Coinciding with their live farewell at London’s O2 Arena in 2018, SOFT CELL surprised their fans with two new songs ‘Northern Lights’ and ‘Guilty (Cos I Say You Are)’ on an updated compilation ‘Keychains & Snowstorms – The Singles’.
What was planned to be the end became a brand new start as Marc Almond and Dave Ball embarked on a UK tour in 2021 to celebrate 40 years of their brilliant debut album ‘Non Stop Erotic Cabaret’. The show also included a preview of material from a new album for 2022 entitled ‘*Happiness Not Included’, their first since the 2002 reunion long player ‘Cruelty Without Beauty’.
Co-produced by Phillip Larsen whose credits include Andy Bell, Moby, Mylène Farmer, Claudia Brücken, Katy Perry, Lady Gaga, Britney Spears and Kylie Minogue, ‘*Happiness Not Included’ is an introspective collection of 12 new songs that mourn the passage of time, missed opportunities and life not going as planned.
Recorded remotely under the spectre of the global pandemic, ‘*Happiness Not Included’ features “Science fiction stories for the 21st century” according to Dave Ball. The cinematic drama of the not-so ‘Happy Happy Happy’ opens and sees Almond as the humble narrator expressing his strained frustrations about “state assisted dying” while Ball realises his John Barry ambitions with a series of synth string sweeps in a stylistic ident that recurs throughout this album.
“Lost in the junkie jungle”, the machine disco of ‘Polaroid’ recounts SOFT CELL’s love of The Factory pop art scene and a bittersweet meeting with Andy Warhol in 1982. Featuring speech samples from the man himself and his enclave, it is also a metaphor for life that accepts that once the end comes, one of few things that remain are photographs.
A relative of ‘Guilty (Cos I Say You Are)’, ‘Bruises On My Illusions’ covers the familiar SOFT CELL topics of pain, self-loathing and misanthropy with a sharp energy complemented by Almond’s vocal theatrics that are more convincing than on ‘Heart Like Chernobyl’, although that song’s stark Cold War lyrical analogies on the morally toxic world of today have added poignancy given recent world events. Not included on the album, the excellent B-side ‘Vapourise’ with its references to “a nuclear explosion” and “a full-on attack” proves to be even more chilling…
The catchy ‘Purple Zone’ is a slice of soaring melancholic Europop with immediate reminiscences of PET SHOP BOYS in particular.
So it is not entirely surprising that Neil Tennant and Chris Lowe make a guest appearance and plant their aesthetic, although it must be pointed out that this is a SOFT CELL composition, characterised by Almond’s darkly doomed expressionism about midlife.
A union of The Blackpool Electro Mafia as well as featuring the voices of both Almond and Tennant, ‘Purple Zone’ goes full circle as after SOFT CELL first imploded in 1984, it was PET SHOP BOYS who ran with their baton after smoothing off some of the rough edges.
Taking proceedings down a notch, the wonderful ‘Light Sleepers’ presents a glorious orchestrated ballad arranged by Ball with soprano sax from Gary Barnacle that provides a backdrop for Almond’s nocturnal demeanour that acts as sedative relief. With a sense of foreboding on the album’s title song because “the future is in a lunatic’s hands”, Dave Ball plays on more of his John Barry spy drama fantasies with virtual harpsicord over a metronomic drum machine, aided by soulful male voices and flourishes of flute.
Meanwhile, the tense Italo Noir of the ironically titled ‘Nostalgia Machine’ gets some choppy rhythm guitar and pentatonic phrasing thrown in for an album highlight that revs up proceedings with a touch of exuberant swagger.
Originally a Dave Ball instrumental issued as part of a single and CD that came with the boxed set of his autobiography ‘Electronic Boy’ and now featuring a deranged expletive laden rap from American drag performance artist Christeene, the tense industrialised pulse of ‘Nighthawks’ recalls the sweaty alternative club overtures of one-time Some Bizzare stable mates CABARET VOLTAIRE. Cellmates are even treated to the deep growly voice of Mr Ball himself repeating the title and ‘Staying Alive’ refrains from backing vocalists Bryan Chambers, Louise Marshall and Simon King.
The eerie vibraphone-laden swing of ‘I’m Not A Friend Of God’ is a 21st Century ‘Blasphemous Rumours’; in the face of a future with a scary face, Almond decides that “the young can deal with it instead”. Reflecting Almond’s past solo work, ‘Tranquiliser’ could be Gene Pitney with a widescreen orchestral palette counterpointed by a solemn narrative on dependency.
Ending with the grand six minute plus ballad ‘New Eden’ where “being young is not an option”, Ball’s gentle piano structure echoes Eno and his ‘On Some Faraway Beach’, before building towards its close with subtle electronics, complimentary strings and a choir. “All those plans we made in the ‘60s seem naïve now we’ve grown older” laments an impassioned Almond; now closer to the end than the beginning, this is a declaration of hope, that things can still be fine.
