Pet Shop Boys
The Pet Shop Boys are an English synth-pop duo formed in London in 1981. Consisting of primary vocalist Neil Tennant and keyboardist Chris Lowe, they have sold more than 50 million records worldwide,[4][5] and were listed as the most successful duo in UK music history in the 1999 edition of The Guinness Book of Records.[6]
Pet Shop Boys
Three-time Brit Award winners and six-time Grammy nominees, since 1984 they have achieved 42 top 30 singles, 22 of these being top 10 hits on the UK Singles Chart, including four UK number ones: "West End Girls" (also number one on the US Billboard Hot 100), "It's a Sin", a synth-pop version of "Always on My Mind", and "Heart". Other hit songs include a cover of "Go West", and their own "Opportunities (Let's Make Lots of Money)", and "What Have I Done to Deserve This?" in a duet with Dusty Springfield. With five US top ten singles in the 1980s, they are associated with the Second British Invasion.[7]
At the 2009 Brit Awards in London, the Pet Shop Boys received an award for Outstanding Contribution to Music. In 2016, Billboard newspaper named the Pet Shop Boys the number one dance duo/group over the 40 years since the chart's inception in 1976.[8] In 2017, the duo received NME's Godlike Genius Award.
History[edit]
Early years (1981–1984)[edit]
Neil Tennant and Chris Lowe met in a hi-fi shop, Chelsea Record Centre, on 203 King's Road, in Chelsea, London, in 1981.[9] Tennant had purchased a Korg MS-10 synthesizer which sparked a conversation with Lowe. Discovering that they had a mutual interest in disco and electronic music, they became friends.[9][10] In particular, the pair drew inspiration from two synth-pop records: "Souvenir" by Orchestral Manoeuvres in the Dark (OMD); and "Bedsitter" by Soft Cell, which reflected their lifestyles at the time.[11][12] According to Tennant, he and Lowe would listen to "pioneers of electronic music", including OMD, Soft Cell, Kraftwerk, the Human League, and Depeche Mode.[13]
The duo began to work together on material,[10] first in Tennant's flat in Chelsea, then, from 1982, in a small studio in Camden Town.[14] They briefly labelled their demo tapes under the band name West End before settling on Pet Shop Boys.[15] They say that their band name was taken from friends who worked in a pet shop in Ealing and were known as the "pet shop boys". They also noted a naming similarity with the recently formed rap rock group Beastie Boys.[16] In August 1983, Tennant, who was an assistant editor at Smash Hits, went to New York to interview Sting.[10] While there, he arranged to meet hi-NRG producer Bobby Orlando and gave him a demo tape containing "It's a Sin" and "Opportunities (Let's Make Lots of Money)".[9][17]
From 1983 to 1984, Orlando recorded 11 tracks with Tennant and Lowe, including "West End Girls", "Opportunities (Let's Make Lots of Money)", "It's a Sin", "I Want a Lover", "I Get Excited", "Two Divided by Zero", "Rent", "Later Tonight", "Pet Shop Boys", "A Man Could Get Arrested" and "One More Chance".[18][19] In April 1984, the Orlando-produced "West End Girls" was released, becoming a club hit in Los Angeles and San Francisco. On 2 November, it was voted "Screamer of the Week" by listeners of Long Island, New York, radio station WLIR.[20] It was a minor dance hit in Belgium and France,[21] but was only available in the United Kingdom as a 12" import.[22]
Please (1984–1986)[edit]
In March 1985, after long negotiations, the Pet Shop Boys cut their contractual ties with Bobby O, with a settlement giving Bobby O significant royalties for future sales. Hiring manager Tom Watkins, they signed with the London-based Parlophone label. In April, Tennant left Smash Hits magazine—where he had progressed to the position of deputy editor—and in July, a new single, "Opportunities (Let's Make Lots of Money)", was released, reaching number 116 in the UK. The B-side to this single, "In the Night", later resurfaced, in a longer remixed version, as the opening track to the duo's first remix album, Disco, in 1986. This version was also used as the theme for the UK television series The Clothes Show.[23]
They returned to the studio in August to re-record "West End Girls" with producer Stephen Hague. Released in October 1985 it rose slowly in the British charts to become number one in January 1986. It subsequently replicated this success in the United States, Canada, Finland, Hong Kong, Lebanon, Israel, New Zealand and Norway and sold an estimated 1.5 million copies worldwide.
After the success of "West End Girls", the Pet Shop Boys released a follow-up single, "Love Comes Quickly", on 24 February 1986. The single reached number 19 on the UK Singles Chart and was followed by their debut album, Please, on 24 March. In June 1986, the band announced a European tour; however, their plans for a theatrical extravaganza proved to be too expensive and the tour was cancelled. Please started Pet Shop Boys' penchant for choosing one-word album titles, which Neil Tennant has since stated is now a Pet Shop Boys "signature thing", akin to e. e. cummings' use of exclusively lower case letters.[24] New versions of their second single, "Opportunities (Let's Make Lots of Money)", and the album track "Suburbia" were also released in 1986, followed by Disco. In September 1986, Pet Shop Boys performed "Love Comes Quickly" and "West End Girls" at the 1986 MTV Video Music Awards in Los Angeles.[25]
Actually (1987–1988)[edit]
1987 started with the Pet Shop Boys receiving both a BRIT Award and Ivor Novello Award for "West End Girls". Later, on 15 June, they released what became their second number one single, "It's a Sin". The single caused some controversy: Tennant's school, St. Cuthbert's Grammar School, in Newcastle upon Tyne, chastised him in the press, while pop impresario Jonathan King accused them of plagiarising the Cat Stevens song "Wild World". King recorded a version of "Wild World" in the style of the Pet Shop Boys to prove his point.[26] The group later sued King and won damages,[27] which were donated to charity. The video to "It's a Sin" also saw their first collaboration with director Derek Jarman.
