sounds like that. I couldn't sing in her key and she couldn't sing in my key but it sounded quite interesting. Anyway, eventually she recorded it on her own for Results, although in 1991 I did sing it as a duet with Pam Sheyne in the Performance shows. It's about a woman in an unhappy relationship, possibly an abusive relationship, who realises that she always gives in. I think I just came up with the line 'so sorry, I said' and the rest followed. Chris: "I would have said 'I said, so sorry'. I would never have thought of saying 'so sorry, I said'. Neil: "I don't think I would have, but I did, for some reason. It just came from somewhere. In the song, the woman says 'so sorry' when really she shouldn't. When it coms to the crux of the matter she just swallows her pride. And Liza said she really understood that. [Somewhere] Neil: "We decided we were going to do these concerts in a theatre in London in June 1997, and we also decided that we should bring out a new single so that we had something new to coincide with the concerts. Chris suggested that we did 'Somewhere' from West Side Story. Chris: "I love 'Somewhere'. I've always liked it. And I thought it had disco potential. I just like the line: 'A place for us…somewhere a place for us…' It's all about promised lands. It's like 'Go West', really. The same theme. I also like 'hold my hand and I'll take you there'. Neil: "At one point we were going to do an EP called Showtunes. Our EP ideas are always good, but we always get talked out of them. Chris: "The record company always asks the question 'why?' when we have these ideas. They stop us from doing them. 'Why?' Because we want to. As Billie so rightly said. Neil: "Anyway, we worked on the single with Pete Gleadall and Bob Krausaar. We did a basic sort of high energy version and then got Richard Niles to do an arrangement with a brief that it was like a film. So the orchestra shows Richard Niles at his most insane. And we used the film samples because we wanted to set the song - which comes from West Side Story, which is Romeo and Juliet in the ghettos of New York - in the Los Angeles riots. We said to the tape op, 'Are there any gangster films here?' and Menace II Society was lying around the studio. So we took the dialogue at the beginning from that: 'You want to live in this lousy world?' 'When the riots stop, the drugs start'. I've never even watched Menace II Society. Chris: "I've watched it. Neil: "The Leonard Bernstein estate weren't very keen on us putting that dialogue on, and in fact we had to write and explain it to them. They refused at first, but eventually they agreed. Doing a big record is always really difficult, and we weren't happy with the rhythm track. The Trouser Enthusiasts had done two remixes for us and so we got the Trouser Enthusiasts in at the last moment and he did some work on the seven-inch at Sarm West. The seven-inch version starts with 'One Hand, One Heart' which is my favourite song in West Side Story and it ends with 'I Feel Pretty', which is another West Side Story song. Then, in the studio, we did a long mix - the version here - which was intended specifically to be the music for us to come on stage to at the Savoy Theatre. Chris did this whole long introduction, and then there is the big fanfare where we walked onstage. We wouldn't actually perform the full song until the end of the show. Consequently, when I listen to this track, I am standing backstage at the Savoy Theatre waiting to go onstage, and it makes me feel slightly sick. Chris: "We're at our best when we're doing a showtune. What's better than a showtune combined with high energy? Neil: "On the long introduction you can hear Chris saying the lyrics from 'One Hand, One Heart'. That's my favourite bit of the record. He sounds like Liam Gallagher. He goes Manc again, one of his range of accents. It was my idea for him to say it but he did it uncomplaining and unflinchingly, in one take, and he didn't even throw everyone out of the studio. [Suburbia] Neil: "After we were signed to EMI, we went into Terminal Studios to do some writing, with all this equipment which didn't work. Then we wrote 'Suburbia' and 'Tonight is forever'. Chris wrote all the music for 'Suburbia'. Chris: "The inspiration was 'Into The Groove', the bassline. It's virtually the same. The song's nothing like it, but the bassline is. Neil: "I wrote the words that night, and we went back the next day and finished the demo. The album version is exactly like the demo. I thought it was amazingly catchy. Chris: "I thought it was corny. Neil: "Same thing. Chris: "What makes it acceptable is the lyrics. Neil: "It's a hard lyric, soft tune. That was our idea - to write disco music with un-disco lyrics. The words were inspired by this film we'd seen, Penelope Spheeris's Suburbia. I thought it was a great idea to write a song about suburbia and how it's really violent and decaying and a mess. It's quite a theme in English art, literature and music, like in Graham Greene or Paul Theroux - that the suburbs are really nasty, that behind lace curtains everyone is an alcoholic or a spanker or a mass murderer. Also, this was the era of the riots in Toxteth and Brixton. I remember some friends of mine having to drive through the riots in Brixton to visit me in Chelsea, and being scared. Brixton was a prosperous Victorian suburb, and eighty years later it had become this decaying inner city. And there was a feeling that the riots had been started by the police hassling these kids hanging around a bus stop. The dogs in the song come totally from the packs of dogs in the film, though I remember Chris telling me that it happened in Liverpool when he lived in Toxteth - these huge packs of dogs with a big one in front and the little ones at the back. I used to be a bit scared of dogs - my sister once got bitten, and doing paper rounds you're always scared of dogs; you hear them tear the paper when you put it through the door, and that's a symbol of the threat of violence. And so the song just describes the riot happening, and the middle bit sums up why we are having this riot: 'I only wanted something else to do but hang around…' People are bored. Then it refers to the aftermath being reported on TV, just sociological nonsense and police officers blaming television for the whole thing. People always say, 'You can never find a policeman when you need one' and here the media is saying, 'Where's a policeman when you need one to blame the colour TV?', turning it upside down. So when it says, 'This is their hour of need', the hour of need isn't the people in the suburbs needing jobs, it's the media needing their talking heads total a load of nonsense. My mother always recognises the reference to her - 'mother's got her hairdo to be done' - because she always got her hair done every Thursday when I was a child, and her hairdresser Dominic would tell her the gossip. Chris: "When we made the demo we had just discovered a car crash sample on the Emulator. Neil: "So that was all over it. We would always bicker with Stephen Hague about things like that and the number of sampled orchestra hits. He would say, 'Right, we will take out fifty per cent of the orchestra hits on this track because there are so many orchestra hits, and you can't have the car crash that loud…' We had a car crash solo on it originally. We used the riot noise off a film, and the high keyboard sound is influenced by 'Axel F', which was a hit at the same time. We didn't spend long recording this track because we made the whole album in ten weeks, and we always felt we'd rushed through this song. When Please came out, all of the fans, and our families, said 'Suburbia' should be a single. We'd, typically, gone off it by that point. Then we decided to re-record it as a single, with Julian Mendelsohn, who Tom Watkins recommended to us. Julian had remixed 'Relax', and he brought in his keyboard programmer Andy Richards, who we were very impressed with because he had worked on loads of Trevor Horn records and we were always incredibly impressed by Trevor Horn. And we decided to make the new version more filmic. Andy Richards took the synth line and made it verge on a horn section sound. The new version had dogs on - we upped the dog quotient. The twelve-inch version, 'Suburbia (The Full Horror)' [CD2, track 11] - which the seven-inch is basically just an edit of - is more epic. It's very Diamond Dogs, very Frankie Goes To Hollywood, especially the 'where the suburbs meet utopia' bit. By the way, that's where the word 'suburbia' comes from: 'suburb' and 'utopia'. Lots of bombs go off at the end. An entire suburb is being destroyed in a riot. Twelve-inch mixes weren't really made for dancing back then. We also recorded the sound of smashing glass in Sarm West studio two. They couldn't find a good smashing glass sample anywhere, so we got a pane of glass and the assistant smashed it, with half a brick, I think. Chris: "There were several attempts. [That's My Impression] Neil: "Before I knew Chris I had written a song with a completely different tune on the guitar - it was supposed to sound like Blondie - and when we wrote this music I used those words for this. I love the lines in the middle bit: 'Go to a club, you think I'll be there/ I don't go 'cause I'm not a member'. They were taken from another song, the first song Chris and I wrote together. It was a bit Soft Cell. Originally it went on: 'Although I'm a boy/ I don't mind what's on your mind at all/ and you won't find me there…' The music for 'That's my impression' was written in our Italian disco phase. We were writing a song around an arpeggio. We first recorded it in Ray Roberts' studio, and then with Bobby 'O'. Bobby 'O' thought the words were very weird. We recorded this in a different studio, producing it ourselves while Stephen Hague was finishing Please. This, the 'disco mix' was originally on the 'Opportunities' twelve-inch; the seven-inch b-side was just an edit of it. It's a very Bobby 'O' theme again. It's about jealousy, a corny pop lyric about how your lover is out there somewhere, trying to pick someone else up. Chris: "More sex. Neil: "I used to live in Knightsbridge in this little flat and I often used to walk by the Serpentine, which is why that is mentioned. In the last verse I'm trying to be a rock 'n' roll singer. Chris: "I like you singing like this. I don't like deadpan vocals. I've never liked deadpan vocals. Neil: "Now you tell me. [The Boy Who Couldn't Keep His Clothes On] Neil: "This started off as one of Chris's demos. It's a real throwaway thing. We started it when we went to New York to do 'Before' with Danny Tenaglia but we didn't finish it. It wasn't meant to be on the album - we always get very excited when we're working with someone and end up doing a third track. Chris: "Danny absolutely loved this. Neil: "It's sort of a Miami Latino thing. When we went back to New York to do promotion I went back into the studio and finished the vocals and then Danny Tenaglia finished the track. Neil: "What I like is that rap in the middle - 'Yo, Lewis…' Chris: "Danny brought someone in. It's a Banji rap: 'all your posse gonna know tomorrow…' Neil: "This version is the unedited International Club Mix which has only appeared on the Bilingual Special Edition; we edited it slightly when it appeared with 'A red letter day'. It's about a friend who would always take his shirt off on the dancefloor. Chris: "He had a problem keeping his clothes on. Neil: "He always wanted to sunbathe in the nude. Chris: "There's probably a medical dictionary definition for that. Neil: "It's a sad song. In the song, the person has something sad in his past. Actually it's a classic Pet Shop Boys' why-do-people-go-clubbing? song. And the explanation in the song is: 'To rise above the pain/ to prove them all wrong again/ to shake away at last/ the secret in his past'. I'm saying that his exhibitionism is caused by a secret in his past, that people who've had bad experiences in their past often feel in later life that their only value to someone is sexual, so there's a huge insecurity, and that makes them exhibitionist. It's actually a really sad song. [The Calm Before The Storm] Neil: "This was originally called 'The news', but I thought that was a crap title. One day when I was by myself in the studio and we'd just finished a track and I decided to do a track with no sequencing whatsoever, where everything was played live. That's why there's no programming credit. Chris: "I thought it sounded a bit messy. Neil: "I love this song. It didn't take very long to do. It's an absolutely accurate description of a Sunday afternoon at Rocky Lane: dragonflies over the swimming pool, Sandra the cook's dog barking, aeroplanes flying overhead. Every time you drove in, rabbits ran everywhere. And the news we were waiting for - rather banally, so I'm reluctant to say it - is what number our album was going to go into the charts at. I sing the chorus two different ways. I was imagining us going totally down the dumper with this album - that's what it was about, really. Chris: "Back to Smash Hits. Neil: "Rocky Lane symbolises a rocky future, as well as being the name of the house: 'It's all over, love'. Chris: "'You're now fat, forty and finished.' It sounds like Andy Pandy at the beginning. I'm waiting for Looby Loo to come out. Neil: "I think it sounds like Enya, myself. It's meant to be very pastoral. Chris: "I don't think I had anything to do with this. I wasn't even there. Neil: "What is puzzling, and what I genuinely can't remember, is what the last line means. 'Did I ever tell you that I worked out where I went wrong?' I have no idea what that means. Assuming it means anything. [The End Of The World] Neil: "You can hear the influence of Violator on the guitar on this. Hello, 'Enjoy The Silence'. This song was nearly a b-side. Chris: "It sounds good now. I think we thought it sounded a bit weak then. Neil: "I don't think my vocal's very good. Chris: "Julian Mendelsohn couldn't relate to how this sounded. He was so used to the Eighties when we had clicky bass drums and thumping great big snares, and then of course that all went out the window, to be replaced by squishy little sounds, and Julian couldn't get his head around them - he thought they were crap. This was when house music was still about tunes. Neil: "We originally started this song when we were recording 'I get excited (You get excited too)'at the beginning of 1988. Originally it was called 'If there was more', and then that idea became 'If there was love' on Liza Minnelli's album. Then I had the idea of 'The end of the world' as the title. In the middle bit there's my second guitar solo on the album. We should have got Johnny to do that, maybe. It's just a story of teenage trauma: a girl whose boyfriend hasn't phoned her up, or someone whose boyfriend or girlfriend hasn't phoned them up, and they're having a teenage trauma about it. She's arguing with her parents and slamming doors. Also, people were starting to get apocalyptic at the beginning of the Nineties, so it was also looking at the idea of the actual end of the world. I think I read some book about it at the time. The girl at the end of the song is hoping the world will end. [The Survivors] Neil: "I think I started writing the words on a train. It's about growing old. When you've reached a certain age you realise you've survived this far, you're still alive, and you know alot of people who aren't." Neil: "It's a very sad song, this. 