“In this album I wanted to look at us as a society: a place where we have chosen to put profits before people, money before morality and decency, food before the rights of animals, fanaticism before fairness and our own trivial comforts before the unspeakable agonies of others” said Almond of ‘*Happiness Not Included’, “But in the album there is also a belief that there is a utopia if we can peel back the layers and understand what really matters”.
While the album has flaws with a few of the tracks sounding underdeveloped, there are a significant number of cracking songs that make this second reunion of SOFT CELL worthwhile.
You’ve been to the shows, got the T-shirt, bought the books and heard the singles but now it is time to listen to the album; in this modern compilation era of playlists, ELECTRICITYCLUB.CO.UK has compiled its own highly enjoyable classic 10 track version of ‘*Happiness Not Included’ from the 13 songs in the pool, you might consider doing the same.
‘*Happiness Not Included’ is released on 6th May 2022 via BMG in various formats including yellow coloured vinyl LP, picture disc LP, CD, cassette and download, pre-order now avaiable from https://softcell.tmstor.es/
“Someone sneers at all you love… this is how I learnt to hate rock-and-roll!”
Neil Tennant and Chris Lowe first met in an electronics shop on London’s Kings Road in August 1981; a shared love of dance music led them to form PET SHOP BOYS, named after friends who worked in an Ealing pet retailer while also sounding like an English rap group.
Bridging the gap between Synth Britannia and acid house via HI-NRG and Italo disco, PET SHOP BOYS first found international success with ‘West End Girls’, a UK and US No1 single in 1986.
At the time of their meeting, the trombone playing Lowe had been studying to become an architect at Liverpool University while Tennant was deputy editor of ‘Smash Hits’. Known for his witty if sometimes cutting reviews as well as coining entertaining phrases such as “imperial phase”, “down the dumper”, “like punk never happened”, “pur-LEASE!”, “pass the sickbag, Alice”, “uncle disgusting” and “back, back, BACK!!!!!”, Tennant’s observations on the music business were more often right than wrong.
Tired of writing about things he could probably do better, Tennant became music’s ultimate poacher-turned-gamekeeper. The North London Polytechnic history graduate utilised his experiences as a journalist to plot PET SHOP BOYS’ ethos, a dialectic of “east / west. Posh / rough. Irony / sincerity. Pop / anti-pop”. Taking inspiration from SPARKS and SOFT CELL, that dialectic also became the image.
With a voice that sounded like a cross between Al Stewart and Marc Almond, Tennant was the talkative one while the moody Lowe stood behind him, scowling like Ron Mael and seemingly doing nothing apart from occasionally staring at a TV screen. Interestingly, while it was often assumed that the North Shields-born Tennant was the posh one, it was actually Lowe who was educated at the selective Arnold School in Blackpool which had also been attended by Dave Ball; its direct-grant status meant it was just shy of being a public school with fee payers and boarders while a small number of local children were selected via the 11+ grammar school system.
It was while at ‘Smash Hits’, when he was despatched to New York to interview THE POLICE, that Tennant knocked on the door of Bobby Orlando, producer of electronic disco records by DIVINE, THE FLIRTS and BOYTRONIC as well an artist in his own right. This led to the original recording of ‘West End Girls’ released in April 1984 by Epic Records in the UK and while it wasn’t a huge commercial success, it was an American club favourite while being a minor hit in Belgium and France.
‘West End Girls’ proved to be the perfect show reel and a deal was signed with EMI via Parlophone Records after their bullish manager Tom Watkins brought them to the attention of Dave Ambrose, a founder member of FLEETWOOD MAC who had become a renowned A&R man, notably signing SEX PISTOLS, DURAN DURAN and TALK TALK.
Tennant departed ‘Smash Hits’ and at his leaving party, his colleagues presented him with a mocked-up front cover which read: “HOW I LEFT BRITAIN’S BRIGHTEST MAGAZINE TO FORM MY TRAGIC POP GROUP, WENT DOWN THE DUMPER AND ASKED FOR MY JOB BACK” – little did they know that Tennant would grace their front cover within 9 months!
Tennant and Lowe presented themselves with an enigmatic Northern English contrariness that was the antithesis of WHAM! and more Gilbert & George. Tom Watkins was dismayed by his charges’ first ‘Top Of The Pops’ appearance with the re-recorded version of ‘West End Girls’ in late 1985, recalling “They don’t do anything. How are people going to go for this?” – but go for it they did and in large numbers! It started an imperial phase for PET SHOP BOYS when it reached No1.