The continued success of "It's a Sin" was followed by the release of "What Have I Done to Deserve This?" on 10 August. Co-written with Allee Willis and also featuring Dusty Springfield on vocals, the single reached number two on the UK Singles Chart and the U.S. Billboard Hot 100 chart. Although the duo had wanted to release this track on their debut album, they had been unable to track down Springfield and were reluctant to record it with any other female singer, despite their record company's suggestions. Springfield's manager finally contacted them in 1986, following the release of Please, and towards the end of that year, she travelled to London to record "What Have I Done to Deserve This?" with them. It was the first track to be recorded for the duo's second album. Pet Shop Boys had been told that Springfield was difficult to work with and even that she could no longer sing; however, her performance on the track put any such concerns to rest and they began a collaboration with her, which lasted until the end of the decade. Included on their second album Actually, the song became a massive worldwide hit and resurrected Springfield's career, leading to her 1990 album, Reputation, on which Pet Shop Boys were major contributing writers and producers. This duet was also the start of a series of collaborations with high-profile musicians, going on throughout the band's career.
Also in August 1987, Pet Shop Boys appeared on Love Me Tender, a UK television programme, on ITV, commemorating the tenth anniversary of Elvis Presley's death.[28] They were asked to perform one of their favourite Elvis tracks and they narrowed it down to two options, "Baby Let's Play House" and "Always on My Mind", eventually settling on the latter.[28] Their Presley cover would later be re-released in a 12" version, consisting of a medley, along with an acid house track by the duo, titled "In My House". September 1987 saw the release of the duo's second studio album, Actually, followed by the single "Rent" in October, which reached number 8 in the UK. The final song on the album, "King's Cross" accidentally anticipated the King's Cross fire at the London Underground section of the station in November of that year (part of the lyrics read: "Dead and wounded on either side/You know it's only a matter of time"). The Sun newspaper in the UK subsequently tried to get the track released as a charity single, but Pet Shop Boys would not allow this.
Towards the end of 1987, Pet Shop Boys started work on an hour-long film that would incorporate the songs from Please and Actually. Working with director Jack Bond, the short film grew into a full-scale movie, It Couldn't Happen Here, starring Barbara Windsor, Joss Ackland and Gareth Hunt. The film was eventually released in 1988 to mixed reviews. Footage from the film was also used for the music video to "Always on My Mind", now released as a single on 30 November; it became both the duo's third number one single in the UK and the Christmas number one single for 1987, beating "Fairytale of New York" by The Pogues and Kirsty MacColl. In November 2004, The Daily Telegraph newspaper placed Pet Shop Boys' version of "Always on My Mind" at number two in a list of the fifty greatest cover versions of all time.[29]
1988 started with another collaboration. Pet Shop Boys wrote and produced the song "I'm Not Scared" for Patsy Kensit's band, Eighth Wonder. The song became her biggest hit single and the Pet Shop Boys included their own extended version of the track on their Introspective album. March 1988 saw the duo achieve their fourth UK number one single (and their last to date), with a remixed edit of "Heart", different from the album version. This single version would be included on their first and third greatest hits albums, Discography: The Complete Singles Collection and Ultimate, whereas the album version would be used for their second retrospective, the double PopArt: Pet Shop Boys – The Hits. The video to the single, directed by Jack Bond, starred Ian McKellen as a vampire who steals Neil Tennant's wife.