'One might be forgiven for thinking it's a life on the run'. When Q reviewed this album it said that this song was as nauseating as a Tom Hanks acceptance speech. I don't think it is. I think that's someone finding sincerity difficult to take from the Pet Shop Boys. The music for this was on one of Chris's Ian Wright demos. Chris: "I just did some tracks when I was working with Ian Wright and then he and I chose the track which was obviously the one for him, which became 'Do The Right Thing'. Neil: "Chris gave me a cassette of what he thought were the best things he'd done that hadn't been used. It took me ages to write the words over the course of 1995. I think I started writing them on a train. It's sort of a feel-bad, feel-good song. It's about growing old, and that, when you've reached a certain age, you've survived this far. You're still alive. A friend of mine committed suicide early that year, which I was rather depressed about. She's referred to in the song, where I sing 'teachers and artists and Saturday girls'. I used to work with her, and The Saturday Girls were a group she was supposed to be in. 'Don't drop bombs', which we recorded with Liza Minnelli on Results, was originally an idea for a song for The Saturday Girls. Chris: "It's quite anthemic-sounding, 'The survivors'. Neil: "It was the first song we recorded with Chris Porter. I think we'd both thought as soon as we'd done the demo that it would be on the album. Chris: "Especially when we added those backing vocals. Neil: "We remixed it late in 1995 and changed the drum track, but just before Bilingual was released we went back to the first mix we'd done, which Chris said he'd always preferred. I've never felt totally happy about the sound of the rhythm track. It's a bit muddy. But I like the question and answer, call and response thing. It's also great to have the words 'twinsets and pearls' in a song. In the final chorus, at 3.37, you can hear me sing 'race' twice. It's a mistake, but we left it in. [The Sound Of The Atom Splitting] Chris: "It was a jam in the studio. Neil: "The reason we did it was because, when we were doing 'Left to my own devices' and it says 'Che Guevara and Debussy to a disco beat', we had the idea that we would actually try to do Debussy to a disco beat. Trevor Horn had always been fascinated by the idea of putting Debussy to a disco beat, hence the last Art Of Noise album. So we jammed for as long as the song lasts, and I played Debussy-esque chords with lots of fifths in them - Richard Niles had shown me the kind of chords. Trevor played the acieed-house keyboard, the Roland bassline. Steve Lipson thought it was pathetic that we liked acid house music and he had been showing us how easy it was. Chris: "I'm playing that irritating high line. Neil: "It was a voice sample of an opera singer. Chris: "Steve Lipson played the desk. Neil: "It was fun doing it. We were whooping with glee. It only took about forty minutes. The vocals were just spoken on afterwards. The phrase 'the sound of the atom splitting' came from Derek Jarman's film The Last Of England which is all shot in Super 8 and has a commentary, and a man says, 'What's that sound? It's the sound of the atom splitting'. I thought, 'That's a good line'. I thought the sound of the atom splitting was the sound of a nuclear explosion; the sound of the end of the world. I started making up the words to the song while I was still watching the film. I also put a quote of Bobby 'O''s in it. Bobby 'O' walked Chris and I through Times Square once and said, 'Look at these guys - they're pinheads', these guys who wore stockings over their heads. Chris: "Of course New York's a lot safer these days. Neil: "The lyric is a dialogue between a fascist and a wet liberal. The right wing person is rather amused by the liberal because he's obviously so feeble he's never going to do anything. The wet liberal says 'whose side are you on anyway?', trying to be sneaky, and the right wing person says 'well, is that some kind of threat? Well, I suppose it'll have to do, as long as you don't make too much mess'. He's patronising him, like, 'you can have a party as long as you don't make too much mess'. There's a mistake in the vocals which I never corrected and which has always irritated me, where I trip up. I go 'whenever I…see' I start to say something else beginning with 'f' then change it to 'see'. Chris: "We played it in the interval of the 1989 tour with a light show. [The Theatre] Chris: "I like this track. It's quite theatrical. I think it should have been a single. I can picture the video…Oliver Twist…boys in boxes outside the theatre…Neil coming out of the theatre ignoring them, me giving them money. Neil: "It was inspired by a remark from a Tory MP which Chris read out from the paper: 'Oh, the homeless, they're those people who you step over when you leave the theatre'. Quite often I'd walk up The Strand to a restaurant, Orso, and I'd walk past these Scottish kids sleeping outside one of the Australian government houses and I was always struck by how cheerful they were. They always used to ask for my autograph and I'd wonder why on earth, if you were homeless, you'd want one of the Pet Shop Boys' autographs. The song is a rather romantic idea. When I was a kid I always had a fantastic romantic idea of coming to London, and I still think of London as a romantic place…the streets being paved with gold, Dick Whittington, and all the rest of it. And then there's the reality, when you're homeless and people are ignoring you and pretending they haven't seen you. But the song presents a kind of romantic view of homelessness. It's a defiant song: 'we're the bums you step over…' I originally had a different word instead of 'bums' - it took me a lot of time to come up with 'bums'. Chris: "It just keeps getting bigger and bigger, this song, doesn't it? Neil: "That was another production idea for this album. There was a bit of a wall of sound thing going on. When I sing '…and The Phantom of the Opera', Anne Dudley has put in a glockenspiel or something which sounds like The Phantom of the Opera. We've also got a choir of actors from a drama school singing on it. [The Truck Driver and his Mate] Neil: "Its title was inspired by the old Yorkie adverts, which used to say something like 'big enough for the truck driver and his mate'. They had this built-in homoerotic innuendo which I always thought was an incredible way to market a chocolate bar. It also sounds like a gay porno movie." (The Face, April 1996) Neil: "This title was in my notebook for years. I think it came from the Yorkie chocolate bar advert which said something like 'big enough for the truck-driver and his mate'. It was Chris's idea to do a rock track. Chris: "The music was a complete rip-off of Oasis. 'Some Might Say', possibly. That's where it started, anyway. Neil: "It's an incredibly standard rock chord change. Chris: "We were excited by Oasis, by the return of rock. It doesn't really sound like a rock record, though. I don't know what we were thinking. It was always a b-side. Neil: "It was done at Rocky Lane. It was just a fun thing to do. We used a sample of a rock guitar chord. Then the 'ow-wow-wow' bit is very T Rex. I'm playing acoustic guitar. It's glam rock really. It's like a David Bowie kind of lyric. 'Solemn as an act of fate'. Is that an original phrase? Who knows? It's a song about male-bonding. There's something homo-erotic a bout the phrase 'the truck-driver and his mate'. I just imagine the two of them dancing together in the moonlight; there was something slightly romantic about it. Chris: "In the serious moonlight? Neil: "Yeah. The serious moonlight. There were promo twelve-inch copies of this which now sell for a lot of money. When it was released as the b-side of 'Before', it started getting played in indie clubs like Popstars in London, so EMI decided to do some promos of just this track. For the 'Before' promos, we'd had a limp penis with the word 'Before' under it. It was just a joke. Before arousal. In America the record company liked it so much they wanted to release it with that sleeve, which we were horrified at the thought of, because we're secretly very prudish. Anyway, for 'The truck-driver and his mate' promo, we just repeated the penis twice, one next to the other. [The View From Your Balcony] Neil: "It's about a friend of mine who lived in a council flat in Bermondsey, South London, on the twentieth floor with a fabulous view over the Thames. The music was written on the piano at home, very quickly. It's not really a very good melody. It's all playing around variations of the same chord. I think I secretly want to be the Mamas and the Papas, or a Californian group, because I like these things with jangly guitars and harmonies in the background. I think it's got a good lyric, contrasting my friend loving his flat on the twentieth floor of the council block with how, in the punk era, you'd have thought of living in a hi-rise as a really shit thing that you were protesting about. In the song, I'm up there, looking at London, the sun setting over east London, and it's all very romantic. There was meant to be a third verse but I couldn't think of any more words. It's funny - sometimes you write a song and you've made your statement and that's it. I was going to have more words about London, and lots of place names, but I couldn't think of anything else. Instead there's a solo played on a trumpet sample. [This Must Be The Place I Waited Years To Leave] Chris: "There's a vocoder line - that thing that Herbie Hancock used to use, like in 'One Of The Crowd' - with me saying 'everybody', then 'everybody jump to attention'. That's me." (Literally #4, September 1990) Neil: "It was originally written in the studio in Wandsworth in 1986. At the time it had been intimated to us that we might be asked to write the theme song for the James Bond film, The Living Daylights, so as a musical exercise we decided to write something that sounded, in our opinion, like a James Bond theme. That's why you have the guitar at the start, which is a Stratocaster sample I'm playing. It has my trademark pitch-bend at the end. I love twang. I've always liked twang. Since I was a child and we used to go to the Royalty cinema in Gosforth for children's matinees and they used to play 'Wonderful Land' by the The Shadows, a track that can still bring tears to my eyes, I've always loved twang guitar. We never heard anything from the James Bond people - A-ha did the theme in the end. Chris: "But that's why 'This must be the place…' sounds so filmic. Neil: "The words are about a dream I used to have that I was back in school doing exams in the sixth form, and thinking 'how can I possibly be back at school?'. And then I get told to get on with what I'm doing. After I wrote the words I never had the dream again. The title is a play on time - the first part present tense, the second past tense. It's a bit like a verbal version of one of those Escher drawings that goes round and you can't work out how you got there. You wonder where you are and you realise you're in the place you couldn't wait to get out of. But I did wait years to leave school. I absolutely bloody hated it. It refers to how we used to have Benediction on Wednesday afternoons, which is a Catholic service. The litany of names of saints is part of the mass. And to how I used to hate playing football and I didn't want to be part of the whole thing. And I'm just saying I hated school, and I'm also getting revenge on my school, St Cuthbert's, for slagging me off in the Newcastle Evening Chronicle when 'It's a sin' came out. There was a front page story about how I'd defamed the school and they were quite hurtful about me, and had anonymous quotes from teachers at the school. Johnny Marr came in to Sarm West and played guitar on this - he does this fantastic controlled backwards feedback, and he does a great thing at the end, right on the fade, playing this great ascending tune. I wish there was more of that. There's Chris's voice going 'everybody e-e-everybody'. Chris: "The rhythm was from 'Jack Your Body'. I also say 'everybody jump to attention'. Neil: "At the end there's a sample from the Moscow trials of 1936 where the prosecutor Vyshinsky is saying 'they must be shot like dogs'. When we were in the studio there was a television documentary about Russia on and we took it from that. Because the song is meant to be about the end of communism as well. Schools are kind of authoritarian places with strange rituals and I just imagined that dreaming you were back in a communist state would be as bizarre as being back in your school days. The album was made just after the Berlin Wall came down, someone looking back on communism, having a dream about it after it finished. At the end of the middle bit, after the guitar solo, you can hear a choir chant 'Lenin', at 3.24, which is from Shostakovitch's Second Symphony. [Tonight Is Forever] Neil: "That day we both came into the studio with an idea for a song and Chris wrote the music for 'Suburbia', I wrote most of the music for this. I had the PPG synthesiser at home, and you could play chords on it. I'm sure I nicked the chord change from some old song. It's about kids going to Heaven, the nightclub. The title occurred to me in a nightclub once. The idea that you can make a brief transitory excitement - fancying someone in a nightclub - into your whole life. It was written in 1985 when the club scene was changing; gay and straight clubs were being mixed. I like the contrast between 'tonight is forever', which sounds like something you'd see Nelson Eddy and Jeanette Macdonald singing in some old film, and my favourite lines: 'I haven't got a job to pay/ but I could stay in bed all day'. The idea that you can just stay in bed and have sex all day. It's, 'Don't think, do'. I mean, I'm not like that myself. It was one of the things I admired about Chris when I first met him was that he was a much more hedonistic person than I was. I would like to like that sort of thing. Like, I like dance records but I can't really dance. In the song, by the end, it's not '…if we fall in love' but '…when we fall in love', and it's really corny because they do fall in love. It's a total fantasy. We were always fascinated by kids going out clubbing. Chris: "In the early Eighties everyone I knew sort of didn't work. Just got dressed up, lived on the dole, and got into clubs cheap - a life of living at night. Neil: "We have always had a slightly romantic idea of the street. The song is meant to be very filmic. The top French horn line, which is played on the Emulator, is very John Barry. There's orchestral percussion - tubular bells. Real ones. On day we came in and there was a tubular bell player. Chris and I were very very against having real instruments brought in the studio. We weren't happy about it at all. We said, 'Can't you just get a tubular bells sample?' That's probably why they're turned down in the mix. This was so nearly the follow-up to 'West End girls'. Chris: "We did it on The Tube and it didn't work. Neil: "That's why it wasn't a single. We got a real downer. It was the worst television appearance we ever did in our entire life. It was The Euro Tube. We opened the whole show with 'West End girls' and I had to sing live, and it was fine. We then had to wait two hours, during which time I drank four pints of beer, then I had to sing 'Tonight is forever'. You have never heard anything worse in your entire life. You know when someone sings on the television and you say, 'Wow, she really can't sing'. This was my, 'Wow, he really really can't sing'. And during the drum break in the middle I couldn't think of anything to do, so I just turned my back on the camera. I thought they could film Chris. [Too Many People] Neil: "I had the lyric idea in my notebook for ages. It just details all the roles one plays in one's life. I have a very bad habit which is to keep different parts of my life separate, and when they mix I get what they call 'role strain'. I worry about whom I'm going to offend most. Chris: "So you compartmentalise your life? Neil: "Chris doesn't really do that. Chris: "It's a list song, isn't it? Neil: "It is. 