But following the success of ‘West End Girls’ which later netted a BRIT award for ‘British Single of the Year’, Tennant’s own journalistic words came to haunt him as the dumper beckoned when the wonderful follow-up ‘Love Comes Quickly’ only reached No19 in the UK singles chart. But the B-side indicated PET SHOP BOYS were going to be around for a while and not just a flash in the pan; ‘That’s My Impression’ was menacing as opposed to melancholic, combining SOFT CELL with DIVINE, establishing their reputation for quality non-album bonuses.
The debut album ‘Please’ primarily produced by Stephen Hague was impressive although not perfect and hit the UK Top3. Songs such as ‘Tonight Is Forever’ and ‘Later Tonight’ highlighted the range and quality of the Tennant / Lowe songwriting partnership from elegiac if euphoric dance anthems to melancholic but hopeful ballads, often sung from a character rather than a personal viewpoint.
Meanwhile on ‘Opportunities (Let’s Make Lots Of Money)’, PET SHOP BOYS showcased irony and humour. Like with HEAVEN 17 before them, the joke passed over the heads of the yuppies who had adopted the song as a mission statement but failed to realise it was sending up their own greed, delusion and lack of ethics.
PET SHOP BOYS ended 1986 with another Top10 hit single in ‘Suburbia’, a good if slightly underwhelming album track from ‘Please’ that got transformed into a more fully realised epic in a re-recording produced by Sarm West graduate Julian Mendelson. It underlined Tennant’s clever social commentary as working class communities became marginalised under the Conservative government led by Margaret Thatcher.
Fully embracing the creative experimentation and development allowed for by more under-the-radar B-sides, ‘Suburbia’ featured not one but two non-album extras. ‘Jack The Lad’ exuded the influence of Erik Satie and Ennio Morricone, but ‘Paninaro’ was an absorbing dance number that displayed an affinity with Italy and one of its fashionable youth movements.
Additionally, ‘Paninaro’ summed up PET SHOP BOYS’ attitude with a middle eight breakdown that featured a nonchalant Chris Lowe on the US talk show ‘Entertainment Tonight’ declaring “I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!” – PET SHOP BOYS’ B-sides and bonus tracks would later be collected on ‘Alternative’ and ‘Format’, two double compilation sets that were equally as valid as their best albums.
To open their 1987 account, PET SHOP BOYS issued their most striking single yet in the mighty gothic disco of ‘It’s A Sin’; reflecting on Tennant’s catholic school education, the backdrop threw in the kitchen sink with Fairlight orchestral hits, Apollo 10 launch messages and an extraordinary chord change from Cm to E♭ m7 into the middle eight. A happy accident with the bassline and drums restarting provided the cavalry charge towards the lightning climax for a second No1.
But PET SHOP BOYS weren’t done yet; the follow-up ‘What Have I Done To Deserve This?’ sounded like three songs morphed into one, because that was what it actually was. Lowe and Tennant did their respective pop art sections while Allie Willis who co-wrote ‘Boogie Wonderland’ came up with the rather blissful chorus. The song went into another sphere once Dusty Springfield was brought out of semi-retirement to add her voice and ad-libs. The smoothness of Stephen Hague’s production provided the perfect backing.
The success of ‘What Have I Done To Deserve This?’ showed PET SHOP BOYS willingness to collaborate and there would be productions on new solo Dusty hits with ‘Nothing Has Been Proved’ and ‘In Private’. Tennant and Lowe’s later involvement in ELECTRONIC with Bernard Sumner and Johnny Marr illustrated that work outside of the nest was not out of bounds either.
The second album ‘Actually’ opened with a new more percussive version of ‘One More Chance’, a song dating back to the Bobby Orlando sessions while ‘Shopping’ dealt with Thatcherism’s obsession with privatising publically owned utilities, hence the line “We’re buying and selling your history!”. Continuing Tennant’s social commentary on the undermining of the working class, ‘Kings Cross’ presented the railway station as a metaphor for morally questionable capitalism, although the line “Dead and wounded on either side, you know it’s only a matter of time” chillingly resonated later in the year when an underground fire claimed the lives of 31 people.
A solemn song written about a friend who had been diagnosed with AIDS, the mournfully brilliant ‘It Couldn’t Happen Here’ adapted the Ennio Morricone composition ‘Forecast’ from the 1983 Jean-Paul Belmondo movie ‘Le Marginal’. ‘Blue Velvet’ composer Angelo Badalamenti provided an orchestral arrangement but due to scheduling issues in completing the recording before the album’s deadline, the instrumentation was eventually created on a Fairlight CMI out of necessity.