Style and image[edit]
In 2020, BBC journalist Nick Levine noted that they still maintain a somewhat "detached and ambivalent approach" to their success, which also shows in their low profile on social media.[80] Music journalist Steve Harnell described them as having both an "ear for commerciality" and the desire to create "something more highbrow". He also described Tennant's lyrics as showing a "love for language", which Tennant sparkles with sometimes quite-obscure cultural references.[80] Their music in the 1980s was inspired by dance music in gay clubs but transformed into a "very British and brainy brand of pop music, shot through with a streak of social comment so subtly done that people frequently missed the point entirely."[81]
Lowe said in a 1986 Entertainment Tonight interview that he doesn't "like country and western. I don't like rock music, I don't like rockabilly or rock and roll particularly. I don't like much, really, do I? But what I do like, I love passionately.[82] The quote was subsequently sampled in the song "Paninaro". The 1997 B-side "How I Learned to Hate Rock and Roll", and their early 1990s songs "DJ Culture", "Can You Forgive Her?" and "How Can You Expect to Be Taken Seriously?" continued this sentiment.[83] They are still known for openly criticising trends in the music business, such as reality television music shows in 2010 ("it's so awful and negative and stifling, and so un-pop").[84]
Their band dynamic has played a role in their public image. Early in their career, the duo were frequently accused of lacking stage presence, said to be a deliberate reaction to the hyper-cheerful music of the time, demonstrated by bands such as Wham!. A typical early performance featured Lowe in the background playing the bassline on a Fairlight synthesiser keyboard and Tennant singing, but otherwise passive, in the foreground. Tennant and Lowe both became well known for standing still throughout performances. In a 2016 interview, Chris Lowe said the duo's live performances were a response to the music scene in the 1980s: "Everyone was so active. It was a big party where everyone was having a great time and smiling at the camera. Thumbs aloft! We just didn't want to do that. So we ignored the cameras and the jollity of the situations. Let's face it, it's easier to stand stock-still isn't it?".[85]
When they first began touring, in 1989, they were heavily influenced by opera and theatre staging. Derek Jarman staged their first tour, making a series of films to be projected behind the costumed singers and dancers. In 1991, they brought in David Alden and David Fielding, from the English National Opera, to create the staging and costume design, for a show which made little attempt to involve or even acknowledge the audience and pushed the choreography and staging centre-stage. Subsequent tours have used artist Sam Taylor-Wood and architect Zaha Hadid for stage design. The Fundamentalism tour in 2006–2007 was conceived and designed by theatre designer Es Devlin, with choreography by Hakeem Onibudo. Es Devlin also conceived the 2009–2010 Pandemonium Tour as well as the Electric Tour beginning in 2013.
Typically, Pet Shop Boys have favoured avant-garde tailored fashions. Tennant has referenced the designers of his suits in certain interviews and Lowe has often sported outfits and glasses made by Issey Miyake, Stüssy and Yohji Yamamoto's Y-3 for Adidas. Presentation has always been a major theme for Pet Shop Boys and the duo have dramatically "re-invented" their image twice in their career. In 1993, when promoting their Very album, they wore brightly-coloured costumes and used state-of-the-art computer technology to place themselves in a modern computer graphic world. This concept of re-invention was revisited for the promotion of their Nightlife album, in which they transformed their look, wearing wigs and glasses, with stylised futuristic urban wardrobes. In 2006, both Tennant and Lowe were seen on stage and in photographs wearing clothes designed by Hedi Slimane/Dior Homme.
They have always been interested in the artwork, design and photography of their own releases. Photographer Eric Watson helped shape the original image of Pet Shop Boys, creating many of their photographs and videos from 1984 to 1991. In design they have primarily worked with Mark Farrow, who designed the cover of their first Parlophone album release in 1986. The collaboration between Mark Farrow and Pet Shop Boys is comparable to the designer/band relationship of Peter Saville and New Order, Anton Corbijn and Depeche Mode, or the epic-length collaboration of Simon Halfon and Paul Weller. Their record sleeves are quite often very minimal and the attention to detail is obvious. In October 2006, British art publisher Thames & Hudson published a 336-page hardcover book titled Pet Shop Boys Catalogue, by Chris Heath and Philip Hoare, showcasing the group's accomplishments in artwork, design and music. A German-language edition was also published. An exhibition of photographs of Pet Shop Boys was organised at the National Portrait Gallery in London to coincide with the publication.
Even the band's fan base has been subject to commentary. In 2001, music theorist Fred Everett Maus wrote that, contrary to the ideologies of anti-commercialism and authenticity embodied by "serious" discussions of popular music such as rock, Pet Shop Boys fans exhibit "an undisguised love of commercial success". This was demonstrated through mailing list discussions from 1998 onwards, in which fans voiced concern over the "most commercially promising selection and marketing of singles" for the then-upcoming Nightlife, and debated the quality of the then-recent Bilingual, spurred by the album's poorer performance in sales. Most posters, Maus summarised, feared that the band's appeal would become essentially limited to a cult following; "dissent, along the lines that the fans would always have the Pet Shop Boys, no matter what happened commercially, was scarce and ineffectual". Noting the fact that Pet Shop Boys "began their career with hits", Maus made the point that this early success was valued by fans: the band's "large audiences" were just as important to "many fans" as the making of "distinctive music that individual fans loved".[86]
The Pet Shop Boys have been noted for keeping their fingers on the musical pulse to date, while "maintaining the mystique of performers from a different era".[80] Lynn Barber, writing for the London Observer on 1 July 1997 stated that "The genius of the Pet Shop Boys was to combine these polar opposites: Neil's wistful introspective lyrics and Chris's mindless, cheerful, upbeat rhythms. They would never have been in the Top 10 without Chris; they would never have engaged an intelligent audience without Neil."[87]
Sexuality[edit]
Neil Tennant, who neither denied nor confirmed gay rumours throughout the 1980s, "came out" in a 1994 interview for Attitude, a UK gay lifestyle magazine.[91][92][93] He has stated that his lyrics are not specifically gay. Many of the duo's songs are written using gender-neutral language, so that they could refer to any gender.[94][95][96]