'The tactless twit putting his foot in…the sensitive soul who's a role model…' and so on. I like 'the wicked uncle who doesn't give a damn'. Chris: "'Showbiz creeps…' - we just won't let go. Neil: "It's another Spitting Image video. I think it's a really catchy song. We didn't finish this until ages after the album. Bob Krausaar really liked it - he said it was irresistible. Bruce Woolley sings backing vocals on it. He can sound like me. Chris put in a whole bit that sounds like New Order. I'm not even sure Bernard didn't comment on it. Chris: "Did he? What an honour. [To Face The Truth] Neil: "This song started off as a track written one Sunday morning on the guitar in the early Eighties. I was lying in bed. I thought it sounded a bit like Everything But The Girl, and I took this half-written song into the studio at Camden Town and Chris changed the timing of it, playing on Ray Roberts' Rhodes piano, and it immediately sounded soulful rather than acoustic folky. The high vocals and the piano were all on the original demo. Chris: "The middle bit was added later. It used to sound like 'Juicy Fruit' by Mtume. Neil: "On the album it has a backwards start - we were experimenting with these things. Also, in this song, for the first time ever - something I'd learned from Dusty - I don't sing the third verse in exactly the same melody. I started to think about singing with this album. It's the normal love-gone-wrong song. The middle bit - 'you are the only one' - comes from the first X-rated film I ever saw, just before I was 16, which was Midnight Cowboy. And they keep on having flashbacks of the Texan boy back in Texas with his girlfriend and she's going, 'You're the only one, Joe. You're the only one.' And for some reason that made a huge impact on me, so much so that twenty years later I put it in this song. Chris: "So what is the truth? Neil: "It's a heterosexual story. Some guy's girlfriend is going out, screwing around, and he suspects she's having it off with someone. It's about lying in bed and your lover's somewhere else. The truth to be faced is that the person you're in love with is not in love with you. But you can't face up to it. It's just a story. Or at least it was at that time. [To Speak Is A Sin] Neil: "'To speak is a sin' is an ancient song; one of the first songs we ever wrote. It predates 'It's a sin', though it's from around the same time. It was written on the same day in 1983 as we wrote the unreleased 'In the club or in the queue'. It's a real early Eighties sleaze tune. We first recorded it with Bobby 'O' but we always had a problem with it because it's a very slight song: there's really only twelve bars of things happening here. Chris: "I always thought it was about sad old lonely homosexuals not daring to talk to anyone attractive in a bar. Neil: "Yes, that's pretty much it. And also, when you go into a gay bar, everyone turning around. Not saying anything. It's all done by looks and gestures. It's about people going out, no matter how ghastly the weather is, on the off chance they're going to pick someone up, and about the desperation, and the hopeful optimism, of that. It's not really like that anymore, now that everyone's out. Chris: "Everyone's too flaming happy now. Obviously it's great that people are happy, but a whole culture has kind of dissapeared. Neil: "We always used to like tragic gay bars. They're hard to find now. When you go in there, it's pretty much empty and it's all a bit surly. Anyway, we'd been thinking about recording 'To speak is a sin' for ages. Once we'd got 'Jealousy' out of the way, which took long enough, we could move on to it. The music uses the Doppler effect, like when a police car approaches and appears to change tone, on my voice, when I go 'aaaahhhh….' Bob Krausaar did that. We should never have used a saxophone on this. It's sampled, and when we did this on the Discovery tour, we used a guitar sample, and Chris had a new, really good line he played, and it just sounded much better. [To Step Aside] Neil: "The verse was inspired by my holiday in Santiago de Compostela, Spain. All these pilgrims walk 120 miles and them come into the square in Santiago, because it's the end of their journey and it means they've attained eternal salvation. And I'm looking out the window thinking how good it must be to have that kind of certainty. [...] Verse two was inspired by a visit to Budapest visiting a friend. Verse two is about a bus queue: Those lines, 'for market forces to provide/what history's so far denied', I was thinking that everyone really only wants the same things. They just want comfort, security, education. It doesn't seem that much to ask, but it seems impossible to get it. I was also trying to draw a parallel between my life and the lives of poor working people in Europe, in peasant societies or proletarian societies. It's really about faith, this song. When I say 'if I decide to step aside', I mean from the relationship I'm in, and also from the Pet Shop Boys themselves. The reason I'd step aside is because I don't want to be changed anymore by the experiences I've been going through. I sometimes think I'd rather give up on the competition of the whole thing and live quietly somewhere. Not try to be clever. i think about it all the time, but I don't want to do it either. I like the way it's followed on the album by 'Saturday Night Forever'...it asks a very difficult question...are you going to step aside? and then you go out and carry on as normal." Neil: "Chris wrote the music a while before. His demo was called 'Shame'. Chris: "This song sounds like the music for a holiday programme. Neil: "That's what George Michael said. Chris: "Some of it also sounds like New Order to me. The bassline is from a keyboard that you only buy for that bass sound. Neil: "We struggled a bit with this, and then we applied the Spanish idea to it and found the sample of Spanish gypsies. I wanted it to sound like pilgrims singing. In the first verse you have me comparing my life with the pilgrims in Santiago de Compostela. These pilgrims have walked 120 miles and it means they've achieved eternal salvation, and then there's pathetic Neil looking out of the hotel window thinking about how good it must be to have that kind of faith. The second verse is set in Budapest - these were both real trips I'd just taken. It was 1996 and in post-communist Hungary there were still people who looked like they had really shit lives, and it was five years since communism had ended. They're still waiting 'for market forces to provide/ what history's so far denied'. Everyone really only wants the same things - comfort, security, education. It doesn't seem that much to ask. But it seems impossible to get it. And I'm sitting in a big international hotel drinking a glass of white wine and looking at them. There's a certain amount of guilt, I suppose, about that. And then, in the song, I'm comparing these things with what I'll decide to do, whether I should step aside because I don't want to be changed anymore by the experiences I've been going through. It's partly about me and the relationship I was in. The end bit is the important bit: 'Will I always need you?/ Would you want me to?' In other words, it's all very nice now, but it's not going to last. Or will it? There was also some sort of notion in the song about stepping aside from the Pet Shop Boys, or from pop music. Just thinking about what it does to you, being famous and being in a pop group. Do you grow away from your roots completely? I'm not convinced that you do, but it's thinking about that, saying: maybe wouldn't it be a good thing to step aside? I sometimes think I'd rather give up the competition of the whole thing and live quietly somewhere. Live a simple life. Not try to be clever. I think about it all the time. But I don't want to do it, either. [Two Divided By Zero] Neil: "In 1983, when I was working in New York at the American version of Smash Hits, I bought my father a talking calculator which spoke the numbers out loud for his Christmas present. Chris and I loved the calculator's voice - it had a very very sad quality. When we played it to Bobby 'O' he loved it too - he said 'this is a whole album!'. Bobby 'O' had given us a backing track he'd done which he couldn't think of anything to do with, so we had the idea - because you could make the calculator say mathematical sentences - of making it say 'two divided by zero', and building a song around that. I think it was Chris who thought of it - it's not the kind of thing I'd have ever thought of. Chris: "Two divided by zero is infinity, isn't it? Neil: "I think at the time we had this discussion about whether or not it was infinity. Anyway, it was rather a romantic idea. Chris: "Two divided by nothing. It's like 'when two become one'. Neil: "Precisely. It was just the idea that two people couldn't be split up by anything; could be split up by nothing. And that suggested this idea of two people running away. It reminded me of when I was a teenager. This girl Maureen and I often had this romantic notion of running away to London, and we sometimes used to go to Newcastle Central Station at night to see the trains going to London. And, in the song, maybe there's trouble at home, so the two people are going to run away. In this instance, to New York. The 'when the postman calls…' part of the song comes from the way, when I was a teenager, people were always having pregnancy scares, most of them totally manufactured, I think, for the sheer value of the drama. The suggestion is that one of them is pregnant. We originally recorded the song with Bobby 'O', and then again for the album with Stephen Hague. I'd given the calculator to my dad after we made the first version, then I got it back off him for the album, and he never got it back again after that. I don't know what happened to it. Bobby 'O''s version was all programmed on a Linn drum and had loads of samples on an Emulator, and Bobby 'O' also sampled himself and me, each saying 'two divided by zero', and there was a lot more of the 'divided by…divided by…'. For Please, Stephen Hague spent ages working on it, and I think it's the best-sounding track on the album. The arrangement is very similar to Bobby 'O''s, but it sounds bigger. We were always very concerned that it should still sound hip hop and not get too smooth - that's what we were concerned about for the whole album - and I think the whole track has got that sort of rush of excitement, of running away. At the same time, you know that there's no way the people in the song are really going to end up in New York. Absolutely no way. Just like Maureen and I. [Up Against It] Neil: "It was originally called 'I Will Love You' - that was Chris's title. I wanted something else, and I knew I needed four syllables, and I was looking at my bookcase in my sitting room and thre it was: 'Up Against It' by Joe Orton. It was the screenplay he wrote for the Beatles which was never used. The song is nothing to do with that though. It's about post-war Britain; about how people, at the end of the Second World War, thought they were going to build a new Jerusalem, and about how, in every era that you can remember, everyone's being told to tighten their belts for some future reward. They were doing it in the 40's, in the 60's, in the 70's, in the 80's and they're obviously still doing it now. You're always marching, but you're never actually getting anywhere. The song is saying 'what a swizz'. Everything in the song is quite logical. The first verse refers to the legendary cold winter of 1947/48. The 'so deep in quicklime' part was written because, as I was writing the song, they dug up the bones of the Tsar in the woods in Russia. In a way the song is just saying politics is shit. Johnny Marr played guitar on it, and he had the idea for the backing vocals at the end. He said 'if you were being really Quincy Jones you'd do something like this', I said 'let's do that then'. Neil: "Chris wrote the music for this. He called his demo 'Indie'. Chris: "The title doesn't necessarily relate to the song. Neil: "Well, that was why we asked Johnny Marr to play on it. We thought it should have guitars because Chris pictured it to be a jangly kind of guitar thing. On the demo he played the melody on a guitar sample. There's still a guitar solo played by Chris on the keyboard. This was always a very easy track. I'd written the words when it was demoed. The title comes from the title of the screenplay Joe Orton wrote for The Beatles which was never used. I needed a four-syllable phrase to fit the melody, and I looked at the bookcase in my sitting room and there was Up Against It. Having decided upon that title, I'd also been reading a book about London after the Second World War, and the lyrics are sort of about post-war Britain. It's about how people thought that they were going to build a new Jerusalem, and how in every era everyone's being told to tighten their belts. They were doing that in the Forties, in the Sixties, in the Seventies, in the Eighties, and they were still doing it when I wrote this. You're always marching but you're never actually