With its provocative title, ‘Rent’ presented a narrative on the kept woman and reached the UK Top10. But two successive No1s were added to PET SHOP BOYS portfolio in the frenetic cowbell dominated cover of ‘Always On My Mind’ which upset music purists when it denied a Christmas chart topper for THE POGUES and a remixed syndrum heavy version of ‘Heart’ which Tennant and Lowe had written with Madonna in mind. On a roll, PET SHOP BOYS deservedly won the 1988 BRIT Award for ‘Best British Group’.
Despite their seemingly unstoppable success and forward momentum, PET SHOP BOYS took a slight misstep with the release of their art film ‘It Couldn’t Happen Here’ directed by Jack Bond; an exercise in seaside surrealism and featuring Joss Ackland, Barbara Windsor, Neil Dickson and Gareth Hunt, the bizarre scenes set to the music of Tennant and Lowe baffled audiences. It would be decades before it would be reissued in DVD formats.
Cracks were also beginning to show in their relationship with Tom Watkins whose view was that the next single ‘Domino Dancing’ with its AIDS narrative and sexually ambiguous promo video would stall momentum in the US. While the brass laden Latin tinged song did not hit the commercial heights of previous singles, it remained a favourite among fans. PET SHOP BOYS parted ways with Watkins when Tennant and Lowe opted not to renew his contract.
The third album ‘Introspective’ in 1988 featured a different approach with six extended length songs in the same manner as their 1986 remix collection ‘Disco’. At the time of its release, four of the six tracks had already been available including ‘I’m Not Scared’ which had been written and produced for Patsy Kensit’s EIGHTH WONDER. But of the two previously unheard numbers, the most striking was ‘Left To My Own Devices’.
Taking in acid house influences, ‘Left To My Own Devices’ was co-produced by Trevor Horn who coined the phrase “Che Guevara and Debussy to a disco beat” as a way of conceptualising what PET SHOP BOYS were all about. Incorporating a dramatic string arrangement by Richard Niles and the opera stylings of soprano Sally Bradshaw, it had been intended to programme the synthesizers and record the orchestra in one day… six months later the track was finished!
Despite their initial refusal to play gigs, PET SHOP BOYS embarked on their first tour in the summer of 1989, opening in Hong Kong. Although the show featured striking visuals directed by Derek Jarman, choreography by Geron ‘Casper’ Canidate and tightly sequenced electronic backing rather using a conventional live band, Tennant and Lowe felt they could take theatrical anti-rock live presentations further.
Decamping to Munich to work with Harold Faltermeyer, a former Giorgio Moroder apprentice who had his own soundtrack hits with ‘Axel F’ and ‘Top Gun Anthem’, their fourth album ‘Behaviour’ in 1990 presented a more reflective demeanour, despite the throbbing lead single ‘So Hard’ about an unfaithful couple catching each other out.
With the fall of The Iron Curtain in Eastern Europe, the beautiful soulful groove of ‘My October Symphony’ looked at the viewpoint of a Soviet composer questioning whether to opt for revolution or revelation in their upcoming work. Meanwhile, inspired musically by Bobby Brown but inspired lyrically by BROS, ‘How Can You Expect to Be Taken Seriously’ took a dig at the pomposity and arrogance of pop stars in their mission for validitation.
Inspired by a quotation on a Zelda Fitzgerald party invitation, ‘Being Boring’ remains one of PET SHOP BOYS most complete songs ever, reflecting on the aspirations of youth, the inevitable passage of time and the mourning of dear departed friends. Although it wasn’t a huge hit as a single, Chris Lowe later remarked “It just shows that chart positions aren’t the be all and end all”.
Rumoured to have been written as a James Bond theme, ‘This Must Be The Place I’ve Waited Years To Leave’ expressed Tennant’s dislike of school while written in 1982, the impassioned orchestrated closer ‘Jealousy’ recalled a friend of Tennant who had been unhappy about his developing friendship with Chris Lowe.
With 1991’s ‘Performance’ world tour, PET SHOP BOYS took theatrical to the next level and changed the whole concept of concert presentation by effectively removing from the stage, that one consistent element in the history of rock ‘n’ roll… the live musician! Chris Lowe kept his keyboard playing to a minimum, preferring to be part of the dance troupe and even busted his own disco moves while in a pair of boxers shorts during ‘We All Feel Better In The Dark’.
In support of the tour and continuing their penchant for eyebrow raising cover versions, PET SHOP BOYS’ HI-NRG reinvention of ‘Where The Streets Have No Name’ was a cheeky send-up of U2 in an attack on rock pomposity. The cause was aided by an amusing segway into ‘Can’t Take My Eyes Off Of You’, a Frankie Valli song made famous by Andy Williams but also covered by acts as diverse as BOYS TOWN GANG and MUSE.
Originally to be named after the ‘Actually’ track ‘Hit Music’ until artwork concepts showed that the typography could be misread as “PET SHOP BOYS Shit Music”, the duo’s career to date was documented on 1991’s ‘Discography’. Gathering all of their singles in their correct versions, the faultless collection earned the right to be called one of the best greatest hits records ever.
Preferring to “dance to disco” because they “don’t like rock”, 1993’s ‘Very’ was the antithesis of the downbeat demeanour of ‘Behaviour’ as their most up pop statement to date, something that had been signalled on the defiantly optimistic ‘Was It Worth It?’, the closing track from ‘Discography’.
With ‘Very’ came a range of looks projecting a post-modern artifice detached from the real world. Tired of their classic naturalistic personas, the geometric digitised imagery was also a reaction to the unkempt authenticity of baggy and grunge that was rife at the time. A cyberspatial computer-generated video accompanying ‘Liberation’ shown in IMAX theatres took things to another out-of-this-world dimension.
In this freer mood, Tennant also sang of being naked in ‘I Wouldn’t Normally Do This Kind Of Thing’ and ‘Dreaming Of The Queen’, but weightier social commentary loomed on ‘The Theatre’ which discussed the plight of the homeless as a legacy of massed council house sales under Thatcherism.
Then there was the speedy techno madness of ‘Yesterday When I Was Mad’ with its collection of tour anecdotes and back-handed aftershow comments such as “You have a certain quality, which really is unique – expressionless, such irony, although your voice is weak – it doesn’t really matter ‘cos the music is so loud – of course it’s all on tape, but no one will find out!”
Included as its closer, the utopian ‘Go West’ had been due to be released in Christmas 1992 as a single, but PET SHOP BOYS bottled it when it was pointed out a VILLAGE PEOPLE cover would look like the duo were aping ERASURE’s ‘Abba-esque’.
‘Go West’ was based on Pachebel’s ‘Canon’ and its elegiac quality was particularly poignant with AIDS still very much in the news at the time. The ‘South Pacific’ male choir styled key change and a middle eight added by Tennant gave the song a resonance that was never apparent in the original. Only Will Smith as ‘The Fresh Prince Of Bel-Air’ prevented them from netting a fifth No1.
It would be fair to say that ‘Very’ is often seen as the end of PET SHOP BOYS’ imperial phase. While 1996’s ‘Bilingual’ presented an interesting diversion on ‘Se A Vida É (That’s The Way Life Is)’ and ‘Single’ with the women’s drumming ensemble SHEBOOM providing the propulsion, ‘A Red Letter Day’ was a not entirely successful attempt to recreate ‘Go West’ while two tracks with the Brooklyn-born club DJ Danny Tenaglia fell short of expectations.
Already getting signs that ‘Bilingual’ was not selling as well as previous albums, Tennant and Lowe wrote the B-side ‘The Calm Before The Storm’ in anticipation of their first week chart position as “round the bend” was “a rocky lane”; ‘Bilingual’ entered at No4 which was a comparative disappointment after ‘Very’ had gone straight into the top spot.
1999’s ‘Nightlife’ featured collaborations with Rollo from FAITHLESS, noted orchestrator Craig Armstrong and Kylie Minogue on the duet ‘In Denial’ but it included their least convincing single to date in the David Morales produced ‘New York City Boy’ which continued the VILLAGE PEOPLE obsession and was by now was wearing thin.
With pun totally intended, 2001’s ‘Release’ was marred by the input of THE SMITHS’ famed guitarist Johnny Marr as PET SHOP BOYS attempted a collection of strummed understated songs such as the camp OASIS of ‘I Get Along’. Although ‘The Night I Fell In Love’ with an amusing story about EMINEM having a gay fling with a fan and the uptempo ‘The Samurai In Autumn’ were listenable highlights, the album’s mostly plodding six-string led numbers were devoid of the mastery that made PET SHOP BOYS great; Tennant and Lowe were wearing someone else’s clothes and they didn’t fit.
On paper, the 2006 Trevor Horn helmed ‘Fundamental’ should have ensured that PET SHOP BOYS were “back-back-BACK!” with a vengeance but other than the political satire ‘I’m With Stupid’ and the opening electro brilliance of ‘Psychological’, overall the album was below par with the Diane Warren-composed ‘Numb’ being a particular low point.
A renaissance did not come to fruition until 2009 with the XENOMANIA produced long player ‘Yes’ being a return to form of sorts as a spiritual follow-up to ‘Very’. ‘All Over The World’ lifted from Tchaikovsky’s ‘Nutcracker Suite’ for some stately pomp and circumstance while ‘Pandemonium’ was a rousing interpretation of the ‘Dr Who Theme’. ‘More Than A Dream’ presented a big pop chorus that was very now and Xen, but the highlights were again the more melancholy moments.