getting anywhere. It always seems like there's an economic crisis on, and that optimism disappears, and the song is saying: what a swizz. The first verse - 'such a cold winter' - refers to the legendarily cold winter of 1947/48. Rhyming 'Pinter' and 'winter' is very Sting, isn't it? The 'so deep in quicklime' part was triggered by the fact that, as I was writing the song, they dug up the bones of the Tsar and his family in Russia. It's just saying that communism was rubbish. The whole song is just saying that politics is rubbish. Chris: "The bassline's doing a Latin rhythm bit. Neil: "Johnny Marr came up with the idea for the backing vocals at the end: 'coming up against it now, really coming up against it oooh whooo whooo'. He said, 'If you were being Quincy Jones you'd do something like this'. I said, 'Let's do that, then,' and we sang them together. Chris: "We were still doing Sharon Redd breakdowns. No handclaps though. Neil: "It's got a very good end. Chris: "Well done, Chris Porter. That's the sort of thing only a proper producer would do. [Violence] Neil: "Violence was the last track to be written for Please. Chris: "It was inspired by a sound on the PPG. It's the bass sound on the record. Actually, the same sound is also used for the organ. It sounds quite soulful. Neil: "My vocal is really thin-sounding on this. Helena Springs sings on it as well. In the instrumental middle bit we are still in 'Axel F' territory. It's about Northern Ireland. At this time there were bombs in London. It was also partly inspired by another Penelope Spheeris film, The Boys Next Door, which is about two teenagers who go up to lots of people in Los Angeles shopping malls. Chris said I should put in 'violence breeds violence'. Chris: "'Violence breeds violence'. It's a bit like 'War is stupid', isn't it? Neil: "I always thought it was a bit of a corny line but I couldn't think of anything else. I like the last verse best. The song is really about how violence is male. It's a male concept. A friend of ours who was in jail when this album came out said that everyone in his prison loved this - they thought it was the best track on the album. I don't think they thought it was glorifying violence. I think they liked the fact that it was hard. [Violence (Hacienda Version)] Neil: "The original version of 'Violence' was on Please [see Please sleevenotes], and when we played at the Haçienda in 1992 we decided to do an old song, and we chose 'Violence' because there was so much gang warfare in clubs in Manchester. And we'd always liked it. So we did it in a kind of Manc drum-loopy kind of way. It was fundamentally done by Chris. We liked the new version enough that we recorded it, and put it on one of the 'I wouldn't normally do this kind of thing' CDs. [Was It Worth It?] Neil: "This started off as a song I wrote on the piano, before we made Behaviour. For ages there wasn't a chorus, and then Chris wrote the chords to the chorus. Steve Anderson of Brothers Of Rhythm put down the piano part, which is pretty much like 'Ride On Time', on it. I said, 'Isn't that a bit too much like "Ride On Time"?' but then I realised that's what DJ culture is all about. It's just a rhythm part, anyway. I love the call-and-response in this song. It's real disco. It's a very gay song. Very gay positive. It's basically saying: if I had to do it all again, I wouldn't change a single thing. It's about me starting a relationship. I couldn't think of the chorus words for ages and then I wrote them one night driving home in a taxi down North End Road in Fulham. I thought it would be a top five hit, but it was our first - and so far only - single not to reach the top twenty. I think we didn't spend enough time on the production. The seven-inch mix, which is on Discography, sounds a little bit cheesy now. This twelve-inch mix is great, though you can hear a very bad edit in it. In those days we still used to mix on half-inch tape and you can hear at 0.43 where the string run goes into the full mix. Chris: "It sounds alright. You could even argue it was deliberate. 'How did we get that effect?' is what you could be saying. I didn't like this song for years, until I heard the demo of it that a fan sent in. Neil: "When we were onstage in Spain in 2000 this Spanish boy gave us a version with a friend of his playing electric guitar and he sung it with a Spanish accent and it's so moving. Chris: "He sung it so well - much better than Neil's ever sung it. Neil: "So I started to do his version in concert. Actually, our new live version of it is a mixture of the original and his. Chris: "We've now realised it works much better as guitar and vocals. We might redo all of our fast songs as ballads. [Was That What It Was?] Neil: "We wrote and recorded this in Advision studios, trying to see if we could completely do a song from scratch for a b-side. We didn't really like our version, so when we went to America and Shep Pettibone was remixing 'Opportunities', we also asked him to remix this. Instead, his manager Jane Brinton did it. It's got all weird echoes in. It's one of my least favourite Pet Shop Boys songs, though I like the middle bit - 'I don't need any more in my life' - which I think sounds a bit like David Bowie. Although it also sounds like the middle section of 'Tonight is forever', which I didn't notice until a fan wrote to me and pointed it out. It's one of my soppy love lyrics. There's a stream of soppy b-sides. Chris: "Was that what it was? Was that what it was? Neil: "It's a 'why has everything gone wrong?' record, looking back, trying to pinpoint why the whole thing was screwed up. To be honest, it's a very minor work. [We All Feel Better In The Dark] Chris: "More tragic vocals from me. I must remember not to do this again in the future. Neil: "It was the b-side of 'Being boring'. Chris wrote all the music for it. I just sang 'we all feel better in the dark'. Originally it was going to be 'we all look better in the dark', which was my title - that was one of the ideas I considered for what became Electronic's 'Getting away with it'. Chris: "I thought that was too down. Too negative. I didn't think that was sexy enough. Neil: "Chris went to a studio because he had the idea for a track, like he did when he did 'Paninaro'. By the time I heard it he already had the words. Chris: "The idea came from a tape I bought from a health food shop round the corner from the studio: The Secrets Of Sexual Attraction. The words are terrible. Awful. Embarrassing. Neil: "I think it's true to say they're about going to a rave. It's the most lustful song the Pet Shop Boys have ever recorded. Chris: "I performed it in my underwear on the Performance tour. I don't know who persuaded me to do that. Neil: "Chris, it was your idea. We realised in 1991 that the Nineties were going to be all about underwear. You had another pair on underneath, didn't you? Chris: "Yeah. I wouldn't have risked just the one. [West End Girls] Neil: "'West End girls' started off as a rap I'd written which was completely inspired by 'The Message' by Grandmaster Flash, which was released in 1982. I loved the whole idea of the pressure of living in a modern city, and I decided to write a rap which could be done in an English accent over this piece of music Chris and I had written in Ray Roberts' Camden studio where we used to work. The original music wasn't great, though there was a fantastic bit at the end where Chris went into a Rhodes piano solo, which we really liked at the time. I started writing the rap when I was staying at my cousin Richard's house outside Nottingham. He and I had stayed up watching some kind of James Cagney gangster film on the television, and I went to bed at about one o'clock. I was sleeping in one of his kid's bedrooms in this tiny single bed and for some reason the line 'sometimes you're better off dead/ there's a gun in your hand and it's pointing at your head' came into my head, so I got out of bed and wrote it down on a bit of paper with the next two lines. Then when I got back to my flat in the King's Road, I lay on my floor one night and wrote the whole thing, apart from the last verse. The following day we were in Ray Roberts' studio and I said, 'I think we should do this rap record - I've got an idea' and I spoke the whole thing to Chris and Ray Roberts, banging my knee. Then, literally two or three days before we went to New York to record with Bobby 'O' for the first time, we wrote an instrumental with me playing the piano and Chris playing keyboards. It started off with this chord change that I'd written years ago, and Chris came up with the bassline - our first bouncy bassline. I took the tape home and I realised that you could say the rap I'd written over it, and that you could sing a tune over the chorus and then have 'west…end...girls…' following the bassline. And I wrote the last verse, sitting on the floor again, and made a little tape of it. When we went into the studio with Bobby 'O' he just stood us behind two keyboards and I said to Chris, 'you know that rap…' and I did it then - that was the first time I'd ever sung it, apart from muttering it to myself. Chris: "The engineer had made 'Popcorn'… Neil: "…the first ever synthesiser hit, before Giorgio Moroder or Kraftwerk. Steve Jerome, he was called. The following day Bobby 'O' did these overdubs where he got the drum sounds from David Bowie's 'Let's Dance' and played them live on the Emulator, and he played the choir thing on the Emulator. When we first heard an Emulator at Bobby 'O''s we loved the sound of this male Gregorian choir. Chris: "New Order had already used it on 'Blue Monday'. Very annoying. Neil: "I remember the engineer saying, 'oh, wow, your voice is so easy to listen to…'. Chris: "When we wanted to release 'West End girls' again after we signed to Parlophone, we had to re-record it, because we didn't own the original recording. Stephen Hague decided we should slow it down - he wanted to make it more moody. It's very similar to the original, but slower. Neil: "We added a lot more incidental noises - we had a general theory at this point that we wanted to make music that sounded filmic. We wanted to bring real sounds into the music, so our suggestion was to record people walking down the street at the start. We recorded traffic as well. At the start you can hear what Stephen Hague recorded walking down the street outside Advision studios with a DAT. Chris: "Luckily a girl was walking down the street in stilettos. Neil: "If you listen very carefully you can hear a girl saying, at 0.05, something like 'it's Sting'. Chris: "Because Stephen Hague looks a bit like Sting. Neil: "The original version had four verses, but we decided to reduce it to three: I joined the beginning of the fourth verse to the rest of the third verse, skipping 'I've said it all before and I'll say it again/ we're all modern men' from the third verse and 'All your stopping, stalling and starting/ who do you think you are - Joe Stalin?' from the fourth verse. And the way it worked in this version, it left a gap at the end of the verses, apart from the first verse, so either we or Stephen Hague suggested having someone sing there, and Stephen Hague suggested Helena Springs. Chris: "Helena Springs has got one of my favourite female backing voices of all time. Neil: "I told her what words to sing and suggested the tune to her. She's got a fantastic, magisterial voice. Then we added the trumpet solo, which is played by Stephen Hague on an Emulator trumpet sample. Chris: "He spent ages doing it. It's a really good solo. A lot better than most trumpet players. Neil: "All the Emulator choirs come from Bobby 'O''s original version - Bobby 'O' played them originally. Chris and I foolishly didn't want to keep them because we wanted it to not sound like Bobby 'O' but Stephen Hague quite rightly said, 'No, that's so good it has to stay in'. The new version also has a different beginning and end to the original. The whole record took exactly one week, five days from Monday to Friday, on Friday evening it was finished and we thought that it was absolutely completely brilliant. And famously we took it to EMI and they were all a bit worried about it, and we really had to say, 'No, it's great'. And it went to number one in Britain and then, in 1986, to number one in America. Arguably, 'West End girls' was the first rap number one in America. Chris and I did our twelve-inch mix [CD2, track 6] with Frank Rozak, an engineer from New York - we went in at night because the studio time was cheaper. We weren't that happy with it at the time, but that mix became the number one dance record in America. A lot of people assumed the song was about prostitutes and of course, typically, it didn't even enter my head. It was meant to be about class, about rough boys getting a bit of posh. It's opposites - west/east, lower class/upper class, rich/poor, work/play. And it's about the idea of escape. There is a huge thing about escaping in our songs. I put in the bit about Russia because I've always been interested in Russian history, and the idea was that the song went from west to east - 'from Lake Geneva to The Finland Station', which is the historic journey Lenin made in a sealed train. Chris and I used to love the West End of London near Leicester Square because you'd get a lot of skinheads, and you'd get posh girls. We used to go out nightclubbing a lot, and we'd go to The Dive Bar in Gerrard Street, which is mentioned in the song. It was in a basement, and it was damp down there, and there was no one in it apart from a couple of queeny guys talking to the barman - but it used to fascinate us. The barman used to play Shirley Bassey or Barbra Streisand or Barry Manilow. We used to really like going there. [What Have I Done To Deserve This?] Neil: "We wrote this in the beginning of 1985. Tom Watkins was managing a songwriter and artist called Allee Willis - I think he might have just been managing her art career. Chris: "She had an asymmetric haircut. Because it was the Eighties. Neil: "She was quite a distinguished songwriter, in that she'd co-written 'Boogie Wonderland' for Earth Wind & Fire, and at the time she had a big hit with The Pointer Sisters' 'Neutron Dance'. Chris: "Since then she's co-written the theme from Friends. Neil: "Anyway, Tom Watkins said, 'why don't you write a song with Allee?' We'd never written a song with someone else in the same room. EMI used to have a studio in their basement and we went in there. In fact we started off in a rehearsal studio, where Chris threw a strop. He walked out of the studio and I had to persuade him back in. I think he felt under pressure. Chris: "Yeah. I was having to fight to get to a keyboard. Neil: "Then, after the strop, it got quite good. So there's three bits of the song, one by Chris, one by me and one by Allee Willis. Chris wrote the riff which starts the song and the music which is underneath 'I bought you drinks I bought you