‘The Way It Used To Be’ offered continental wistfulness à la ‘Voyage Voyage’ with its simple rhythmic pulse, but the best moment came with the ‘Yes Etc’ bonus track ‘This Used To Be The Future’, a dream trioet featuring Tennant, Lowe and Phil Oakey of THE HUMAN LEAGUE grunting in his distinctive disappointed tone that things didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’!
The rejuvenated profile netted PET SHOP BOYS an ‘Outstanding Contribution to Music Award’ at the BRIT Awards, although they snatched defeat from the jaws of victory with their least satisfying album to date in ‘Elysium’. While the amusing irony of ‘Your Early Stuff’ and ‘Ego Music’ provoked a laugh, there was laughter for perhaps the wrong reasons on ‘Hold On’ which sounded like it was written for Disney! However, with LOVE UNLIMITED ORCHESTRA styled backing and bouncy Latin percussion, ‘Requiem in Denim & Leopardskin’ was the album’s standout and showed PET SHOP BOYS still had the ability to knock out a good tune.
With an appearance at the 2012 London Olympics Closing Ceremony alongside Ray Davies to affirm that PET SHOP BOYS were now a quintessentially English part of popular culture as much as THE KINKS, the elder statesmen of danceable synthpop had a rethink and presented their Stuart Price trilogy. After an album about being old, it was time again for PET SHOP BOYS electronically. With echoes of ‘Introspective’ and the ‘Very’ bonus album ‘Relentless’, ‘Electric’ was in Tennant’s words “pretty banging” with some lengthier song constituents. ‘Axis’ took a risk by being virtually instrumental while ‘Bolshy’ exhibited the dog’s Balearics.
Best of all was ‘Fluorescent’, a powerful dancefloor makeover of VISAGE’s ‘Fade To Grey’ attacked by synth sirens like a Martian invasion. There were songs too as ‘Thursday’ captured the vibrant excitement of the new Friday aided by Fulham rapper Example while the exhilarating club friendly ‘Vocal’ noted “I like the singer, he’s lonely and strange – every track has a vocal… and that makes a change”.
A natural progression of ‘Electric’, 2016’s ‘Super’ album was more song-based and despite their age, PET SHOP BOYS still wanted to be ‘The Pop Kids’ and ‘Twenty-something’ ones at that. However, ‘The Dictator Decides’ returned to the subject of world politics with an amusing surreal narrative of a tyrannical politician bored of his outright power and seeking a normal life.
2020 saw PET SHOP BOYS enter Hansa Studios in Berlin to record their fourteenth album ‘Hotspot’ for the final volume of the Stuart Price trilogy. The immediately appealing ‘Dreamland’ featuring YEARS & YEARS crossed generations and still plugged into the classic PSB sound while ‘Monkey Business’ got the glitterball funk while encompassing the sparkle of TOM TOM CLUB. Best of all, the astute intelligence of Neil Tennant and Chris Lowe saw Medieval folk mythology referenced for ‘Will-O-The-Wisp’, a fabulous electro-disco tune with catchy hooks and a dry monologue.
Having carried on the mantle of SOFT CELL to prove that there indeed was mileage in the concept that Marc Almond and Dave Ball had pioneered, 2022 saw it all came full circle for Neil Tenant and Chris Lowe in the ‘Purple Zone’; Tennant had said to ‘Smash Hits’ in 1986: “I see the PET SHOP BOYS as one of the last surviving synth duos like SOFT CELL”.
PET SHOP BOYS’ collaborations and remixes are another story entirely but they have been very much part of the duo’s remit, including artists as diverse as Liza Minelli, Boy George, David Bowie, Tina Turner, Yoko Ono, Pete Burns, Robbie Williams, Lady Gaga and Jean-Michel Jarre over the years. Their versatility has also seen projects such as running their own Spaghetti Records which boasted a hit single ‘Love is Everywhere’ for their protégé David Cicero to composing scores for the silent film ‘Battleship Potemkin’, ‘The Most Incredible Thing’ ballet and most notably, a West End musical entitled ‘Closer To Heaven’.
PET SHOP BOYS set themselves apart and never bothered themselves with fitting in or belonging. They persisted with synthesizers when everyone else thought they were passé, they embraced the divas of the past when the industry told them they were mad to do so and said they were “pop” while the establishment considered it a dirty word.
But PET SHOP BOYS have jumped on bandwagons too; “When we started off we really did think we were going to create our own world that might reference other things” said Neil Tennant to The Guardian’s Alexis Petridis in 2020 while also joking that “the acoustic guitar should be banned, actually”. As a result, their back catalogue has featured diversions into rock, indie, folk, theatre, drum ‘n’ bass, jazz and breakbeat with varying degrees of success although thankfully, PET SHOP BOYS have avoided the dreaded dubstep!