flowers', I wrote the verse, and Allee wrote, in my opinion the best bit of the song, the 'since you went away…' bit. She was a very good musician and she'd brought an effects unit with her which she programmed to make the drums sound like Prince. Chris: "I remember there was lots of discussion about what the song meant. I thought, 'does it really matter?' Neil: "She was right, though. I wrote most of the words. The story of the song is that two people have broken up, and they're both in different places regretting that they've split up, and at the end of the song they get back together again. The man is a pathetic feeble wreck and the woman is meant to be this major capitalist. I suppose I disguise the plots of the songs because I sometimes think they're a bit corny and they're not the most interesting part of the song - it's how it's manifested, how it's discussed, the words that are used to express it. All these things have been said three million times before, so it's how you say them. The details. I wrote the words on the top of a number 22 bus going home from Smash Hits one night. I was going down Piccadilly when I thought of 'what have I done to deserve this?', and then I remember driving past The Ritz and thinking 'I bought you drinks/ I brought you flowers…' and I even got my pen out of my briefcase and wrote it down. And then Allee went through the lyrics and simplified some of them and said 'what's happening?' I would never have written things like 'hanging around' - I had something slightly more English than that. And we were very very excited about it and we played the demo to Tom Watkins who was really iffy about it. It was going to be on our first album, and we couldn't think of who could sing the female part, and Nikke Slight, who worked in Tom Watkins' office, said, 'well, you like Dusty Springfield so much - why don't you ask her?' And from that point we knew we just had to have Dusty, so Dusty was approached but it never happened. Everyone said she couldn't sing anymore. She had a very bad reputation. Then later, after Please came out, we heard that Dusty wanted to do it. Chris and I met her and talked through the song. Chris: "I think she was wearing a shell suit. Neil: "No. She was wearing black leather. Chris: "I always picture her wearing a shell suit - pink shell suit and Reeboks. Neil: "She did later on, when we recorded the solo album. Chris: "That's the classic Dusty, with straggly bleached hair. Neil: "She came in. Chris and I were sitting in the office in Advision. Frankly, I was terrified. 'What do you want me to sound like?' she asked, and she seemed surprised by the answer: 'you'. And then Chris and I had to go to Newcastle to do 'Paninaro' on The Tube, so we missed her recording the vocal. When we came back, it sounded fantastic. After we had recorded it, Chris and I went off the track, in our classic way. We decided we didn't want it to be a single. It had such an unusual structure and we worried it didn't hang together. But we changed our mind again. Originally the record started with an aeroplane noise, because he comes back to her, but we thought it complicated the issue so we took it off. We remixed our own twelve-inch version [CD2, track 6] with Julian Mendelsohn. It's very Eighties. I like the fact that the bass is louder than the seven-inch mix. Chris: "It's got a real build. [What Keeps Mankind Alive?] Neil: "We didn't release 'What Keeps Mankind Alive?' until it was a b-side for 'Can you forgive her?' in 1993, but we recorded it back in 1988. Radio One were doing a documentary about the fiftieth anniversary of Kurt Weill's The Threepenny Opera's first performance. Quite why Radio One were doing that I don't know, but they wanted a contemporary band to do a song from The Threepenny Opera and they asked us to do 'What Keeps Mankind Alive?', which neither of us knew. Chris: "We wanted to make it sound really jolly, so that the lyrics sounded really sick. Neil: "There is that quality in The Threepenny Opera anyway. You've got this heroic music and these words about cannibalism and torture. We did a demo of it, and then we had to go to BBC studios in Maida Vale to record it. It's a very complicated piece of music and we were struggling a bit. Chris: "The BBC producer was breathing down our necks the whole time being a real irritant. Neil: "Luckily Simon Bates was there to smooth things over. And who should be in the studio next door but Richard Coles of The Communards, doing a session with Sandie Shaw. I said, 'Oh, Richard, you can do all this, you're classically trained, just come and play these chords…' Even he found them quite hard, but he very kindly played them into the computer. Anyway, we finished it within the four hour session. Chris: "Then it turned out that it wasn't fifty years, after all. Neil: "When we were recording I said to the BBC producer, 'Wasn't that in 1928?' He said, 'Yeah'. I said, 'Doesn't that make i t sixty years…?' And they'd made this documentary and got David Bowie and Sting and everyone. It was really funny. So they celebrated the sixtieth anniversary instead. [Where The Streets Have No Name (I Can't Take My Eyes Off You)] Neil: "In our live concert, 'Streets' was meant to be totally the opposite of anything U2 would ever be--all these dancers and me in a pink satin suit. Now it could fit into Zooropa quite easily. We did with them what they've done with them before they did it, if you know what I mean." Neil: "We were releasing 'How can you expect to be taken seriously?' as the third single off Behaviour. However, we decided that wouldn't be a big hit, and we needed a hit, so we released a ragga-style remix of that with this as a double a-side. 'Being boring' hadn't been a big hit and we needed a big hit. It was absolutely shameless. Ages ago we'd had the idea of doing U2's 'Where The Streets Have No Name' as a medley with 'Can't Take My Eyes Off You', which we knew best as a high energy record by The Boystown Gang, because one day, when we were recording 'I'm not scared' with Patsy Kensit, Chris came in and said you could sing the one going into the other. And we also thought the guitar on U2's record sounded like a sequencer. Our original idea was to do this with Patsy Kensit - it was going to be the follow-up to 'I'm not scared'. Chris: "Then we had the idea of doing a whole EP ourselves of rock classics to a high energy disco beat. 'Stairway To Heaven'… 'She's climbing! She's climbing!…' Neil: "'…a stairway! To heaven!' And we were going to do 'Like A Rolling Stone'. Then we just decided to do 'Where The Streets…' The extended mix [CD2 track 7] really sounds like ZZ Top, I think. When I went to America to work for the American version of Smash Hits I heard ZZ Top for the first time, and there were two of their songs I particularly liked, 'Sharp Dressed Man' and 'Legs'. I loved the combination of electric guitars and drum machines. Billy Idol had it as well. And I think this sounds a little bit like that. We had J.J. Belle playing rock guitar. When the single version came out, Bono said 'what have we done to deserve this?' And who can blame him? [Why Don't We Live Together?] Neil: "It was written in some rented studio about the same time as 'Suburbia', and when we went to New York to remix 'Opportunities' with Ron Dean Miller in Unique studios we were having such a good time that we announced we were going to stay longer and do another track with him. EMI generously agreed to carry on funding us. They were now well up to £100,000 of costs and we hadn't released a record yet. Ron Dean Miller played the guitar. We were being a bit like 'Into The Groove' again. Chris: "Not specifically. We were being New York. Neil: "Ron Dean Miller suggested I change the phrasing of how I sang it. Chris: "It used to be 'why don't we live together now?' but he said, 'Leave off the "now".' And it was Ron Dean Miller's bassline. And the drums at the beginning are fantastic. Neil: "It sounded much more American. But that version [CD2, track 5] is not the version we released. For the album, we worked on it some more with Stephen Hague. He spent ages reprogramming all the drums for it. Chris: "It's ace. I don't know why it wasn't a single. Neil: "Ron Dean Miller could not understand the line 'the woman in me shouts out, the man in me just smiles'. I always like presenting things upside down, so in this song men are indecisive and women are decisive, whereas the stereotype used to be the other way round. It's probably about someone I fancied, but I can't remember. I'm saying that the woman in me responds to emotion and the man in me doesn't - it's that my soft feminine side wants to settle down. That's what the song is really about: settling down, compromise. If you will never find someone who you are totally in love with, who you are intellectually compatible with, physically compatible with, never going to get bored with sexually, is incredibly good-looking - if you're not going to find that person, you're probably going to settle for the person whom you're used to. It's the compromise of reaching middle age. A very old-fashioned idea. People say, 'You've got to work at a marriage', and I think that's true. The people in the song are being wise. You both know you're kind of in love but you're messing around and eventually one person is saying to the other, 'Why don't we just face the fact that we're going to live together for the rest of our lives and get on with it, and we will be happy?' It has some of the same words as the end of 'Opportunities': '…all the love we had and all the love we hide'. [Yesterday, When I Was Mad] Neil: "'Yesterday, When I was Mad' is about the reaction we got on tour, about being damned with faint praise. Someone coming backstage and saying, 'It's quite good; you've made a little go a long way.' People said all these things to us. We attract, of course, a lot of superciliousness. Which is a pity, because we've never admired cleverness for its own sake..." Neil: "Chris and I were talking about how, in progressive rock, they used to change time all the time, and how no one did it anymore, so this starts in 6/8 time and then goes into techno. We were quite into techno at this time. Chris: "Who wasn't? Techno techno techno... Neil: "The music was written first. We wrote it at the studio in Hertfordshire and I put the chorus on straightaway. Chris: "It's all about being on tour, isn't it? Neil: "When we'd been on tour in America in 1991 I'd written down the phrase 'yesterday, when I was mad'. It's meant to be more funny than angry but there is a little bit of anger because the conversations happened. Someone did say, 'You've both made such a little go a very long way', and also, 'They couldn't understand your sense of humour like I do'. It's people's reactions to the Performance show. People would come backstage and say these things, particularly in America. Someone told me, 'I got it - none of them out there got it'. I always used to say: What is there to get? It's a show. There's nothing fantastically clever about it - it's just a load of costumes and dancing and stuff. It's not the story of King Lear. It's not La Boheme told in pop songs. When everyone says that stuff, you feel like giving up. Chris: "Touring generally can make you feel like giving up. Neil: "On tour it's very difficult to believe in people's sincerity because you're the king of the castle and everybody does what you say, so you don't know what they think. And then you think, when you're in the hotel by yourself, 'oh well', and you begin to think that you do believe in people's sincerity. As for the competition winners, hotel rooms and arguing about dinner, see Pet Shop Boys Versus America. Chris: "It's quite an unusual sounding record. It's from our punk disco range that we do every now and then. It's for the mosh pit, if that's what you call it. No one else would write a song like this. Neil: "When we were going to release it as a single, Jam & Spoon did a remix and they had changed the introduction, and we used that in our single version [CD2, track 15]. It made it much more spooky and techno-y. It was mixed by Julian Mendelsohn. Chris: "The video was surprisingly good. I loved being a lampshade. [You Know Where You Went Wrong] Neil: "Like so many producers we've worked with, Shep Pettibone always wanted to do another 'West End girls'. He'd say, 'why don't you do another record where you talk, because everyone loves that in America?' It started off as a story Chris told me - that he'd been walking through Covent Garden and there were two tramps in this doorway and one of them turned round to the other one and said, 'well, you know where you went wrong'. He told me this and we thought it was really funny. It was like a New Yorker cartoon. Chris: "I thought it was rather more Glen Baxter myself. Neil: "That was about a year before we wrote the song; I'd always remembered it. Then the 'y'know' came from our friend Pete. Chris: "You'd say something and he'd go 'y'know'. Neil: "It's to agree with what someone is saying but to emphasise it in a slightly sarcastic way. Chris had written all the music. Shep Pettibone arranged the introduction and then later went and used more or less the same kind of arrangement for the introduction to 'Vogue' by Madonna. It was originally a rap song but Chris didn't like the rap and so I think he suggested this tune I should do. The words are just examples of people saying 'you know where you went wrong'. For the verse about 'the girl says, "admit admit"', I was reminded about when my sister, as a girl, used to get magazines like June and Schoolfriend, and in them the girls would say things at the back of biology classes like 'admit admit'. The second verse is about someone disgraced by a way, an old statesman totally out of favour who can't understand why people are upset. Helena Springs, who had sung on 'West End girls', sings on it. Chris: "She gets the best bit of the song. Neil: "We spent ages working on it. I think we thought it might be a single, but it became the b-side of 'It's a sin'. Chris: "That happens so often with us, and then the song barely makes it onto a b-side. [Young Offender] Neil: "We had [the remixes] done a year ago and I can't remember why now. The first mix is my personal favourite mix we've ever had done." Chris: "Oooh, what a sexy title. One of the best tracks on the album. Neil: "The title idea came from Chris. He'd written this piece of music and already titled it 'Young offender' on the computer. It's about someone old and someone young. The young person is playing on a computer. Chris: "I thought it was someone in an arcade. I wish I didn't know that. Neil: "It could be an arcade - we've given it that context in the song. It's also about how, when computer games came in, a certain generation just didn't know what they were all about. It is about a generation gap. The whole song is a defence of the writer against the young person: 'I've