As the most successful British synthpop duo of all time, from ‘Please’ to ‘Hotspot’, Messrs Tennant and Lowe have maintained their position as exemplary English songsmiths; as MY ROBOT FRIEND once articulated by way of a musical tribute, “I feel you touch me and it’s 1984, I know what you will say before you start in my heart, we’re the PET SHOP BOYS…”
PET SHOP BOYS 2022 ‘Dreamworld – The Greatest Hits Live’ UK tour includes:
‘Purple Zone’ is the first-ever collaboration between iconic Northern English duos SOFT CELL and PET SHOP BOYS.
While Dave Ball had remixed PET SHOP BOYS ‘DJ Culture’ as part of dance duo THE GRID, this is the first time Marc Almond has worked with Neil Tennant and Chris Lowe.
The two pairings met backstage after the second Hammersmith Apollo show during SOFT CELL’s recent tour celebrating the 40th Anniversary of their debut album ‘Non-Stop Erotic Cabaret’.
As well as performing what has often been hailed as one of the best albums of 1981, Almond and Ball premiered songs from their forthcoming new album ‘*Happiness Not Included’. One of the songs in the encore was the rousing ‘Purple Zone’, an uplifting Europop number with very anthemic reminiscences of PET SHOP BOYS. But the very SOFT CELL twist comes from Almond’s darkly doomed lyrical expressionism in keeping with the introspective themes of ‘*Happiness Not Included’ such as mourning the passage of time, missed opportunities and life not quite going as planned.
Although the colour purple is actually rare in nature and thus seen as sacred, its primary constituents comprise the stability of blue and the energy of red, an apt midlife metaphor. Coincidently SOFT CELL covered ‘Purple Haze’ as part of a medley of Jimi Hendrix songs in 1983 for the bonus 12” single in initial copies of their second album ‘The Art Of Falling Apart’.
The video directed by Yassa Khan sees Messrs Almond, Ball, Tennant and Lowe together in a pub, participating in some domino dancing while there is the rather incongruous spectacle of the PET SHOP BOYS frontman pulling pints and the SOFT CELL singer as an ice cream man!
Produced by Dave Ball and PET SHOP BOYS for single release in a union of The Blackpool Electro Mafia as well as featuring the voices of both Almond and Tennant, ‘Purple Zone’ goes full circle; SOFT CELL had an amazing run of Top 40 hit singles between 1981-1984 including a UK No1 in a cover of ‘Tainted Love’ and four consecutive Top5 entries.
But after SOFT CELL imploded, it was PET SHOP BOYS who took over the baton while smoothing over the image and sound, to become the most successful British synth duo of all time with an imperial phase that included four UK No1 singles between 1986-1988.
As Neil Tennant probably would have put in when he was deputy editor of ‘Smash Hits’ while SOFT CELL were having their own imperial phase, this is “an amazing pop moment” on ‘*Happiness Not Included’ .
So who is putting money on a joint performance of ‘Purple Zone’ when PET SHOP BOYS take their ‘Dreamworld’ greatest hits show to London’s O2 Arena on Sunday 22nd May 2022?
The album ‘*Happiness Not Included’ is released on 6th May 2022 via BMG in various formats including yellow coloured vinyl LP, picture disc LP, CD, cassette and download
David Cicero’s ascent into the pop charts was swift. The first signing to Neil Tennant and Chris Lowe’s Spaghetti Records imprint, his 1991 PET SHOP BOYS produced single ‘Love Is Everywhere’ reached No19 in the UK charts.
The album ‘Future Boy’ followed in 1992 while he also contributed the song ‘Live For Today’ to the Oscar nominated film ‘The Crying Game’. But record company politics intervened at Spaghetti Records’ parent organisation Polydor and after the sad passing of his manager Peter Andreas, Cicero effectively left the mainstream music industry.
There were sporadic solo single releases over the next few decades, while he released several albums as THE EVENT and collaborated with dance DJs on a number of trance tracks. It was after a comeback charity concert in July 2019 in aid of MacMillan Cancer Support that Cicero started to put together his second album.
He had material from his Spaghetti Records days as well as his occasional singles, thus half the album was already written. So while reconfiguring his ‘Future Boy’ songs into a modern technological format for his live return, he would work on new material during breaks from programming. The Scot told ELECTRICITYCLUB.CO.UK: “it’s not ‘Future Boy 2’ but it’s still going to have that Cicero feel to it with a more up to date cutting edge sound”
Fast forward to 2021 and during the intervening period, Cicero tragically lost his mother and stepfather within a year. As a result, the album ‘Today’ is a very personal affair tinged with sadness but also full of hope.
Opening track ‘It’s Over’ is not too frantic a start and eases the listener back into the world of Cicero; using the voice treatments of now, it is that relatable tale of being in love with someone you can’t get on with… hey, we’ve all been there!