been a teenager since before you were born…' The young person isn't supposed to be a criminal - he's an offender because he's annoyed me. There's the double entendre no one ever notices: 'will I get in your way or open your eyes/ who will give whom the bigger surprise?' I like the 'whom'. [Your Funny Uncle] Chris: "This always makes me think of being on tour in 1991 - it was the last song, when we ended up going to bed. Great way of ending a show. I used to love going to bed thinking, 'I've got nothing more to do and Neil still has to sing a song'. Neil: "It was during this song in San Francisco that one night a man jumped onstage and kissed me, and the next night another jumped on Chris's bed. The music for this I played all on samples. I first played it on the piano at Sarm West with a metronome click in my ears very loudly - you get a gap between verse two and verse three because I couldn't think of what to do between them. Then I took each of the instruments of a string quartet on the keyboard and separately played a line: a cello line, two violin lines, a viola line, and then a clarinet sample near the end. It didn't take very long. It was done at about midnight one night. Danton Supple, the assistant, mixed it. Chris was asleep on the sofa. Chris: "I wonder if I was dreaming of the Queen. Neil: "The words are about one of my best friends who died of Aids. The same person who had the party in 'Being Boring'. He died in 1989, and this is a description of his funeral. All the details are true: the cars in slow formation, and so on. He did have an uncle, who had been in the army all of his life and suddenly found himself at the funeral of his evidently gay nephew who'd died of Aids. I think it must have been quite a difficult situation for him, but he was really nice and dignified and spoke to all of his nephew's friends. I had to give a reading, and the bit I read was from the book of Revelations, which started 'I, John, saw a new Jerusalem', and at the end it says there's somewhere where there's no pain or fear, and I found it a really moving piece of prose, and attached it to the end of the song. ------------------------------------------------------------------------------ Articles to each major album release [Actually] Actually, the second Pet Shop Boys studio album, was released in September 1987. 'We hadn't toured, which we were supposed to do at the end of 1986, and I think it was a strength, because we spent quite a while writing songs,' says Neil. 'The idea was to make it more musically ambitious. Bigger-sounding. The arrangements slightly more adventurous. My criticism of this album is that I don't think it hangs together as well as some of our other albums. But it definitely marked a high point of our success.' 'Very exciting times,' echoes Chris, then adds, wryly, 'I knew it was never going to last.' The first song recorded for Actually was their collaboration with Dusty Springfield, 'What have I done to deserve this?'. Though it was produced by Stephen Hague, who had produced Please, the Pet Shop Boys had already decided that this time they wanted to work with a variety of producers. Over the next few months they recorded with Hague, but approached a number of other people and worked with Julian Mendelsohn (whom they'd first worked with on the single version of 'Suburbia'), Andy Richards (whom they'd met as Julian Mendelsohn's programmer) and Shep Pettibone (the New York dance producer who had remixed 'West End girls', 'Love comes quickly' and 'Opportunities').The album was preceded by two singles, 'It's a sin' in June and 'What have I done to deserve this?' in August. Subsequently they released a remix of 'Rent' in October and then, after the non-album single 'Always On My Mind' in November, a different version of 'Heart' from the Actually version came out in March 1988. In Britain, 'It's a sin', 'Always On My Mind' and 'Heart' all reached number one; 'What have I done to deserve this?' was only blocked by Rick Astley's immovable 'Never Gonna Give You Up'. 'As soon as Actually came out we planned another tour and promptly cancelled it,' Neil remembers. 'We did lots of promotion instead. We were still having hits in America, and I felt at this time that we had the secret of contemporary pop music, that we knew what was required. We entered our imperial phase. We did our thing with Dusty, we made a film, It couldn't happen here. It was exciting.' 'It was a very busy time,' says Chris. 'I can't really remember much about it. Just hectic. What was good was, a lot of British people were successful in Europe so we were always at airports with the rock and pop fraternity. It was really great - you'd arrive at Heathrow and everyone would be there: Depeche Mode, The Smiths, Nick Kamen, Paul Weller, Eighth Wonder. And you'd be, "Oh God, look who's over there".' '…The Spands…The Human League,' continues Neil. 'Every time we had a number one Susanne would phone me up. She'd say, 'Well, you're number one - Philip's dead jealous'.' They had thought of the title, Actually, early on, and then, typically, went off it, and decided not to use it. Eventually they came round. 'It was so English and kind of arch and it was kind of a joke and it was something we said a lot,' says Neil. 'And also it could be a sentence - "Pet Shop Boys, actually" - which echoed Please.' For the sleeve, they had first commissioned a painting of the two of them by a Scottish artist, Alison Watt, who had just won the National Portrait Gallery competition. She wanted them to sit for three weeks; they persuaded her to paint from photos taken of them in her Glasgow flat. But Chris hated himself in the finished portrait, and Neil didn't think it was the right album cover anyway, so they began searching through recent photos of themselves. At the last moment, they realised that the best photo was one which had been taken by Cindy Palmano on the set of the 'What have I done to deserve this?' video. They had initially dismissed it as a sleeve image because they were wearing dinner jackets and bow ties. 'Me yawning next to Chris,' says Neil. 'She'd done a session backstage, with a metallic background. For the very first photograph we'd just sat down and I'd yawned because I was tired.' Unfortunately, the photograph had already been sent to Smash Hits magazine for their next cover, which went to press the following day. Desperate phone calls were made, and the Pet Shop Boys agreed to do a new photo session that evening for Smash Hits, and in return got back the yawning image. 'Then,' Neil recalls, 'Mark had the idea of making it white and cutting out the background.' They knew it was good - 'it was very un-whatever everyone else was doing,' says Neil - though that still didn't mean Chris liked it. 'I hate the photo,' he says. 'I can't stand the way I look in it. I hate wearing a bloody dickie-bow, I hate wearing a white shirt and I hate the way my hair is. Straight after that video I had my hair cropped.' 'It's very much the defining image of the Pet Shop Boys,' Neil reflects. 'Ennui,' says Chris. 'It was a good and a bad image,' Neil considers. 'It was one of those things that maybe people wonder whether we were serious or not. In fact that album itself is pretty serious. Even the jokes are serious jokes.' [Behaviour] Behaviour, the fourth Pet Shop Boys studio album, was released in October 1990. 'This was five years from 'West End girls',' notes Neil. 'Five years in pop music is a long time.' Since their previous album, Introspective, the Pet Shop Boys had produced the album Results for Liza Minnelli, also writing most of its songs, had collaborated with Bernard Sumner and Johnny Marr on the first Electronic album, and had appeared onstage for the first time in America when Electronic supported Depeche Mode at Dodgers Stadium in Los Angeles. They had also left Tom Watkins' management operation and set up their own office, run by Jill Carrington. They began work on Behaviour, which would turn out to be their most moody and contemplative album yet, with a fairly straightforward sense of purpose. 'At the time,' Neil remembers, 'I believe we were thinking of bringing out an album of fab pop songs, like ten Kylie Minogue singles.' They decided that they wanted, for the first time since Please, to make an album with one producer. They also had a couple of specific musical guidelines they wanted to follow: 'We had the idea before we started that we were going to use analogue synthesisers, and we weren't going to use samples, because even by the beginning of 1990 everything was mega-samples, and we wanted to make something much cleaner. We thought it would sound fuller and more original if all the sounds were programmed for it.' When they considered who might be able to create such analogue sounds, they thought of the German disco records of the seventies made by Giorgio Moroder, a train of thought which led them to Harold Faltermeyer, who had been Moroder's programmer and had since achieved success on his own, most famously with the instrumental 'Axel F'. 'At the end of 1989 Chris and I flew to Munich to meet him,' recalls Neil. 'He has a positive museum of ancient synthesisers. And he had an engineer from America, Brian Reeves, who worked on a lot of Donna Summer records.' They agreed to make the album in Faltermeyer's Munich studio over ten weeks the following spring, in two blocks with a month's break in the middle. Neil enjoyed being in Germany rather more than Chris did. 'We stayed in this little apartment hotel in the centre of Munich,' says Neil. 'They were very ordinary rooms.' 'Very depressing,' says Chris. 'I kept wanting to hire a suite in the best hotel in Munich,' Neil recalls, 'but Chris wanted to save the money.' Chris hated that he was away from the rave culture explosion he'd been enjoying back home. 'The Germans then hadn't heard of house music,' he says. 'There was nowhere to go. Miserable times. I felt like I was missing out on so much that was happening in England - it was possibly the most exciting time in English culture ever including the Sixties, and we were in Munich. But Neil liked it.' 'I used to like walking in the English garden,' Neil says. 'I occasionally went to the opera. I like the beer; I liked the buildings. Every morning we had a hired BMW and we would drive to Munich airport and pick up the English papers - Chris would park the car and I would rush in - and one morning I got back in and there was a strange man sitting there. I'd got in the wrong car.' 'Because everyone has a grey BMW,' says Chris. 'We were listening to Violator by Depeche Mode,' Neil remembers, 'which was a very good album and we were deeply jealous of it.' 'They had raised the stakes,' Chris agrees. Harold Faltermeyer lived on a kind of private estate just outside Munich. The Pet Shop Boys would arrive a little before midday, have a cup of coffee and begin work. They would usually order in pizza for lunch. Around four o'clock they would adjourn to his beer hut in the garden for some of Faltermeyer's German draught beer. 'And,' says Chris, 'he'd tell us anecdotes about Giorgio Moroder.' On the property Faltermeyer had his own abattoir. (He is a keen hunter. 'He makes his own sausages,' Chris observes.) At one point during the recording process they tried feeding the vocals through the abattoir, re-miking a speaker in there for a reverb effect. 'It didn't really work out,' Neil says. In Germany, they kept to the concept of using analogue synthesisers and no samples, but when they returned to London to mix the album at Sarm West, they somewhat relaxed these rules. However, they were still resolved to release an album which sounded consistent, and made the final song selection with that in mind, at the last minute removing 'Miserablism' and replacing it with 'The end of the world'. 'When this album came out people said they were amazed that the whole rave thing seemed to have passed us by,' says Neil. 'We, of course, thought we had shamelessly jumped on the rave bandwagon.' 'The thing is, we were ahead of it, because some of Behaviour is like deep house,' reasons Chris, 'and the naff old reviewers were still trapped in acid house. Whereas we had moved on.' The sombre images of the Pet Shop Boys, some red roses and an abandoned chair which appeared on the album sleeve were taken by Eric Watson. 'We had this idea for the photographs with the roses because we'd been to Liza Minnelli's apartment in New York and she had this fantastic photograph, I think by Richard Avedon, of Judy Garland as a tramp holding a huge bunch of red roses,' says Neil. 'So we just nicked the idea of the huge bunch of red roses and suggested it to Eric. We got all the roses from about three florists in Fulham because we wanted trillions of them.' 'They didn't have the thorns removed either,' says Chris. 'It was very painful.' 'But there was something luscious about it - the beautiful red roses,' says Neil. 'At the end of the session Eric had the idea of photographing just the chair and the roses. Then we did the solo portraits, and Eric thought they were too brutal, but we really liked them.' 'I like that picture of me,' Chris reflects. 'I think I should always be photographed from behind.' 'Mark Farrow had the idea of using the four photographs like that,' remembers Neil. He says that one detail has always annoyed him: 'I've always thought the full stop after the word Behaviour is over-designed. It looks a bit naff. I probably thought it looked cool at the time but now I think it's irritating, because it's not a sentence.' For the American version of the album, in deference to local spelling custom, it was released as Behavior. Neil remembers the title Behaviour as being Chris's idea. (Chris says he can't remember. 'Was it? I've got no idea. I don't see why I should take the blame for it.') 'It seemed to sum up the album,' says Neil. 'I think we felt this was a much more personal-sounding album. I think we were fed up at this point with the whole notion of irony that we particularly got landed with, because of records like 'Opportunities'. Behaviour seemed completely un-ironic and slightly serious. This is basically a sad album, from 'Being boring' through to 'Jealousy', with the exception of 'How can you expect to be taken seriously?' which is a satire. I suppose 'So hard' which is about the end of a relationship, is funny as well. But otherwise they're all rather sad songs.' [Bilingual] Bilingual, the sixth Pet Shop Boys studio album, was released in September 1996. The Pet Shop Boys had started working on it more than two years earlier, in August 1994, when they went to New York and worked on some songs at Unique studios where they had recorded the original version of 'West End girls' in 1983. The Latin influence that would infuse much, but not all, of Bilingual, was already apparent in the first song they recorded, 'Discoteca'. Chris had just been on holiday in Brazil, and Neil had been listening to a lot of Spanish music. 'I was in a relationship with a Spaniard,' says Neil, 'and he used to come round to my house or I used to go to his house and listen to his Spanish CDs.' While in New York Neil and Chris went to the Sound Factory bar. 'They had go-go boys dancing almost naked on the podiums with flags wrapped around them, and there was live Latin percussion,' Chris recalls. These visits to the Sound Factory bar inspired, and set the tone, for their Discovery tour at the end of that year, which ended with concerts in Mexico, Columbia, Chile, Argentina and Brazil where they were further exposed to Latin dance music (Discovery - the tour and subsequent video - took its name from a combination of the words 'very' and 'disco', six years before Daft Punk did likewise.) They had decided that, instead of making an album in one stretch, they would make this record in bits and pieces, as it suited them. They didn't begin working again until April 1995 when they started recording on and off at Sarm West and at a tiny demo studio they had hired in the Strongroom studio complex.In the Strongroom they demoed a large number of new songs. Aside from ones which would end up on Bilingual this was the period in which they first recorded 'Hit and miss' (the b-side of 'Before'), 'You only tell me you love me when you're drunk' (which would be on their 1999 album Nightlife), 'For all of us' (which would end up in their 2001 musical Closer To Heaven) and 'Love your enemy' (still unfinished). In June they went back to New York to record with Danny Tenaglia and then in August they rented a large house called Rocky Lane in the English countryside near Henley and moved their studio into its garage, so that they could work at their own pace and in a more relaxing environment. Early on, they also started recording with producer Chris Porter, who was best known for his work with George Michael but whom they were keen to work with because he had produced Take That's 'Back For Good'. 'I was getting into harmonies,' says Neil. '"Se a vida é" has got a lot of tracked harmonies. Bob Krausaar likes doing them and kind of encourages you, because I get bored doing them very quickly. On our first two albums there are almost no harmonies at all. It just didn't occur to me in those days.' They had decided to call the album Bilingual from the very beginning, partly because of the Latin flourishes, and partly because they thought it was funny. 'It was sort of a joke on "bisexual",' says Neil. By the summer of 1996, just as the album was nearing release, they typically went off the title, and early reference CDs bore the alternative title Pet Shop Boys: That's the way life is. Then they thought again and changed their minds. The original Bilingual sleeve - 'a frosted concept,' says Chris - was inspired by a piece of frosted PVC in designer Mark Farrow's office. 'After Very we couldn't really have a normal CD sleeve,' says Neil, 'and also we didn't want to.' They wanted the whole CD case to be sandblasted and opaque, but it wasn't possible, and even with the compromise version there were manufacturing problems and difficulties getting the frosted square centred on the CD case. 'There was a feeling in EMI,' Neil remembers, 'that it was too cool, too upmarket.' 'I particularly like the yellow of the sleeve,' notes Chris. 'It pre-dates the St Martin's Lane hotel.' They decided that, after Very's elaborate fantasy images, they shouldn't even pose for photos this time, and all the photographs in the original Bilingual booklet are snaps. Neil's are from holidays in Jamaica and Gran Canaria; Chris's are from the Discovery tour. (The photograph of him with soldiers behind him was taken in the stadium in Bogota, Columbia, where the Pet Shop Boys were to play later that day. The photograph of him, arms outstretched and mouth open, was taken as he danced on a raised platform in a nightclub outside Buenos Aires in Argentina.) By the Pet Shop Boys' previous standards, Bilingual was only a modest commercial success on its release. 'I think sometimes a vague cloud hangs over this album,' says Neil. 'If you listen to it, without prejudice, I think it's a really really strong album. I think overall it contains some of our best-ever songs and productions. Everyone forgets that when this album was released it received unanimously rave reviews right across the board and was released after two top ten singles. Though I remember saying to Jill Carrington, our manager then, that it was the first time we had released an album without a top five single in Britain.' In retrospect, they do have some reservations. 'I think we probably chose the wrong singles, as usual,' says Chris. They both agree that the album is too long; at one point Neil suggested re-editing it, removing 'Metamorphosis' and 'Electricity', and re-sequencing it for these reissues. 'I think the running order is wrong,' he says. 'You don't really get strong melody until track five: "Discoteca" has a very interesting melody but it's not a catchy pop melody, "Single" is a chant, "Metamorphosis" is a rap, though it has a catchy chorus, and "Electricity" is sort of a rap. It's a positively experimental start.' He says that they originally considered a more commercial running order, before its release, beginning with 'Se a vida é' and 'Before'. 'I have a further criticism of it,' says Neil. 'I think the concept isn't clear. We didn't stick with the Latin concept. Also, the fact that it was called Bilingual, I wonder if people thought it was a bilingual album like Gloria Estefan doing her Spanish album.' The Pet Shop Boys were also puzzled by another aspect of Bilingual's reception: the notion, perhaps suggested by the Latin rhythms and phrases, that this was an uplifting and happy record. By and large it is not. Even 'Se a vida é', the sunniest song, is about someone who is depressed. 'They all got it wrong,' Chris says. 'If this album has a theme, right the way through,' says Neil, 'it is: you have to struggle to survive.' [Disco 2] Literally #12: "Originally the Pet Shop Boys had simply planned to release Relentless on its own this summer, but they weren't entirely happy with the idea. They considered adding some extra songs, or adding some of the remixes of songs off Very. Eventually they decided on an album which would combine, mixed together, some recent remixes and Relentless, and they asked London DJ Danny Rampling (Chris's choice) to mix everything together. They quite liked the result, which they were going to release under the title Absolutely Relentless, but then they asked him to put together a second mix excluding songs from Relentless, which they preferred." Neil: "It works really well. It's really good for driving to, and getting ready to go out to." [Introspective] Introspective, the third Pet Shop Boys studio album, was released in October 1988. The Pet Shop Boys had a particular concept in mind from the start. At the time, it was usual to record songs which were the length of a pop single, three or four minutes, and then to expand them subsequently, either by yourself or by commissioning someone else, into longer, more elaborate and complex dance versions. (This was in the days when dance remixes typically expanded on the original song, instead of merely using it as the reference point and source material for rhythmic reinterpretations far removed from the original.) The Pet Shop Boys decided to turn this process back to front. They would map out these new songs as seven or eight minutes long, and then later edit them down to singles. 'It was quite exciting to plan the songs as long,' says Neil, 'because we had been so disciplined at making four-minute pop singles, with the exception of 'It's a sin', which is five minutes. The idea also was to have an album where every track was a single. And in fact five out of the six of them were, because 'I'm not scared' was a single for Patsy Kensit, or rather for her group Eighth Wonder. 'I want a dog' is the exception to the rule because it was someone else's remix of a shorter song we had already recorded; we put it on because Frankie Knuckles had done such a fantastic remix. 'Always on my mind' was also an exception to the strict rule, but it hadn't been on an album.' The Pet Shop Boys had begun making the album in their heads at the beginning of 1988, and notionally the first song they thought of for it, and the first they recorded, was a new version of a song they had recorded with Bobby 'O' years earlier, 'I get excited (You get excited too)', but then they needed a b-side for the 'Heart' single in March 1988 and used 'I get excited…' for that. Over the next few months they recorded the songs which would appear on Introspective. Two were produced by Trevor Horn, one with producer Lewis Martinée in Miami, and one by themselves and David Jacob. 'I think this is our imperial album,' Neil reflects. 'The one where we felt, making it, that we understood the essence of pop music and so we felt we could do what we liked. And this was what we wanted to do. It's our best-selling album overall.' The title came quite late in the day. 'Originally the album was going to be called Bounce,' says Neil, 'which was some reference to people saying we had bouncy basslines. We'd also written a song called "Bounce" that we've never recorded properly. Finally we decided to call it Introspective because we felt all the songs were quite introspective, and also the word "introspective" sounded a bit ravey.' The sleeve was designer Mark Farrow's idea. 'He had some book explaining how colours go together,' says Neil. 'There were pages and pages of stripes. That was probably the first sleeve we designed thinking of it as a CD rather than as a record sleeve.' 'Didn't Tom Watkins think that whenever people saw the testcard they'd think, "Oh, I must go out and buy that Introspective album?"' remembers Chris. 'Our biggest-selling album has not got a picture of us on the cover. That's interesting, don't you think? I think we actually put people off our records.' They were pictured on the inner sleeve and in the CD booklet, photographed in yellow t-shirts dyed to match a yellow background ('no expense spared,' Chris notes) and they were shot with Booblies, a friend's Yorkshire terrier. Around this time, Booblies also appeared with them on Going Live, the Saturday morning children's TV show, where he attacked the puppet character, Gordon the Gopher. This new version of Introspective does correct one error. The original sleeve states that the total length of the album's songs is 50.03; in fact it is 48.03. 'I added the times up wrongly,' Neil confesses. 'Neil didn't realise there were sixty seconds in a minute,' Chris notes. Neil nods. 'I forgot that,' he agrees. [Please] Please, the first Pet Shop Boys album, was released in March 1986. Neil Tennant and Chris Lowe had met in London during August 1981 and began writing songs together soon afterwards, eventually settling into a routine of regularly demoing new songs in a Camden recording studio owned by Ray Roberts. In August 1983 - when Neil was working at the pop magazine Smash Hits and Chris was studying architecture - Neil was sent to New York by Smash Hits to interview The Police and took the opportunity to play some songs to the cult disco producer, Bobby Orlando, whose records Chris and Neil admired. Bobby 'O', as he was known, announced that they would make a record together. The first Pet Shop Boys single, the Bobby 'O'-produced version of 'West End girls', was released in April 1984 and was a modest underground dance hit, at the time satisfying their one stated ambition: to have a twelve-inch single available on import in the trendiest London record shops. A second, 'One more chance', followed. By March 1985 the Pet Shop Boys were extricated from their Bobby 'O' contract and signed to EMI Records' subsidiary, Parlophone. A single, 'Opportunities (Let's make lots of money)', was released that August but, to their disappointment, only reached number 116 in the British charts. When they began to plan their first album, the Pet Shop Boys decided they wanted to work with the producer Stephen Hague, because of his recent work with The World's Famous Supreme Team ('Hey DJ') and Malcolm McLaren ('Madame Butterfly'). Their manager, Tom Watkins, suggested, amongst others, The System and a newly-successful British production team, Stock Aitken and Waterman, who were working with another of his acts, Spelt Like This. EMI also had doubts about Hague and made other suggestions, but it was agreed they could record a new version of 'West End girls' as a trial track with Stephen Hague, after which they were given the go-ahead for the album. Please was recorded with Stephen Hague at Advision studios in London between November 1985 and January 1986, working from midday until midnight, breaking mid-evening to visit Efe's Turkish kebab house down the road. 'We would drink a bottle of retsina, if not two bottles, and come back half-drunk,' says Neil. Occasionally they would take time off to perform 'West End girls' on Top Of The Pops and Wogan, as it slowly rose to number one in the British chart. At one point during the recording, the studio manager said, 'So you're the singer, Neil? I thought you were the manager'. They decided the album would include ten songs, already written, and set aside a number of other contenders, including 'It's a sin' (which Hague said they should leave to their next album), 'Rent' (which programmer Blue Weaver thought had too similar a chord change to 'I want a lover'), 'What have I done to deserve this?' (they had yet to persuade their chosen collaborator Dusty Springfield), 'Jealousy', 'One more chance' and 'In the club or in the queue' (which the Pet Shop Boys would revisit in 1999 but which remains unreleased). Please was recorded on a tight deadline. 'West End girls' had already been finished, and they already had recordings of 'I want a lover', 'Opportunities…' and 'Why don't we live together?' which Stephen Hague would do further work on, but they were still under time pressure. The last song they finished, 'Suburbia', was a straightforward remake of their demo version partly because there was no time to do anything else. Though it was hardly a concept album, as the Pet Shop Boys recorded Please, they realised that the songs they had chosen could be sequenced to form a loose storyline. 'We had the idea for the album that it was sort of linked together,' says Neil. 'They run away in the first song, they arrive in the city ('West End girls'), they want to make money ('Opportunities'), they fall in love ('Love comes quickly'), move to suburbia ('Suburbia), go out clubbing ('Tonight is forever'), there's violence in the city ('Violence') and casual sex ('I want a lover'), someone tries to pick up a boy ('Later tonight')…it does sort of work. During the recording, there was much talk of how the first Pet Shop Boys album sleeve should look. 