The hopeful euphoria of ‘Wish’ is undeniably a close relation to ‘Live For Today’ and features Amy Meave Baillie on vocals.
She ably deputises for Sylvia Mason-James in a manner that Neil Tennant used refer to as a “disco lungsmith” and perhaps unsurprisingly, it is a song from that bygone Spaghetti Records era.
Also led by soaring female vocals are the poignant ‘Face This World Alone’, a drum n bass excursion first issued as a single in 2015 and ‘Anyone But You’ which exudes further ripples of the breakbeat form, indicating the origins of both may have been from the same period. At the opposite end of the spectrum, ‘In the Rain (Children of Today)’ is a homely piano ballad featuring his daughter Holly calling for a better world and hoping that “happiness will come my way”.
A slice of heavenly spaghetti disco, ‘River of Lies’ is mighty with a strong PET SHOP BOYS influence. Out of all the tracks on ‘Today’, it is the one that, as his former mentor Neil Tennant used to say when he was Assistant Editor of Smash Hits, confirms Cicero is “Back-back-BACK!”. Also uptempo, the propulsive banger ‘Hide from Life Instead’ is wonderfully energetic and even features a few drops, all that’s missing are strobes!
A solemn heartfelt ballad, ‘This Way I Feel Inside’ encapsulates the very personal reflections that are omnipresent on ‘Today’. But the self-explanatory ‘Turned Around’ shows how the future boy has become a future man. A song about watching his daughter growing up, it is joyful tune that moves from ballad into Eurodance stomper after a minute and a half. It is also slightly reminiscent of Roger Sanchez’s TOTO sampling ‘Another Chance’ but with a considerably stronger lyrical focus.
Closing with ‘Broken’, a ballad concluding with a glorious piper’s lament and elegiac Vangelis inspired synth, Cicero heartbreakingly recalls in song of how he was unable to see his mother when she passed away.
‘Today’ is a mature midlife statement that touches on topics such as love, relationship breakdown, parenthood and bereavement which many will relate to. There are also some nostalgic nods to clubbing but let’s face it, while it is fun to go out and dance in your 50s, you wouldn’t want to do it every week now or even every month. It reflects the stage of life when the end is closer than the beginning, but there is still so much more to do and with that in mind, there can be a new found optimism.
It may have taken nearly 30 years for Cicero to follow-up his debut album, but it is time to rejoice that he is still able to produce good music, with some cracking tracks contained on ‘Today’.
Bentornato Cicero 🙂
‘Today’ is available via the usual digital platforms
The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.
The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.
When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.
The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.
Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo. While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.
So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.
THE HUMAN LEAGUE Blind Youth (John Peel 1978)
In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.
TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)
Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his unsettling lyrical themes. On the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.
After the release of their self-titled debut album, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.
One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line.
Broadcast in Summer 1981, this session captured the original DEPECHE MODE several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.
Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition that was to come .
Available on the DURAN DURAN boxed set ‘Duran Duran’ via EMI Records
Recording their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of SOFT CELL, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, the duo were rated higher than DEPECHE MODE.
‘Studio B15’ was a Sunday magazine show hosted by the late Adrian Love where guests to performed live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and didn’t tour. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.
Available on the SPANDAU BALLET deluxe album ‘Journeys to Glory’ via EMI Records
BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not be on their first album. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.
CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. This version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines.
After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal.
Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of their transitioning sound with‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also discarded as if a relic from another era.
Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, ‘Memories Fade’ was far superior, utilising a powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.
Available on the TEARS FOR FEARS boxed set ‘The Hurting’ via Mercury Records
Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s ‘Lord’s Prayer’ tape loop monologue and allowed Alison Moyet space to express her emotive frustration without distractions. Other songs in the session included beefed up takes on ‘Situation’ and ‘Too Pieces’.
Available on the YAZOO boxed set ‘Three Pieces’ via Mute Records
Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now this was never developed further.
Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records
JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)
‘Saturday Live’ featured interviews and live sessions. Touring for the first time since ULTRAVOX, John Foxx eschewed material from ‘Metamatic’ but perhaps surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, he performed ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.
Available on the JOHN FOXX album ‘Metadelic’ via Edsel Records
HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)
Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.
Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records
SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)
SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!
This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. ‘Why Is It So Hard?’ was originally only on the Canadian ‘It’s My Mix’ EP as an Extended Version.
With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs including the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten.
Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.
BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To The Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro.
FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as the single ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red in 2019.
ERASURE Who Needs Love Like That? (Bruno Brookes 1985)
With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.
Available on the ERASURE deluxe album ‘Wonderland’ via Mute Records
John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when the duo did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour. The bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring loud rock guitars!
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