'One of the great strengths of our relationship with Tom Watkins is that there was a lot of negative energy in it, and Chris and I would react against Tom,' says Neil. 'It really worked in a quite a positive way, creatively. Tom spent the whole time we were in Advision saying he was coming up with this amazing packaging idea: paper engineering. Finally one day he comes in and says, "Right, I've got it, the mock-up of the album cover, it's unbelievable".' 'He'd been describing this in words for ages and you just couldn't imagine what it was,' remembers Chris. 'Every copy of the album, would be unique. It was these folds of paper that came together. It was basically a lattice work.' 'We looked at it and thought it was ridiculously complicated,' says Neil. 'As a result we and Mark Farrow promptly came up with the idea of having a white sleeve with a tiny picture of us. As ever, we didn't have a photo.' (Mark Farrow, a designer who at that time worked in Tom Watkins' office, has worked on every Pet Shop Boys sleeve since.) Most of the existing Pet Shop Boys photos had been taken by Eric Watson, a photographer friend Neil had known since his youth. They chose one, which had already been printed in Smash Hits news section, Bitz, in which they were draped with white towels. 'Eric's never been very happy with it because if you look at it it's not completely in focus,' says Neil. 'We whacked it on the front cover simply because the towels were white.' 'At the time,' says Chris, 'it looked completely different from everything else.' Still, in an era where most record sleeves were fussy, garish and cluttered, not everyone appreciated its minimalism: their American record company insisted that the title and their name be printed at the top of the sleeve so that it could be easily identified in the racks, and the French record company, to the Pet Shop Boys' fury, simply redesigned the sleeve using a much larger photo. Later, when it was released on CD, the Pet Shop Boys didn't scale down the photo in the same ratio as on the album sleeve, and they have always felt the CD sleeve doesn't work so well. On the album's inner sleeve, they used 98 more photos, mostly from the many sessions they had done with Eric Watson, though one - Chris's self-portrait in a mirror - was taken in Neil's New York apartment in 1984 when Neil was launching Smash Hits' American version, Star Hits, and Chris had been flown over by Bobby 'O' so that the Pet Shop Boys could do more recording. After 'West End girls', three more singles were released from Please. 'Love comes quickly' came out in February, before the album, the updated version of 'Opportunities' was released in May, and an EP centred around a re-recorded version of 'Suburbia' came out in September. (They also released an album of six dance mixes, Disco, in November.) The Pet Shop Boys had come up with the album's title fairly early on. Though Neil thinks Chris probably suggested it, it derives from the habit at Smash Hits magazine of saying 'pur-leaze!' at the end of sentences. 'I think if you look at my obituary when I left Smash Hits it quotes me as saying 'such and such, pur-leaze',' says Neil. 'Meaning, 'for goodness sake'. It seemed to be associated with me. It was just a weak joke, that you could go into a record shop and say, 'have you got the Pet Shop Boys, Please?' Not even a joke, really.' [Very] Very, the fifth Pet Shop Boys studio album, was released in September 1993. 'Going into this record we were slightly disappointed by the performance of Behaviour,' Neil remembers. 'Behaviour was slagged off at the time for not being a dance album. We were feeling a little insecure, maybe. Anyway, we decided to do a mega dance-pop album.' 'I think you always react against the one you've done previously,' says Chris. 'We wanted it to be a bit more up.' '"Up" was definitely the big thing,' says Neil. 'We thought we were going to do that for Behaviour, but we didn't do it. This time we did. We hadn't done anything pop for ages, because we did Introspective, which is all pretty moody, and then we did Liza's album and stuff with Dusty, a lot of which is very moody, and then Behaviour…We wanted to do something very pop, to the extent that there is a song on this album, 'One in a million', that we were going to offer to Take That. It was not trying to be trendy. We were trying to do 'fantastic songs - every one could be a single'. And it kind of worked.' In those days Chris had a studio in an outhouse at his home in Hertfordshire. The Pet Shop Boys recorded the basic tracks for Very there, working with the programmer Pete Gleadall who had previously programmed their tours, then they moved to Sarm West to complete recording, before handing the tracks over to Stephen Hague for additional production and mixing at RAK studios. 'It's great at a certain point to give it someone else,' says Neil. However, this was the first Pet Shop Boys album they would primarily produce themselves. 'We didn't feel experienced enough before,' Neil explains. 'Although we had produced other people,' Chris says, 'it's easier producing someone other than yourself.' They resolved that the album should sound very 'computery' - 'loads of the songs have got all busy little computer game noises,' notes Neil - and decided to work on the arrangements in a way they hadn't before; experimenting, for instance, with changing the arrangements for each verse of a song. 'It wasn't ever a struggle,' Neil recalls. 'We were always laughing in the studio.' They would often drive back into town, playing whatever they had just recorded, thoroughly excited by the day's work. For this phase of their career, the Pet Shop Boys decided that they would almost entirely change the way they presented themselves. They were tired of being naturalistic. Arma Andon, their American manager at the time, had asked them why they staged these elaborate, costumed, theatrical fantasies in concert, but rarely explored the same kind of presentation in videos or for records, and they begun to wonder the same thing themselves. 'Also,' says Neil, 'I think we thought we'd done to death the classic Pet Shop Boys thing, and it was finally completely summed up on the cover of Discography, Chris stony-faced and me with an ironically-arched eyebrow. We kind of thought: right, we've just completely done that now, let's do something not real.' Another influence was the rise of increasingly realistic computer games. 'They were a big issue then,' says Chris. 'The big game was Sonic The Hedgehog and I liked this game where the audience, when a goal was scored, all started dancing. I was playing computer games a lot, thinking, "This is what the kids are into", and thinking, "Wouldn't it be great if we became this thing removed from reality and existing in a non-real world?"' They were also reacting against the other dominant musical current of the era. 'Everyone was being grungy,' Chris remembers. 'Everyone was just dressing in baggy jeans and t-shirt and sweatshirt, that Nirvana thing, looking ordinary.' They didn't want to look ordinary. 'We didn't want to be fashion either,' Chris points out. 'We wanted to be unique, outside of it.' They asked David Fielding, who had designed their 1991 tour, to come up with some concepts. The first set of costumes were orange jumpsuits, with large angular white glasses with thin horizontal slits in them, and orange-and-white striped dunce caps. (The dunce caps were suggested by the school imagery in Very's first single, 'Can you forgive her?'.) 'That took a lot of nerve,' Neil recalls. 'I remember when we got the model in for "Can you forgive her?" Jill, our manager then, didn't like it at all. There was always a worry about looking ludicrous. If you look at the Top Of the Pops performance we did for "Can you forgive her?" it's just incredible. The sheer nerve. I'm sitting on a pair of step ladders wearing an orange jumpsuit with a stripy pointy hat. Chris meanwhile is behind a giant blue egg with a telescope wearing the same outfit.' 'And I do a bit of ballroom dancing in the middle of it,' Chris points out. 'It's absolutely incredible, the whole thing,' says Neil. 'And then we had EMI make a load of pointy hats and at the end when the presenter is saying what's on the next week's Top Of The Pops all of the crowd and him are wearing pointy hats. We really saw it through.' They adopted a new surreal image for each single. For 'Go West' they wore primarily blue (Neil) or yellow (Chris) jumpsuits with complementary-coloured trimmings, and semi-spherical hats. For 'I wouldn't normally do this kind of thing' they wore pink vests over white (Chris) or black (Neil) outfits with floppy blond (Chris) or dark (Neil) Sixties wigs. 'We kept changing it,' says Neil. 'Our idea was always to get to the point where we didn't have to be in the video, which we did for "Liberation" - which was entirely computer-generated - and for "Yesterday, when I was mad" Chris was computer-generated.' The packaging was also innovative. The Pet Shop Boys had worked with the design group Pentagram on the releases of their Spaghetti record label, and were invited to lunch to meet Pentagram's new partner, Daniel Weil. On the way to lunch, Neil and Chris realised they didn't know what they were going to talk about, so they decided to discuss a bugbear of theirs - the unoriginality and inflexibility of CD packaging. 'We'd got fed up with the fact that CD packaging all boiled down to the booklet,' says Chris, 'so the obvious way around it was to make the actual box the cover.' At lunch it was agreed that a new kind of CD packaging should be tactile. The orange box with raised dots in which initial copies of Very were released was the first idea Pentagram proposed, though originally the dots were larger, and the box was pink. The Pet Shop Boys also adopted Pentagram's other idea, a softer bubble-plastic sleeve, for the limited edition double CD package Very Relentless, which included the bonus dance CD Relentless. 'While writing Very we'd written lots of four-minute pop songs but we also had done several instrumental tracks which for the most part I couldn't think of any words for, and couldn't see the point of writing words for, because they sounded great,' says Neil. 'So then we thought we would put them on a separate album.' Neil and Chris had thought of the album title, Very, early on. Neither can recall who said it first. 'It was another funny sentence - people were supposed to think that the album would be "very Pet Shop Boys", but a different Pet Shop Boys,' says Neil. 'What's quite different about this album,' Neil adds, 'is that a lot of it is stories. It's not just love songs or anything like that. It's stories. It makes it completely different from any other album we've made, I think. We didn't do it consciously, but you get "Can you forgive her?", "Dreaming of the Queen", "Yesterday, when I was mad", "The theatre", "One and one make five", and they're all stories.' It was also the first Pet Shop Boys album to reach number one in Britain. 'It's a good album,' says Neil. 'It's better than you think.' [Very vs. Behaviour] Neil: "Chris was concerned that we wanted Very to be more up than Behaviour - not that we'd decided to make that a down record, because we didn't - but because we felt like making up music. We did Behaviour right after Liza Minelli's album, which was a major stomp experience, and it was a reaction to that. It was meant to be a dance album when we started it - it wasn't meant to be Their Mature Statement, even though I'm quite happy for people to take it like that." ------------------------------------------------------------------------------ ::: Neil On The "Gay Thing" :::::::::::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ Neil Tennant: snappy comebacks for people who refuse to acknowledge that Pet Shop Boys do "gay" songs: "I do think that we have contributed, through our music and also through our videos and the general way we've presented things, rather a lot to what you might call 'gay culture'. I could spend several pages discussing the notion of 'gay culture', but for the sake of argument, I would just say that we have contributed a lot. And the simple reason for this is that I have written songs from my own point of view..." He pauses again. "What I'm actually saying is, I am gay, and I have written songs from that point of view. So, I mean, I'm being surprisingly honest with you here, but those are the facts of the matter." (Attitude Magazine, 1994) "The gay label doesn't really bother me, as long as it's just not something that is restrictive. I just don't think one should live one's life as a gay man. I don't think that sexuality necessarily implies a life style package that comes with it. As I write the words in the Pet Shop Boys songs, I deal with [being gay] in them. I always have done that. I probably deal with them slightly more openly now, which I quite enjoy doing. Although 'Metamorphosis' -- a rap [on our new album] about growing up gay and realizing what you are and how you are going to deal with it and all that stuff -- I suppose I wouldn't have done that a few years ago." (Washington Blade, 23 August 1996) "In fact, all of our albums have quite a lot of gay content in them." (Atlantic Records "Stereo Type" newsletter, Fall 1996) "What I am worried about in America is that we get pigeon-holed as a gay group only. So they put you in a little box, "Oh yeah--PSB: gay. Send it out to all the gay clubs. Give out free records at Gay Pride." All of which is fine. But I don't want to be sidelined into being part of a minority. I'm not afraid of minorities--I think we all belong to a majority. We should have one community. Otherwise we all get sidelined. In politics there's "Divide and rule." And when you get everyone divided into little interest groups and supposed communities, I think it politically weakens people." (The City Pages, October 16, 1996) ------------------------------------------------------------------------------ ::: The Official Pet Shop Boys Joke :::::::::::::::::::::::::::::::::::::::::: ------------------------------------------------------------------------------ "I'm just going to give you the official Pet Shop Boys joke. How many Pet Shop Boys does it take to change a light bulb? Two. One to change the light bulb and one to look bored." -- Neil Tennant in Q Magazine ------------------------------------------------------------------------------ This discography is Copyright 1989-1999 by Ernie Longmire (Lazlo Nibble) and 2000-2002 by Steffen Gärtner (TheGardner). Permission is granted to download/print out/redistribute/establish WWW links to this file provided it is unaltered, including credits and copyright notice. Please ask for permission before publishing this discography (in print, off the Web, and/or for profit) or altering the file for publishing on the Web. ------------------------------------------------------------------------------