The Pet Shop Boys

[BiaIchihara]

From PSB FB

 

Pet Shop Boys will join Dave Pearce on BBC Radio 2 this Saturday for a two hour takeover, playing music of their choice, discussing the creation of the new Electric album and revealing the music and artists that inspire them.

 

The show will be broadcast at 10pm, don’t miss it!

 

here's the link to listen http://www.bbc.co.uk/programmes/b036hy84

[BiaIchihara]

Pet Shop Boys: Electric - the story behind the album

 

Watch Neil Tennant and Chris Lowe discuss the making of Electric, their 12th Pet Shop Boys album, exclusively on Telegraph.co.uk.

[BiaIchihara]

Have a golden weekend petheads

 

[YOUTUBE]dVDQeFX4UOg&feature=share[/YOUTUBE]

[BiaIchihara]

Pet Shop Boys's YES Track-By-Track

 

LOVE ETC.

 

Chris Lowe: This is an example of what Brian [Higgins] and Miranda [Cooper] were doing with their own project. When we heard it I thought it sounded really fresh. I liked the almost trance broken chord, done with a shuffle rhythm, which I thought sounded really unusual - it had the uplifting element of trance without being trance. Also, when the drums kicked in it sounded really heavy. Everything was already there apart from the bit after the first chorus.

Neil Tennant: I was dispatched to to say to Brian Higgins, "can we get that bouncy track?" which, I've got to be honest, I couldn't even particularly remember. I liked all the songs that sounded a bit like New Order, one of which I think turned out to be "The loving kind".

 

 

ALL OVER THE WORLD

 

Neil: This was the last song to be written on the whole album. It started off as a song called "I'm not crying, I'm laughing".

Chris: The verse music was the same, but with a different melody. And what wasn't there was the chorus. It was also all a bit swingbeat. What we were trying to do was this rhythm from this record we'd heard in Mexico.

Neil: Xenomania were quite happy with this other song. In fact, after "All over the world" was finished, one day when we were summoned to see Brian he was sitting there and humming "I'm not crying, I'm laughing" to himself. But after we took a month off in August (...) we decided "I'm not crying, I'm laughing" was utter rubbish. So we went into the studio with Tim from Xenomania and - influenced by the way Xenomania work - took all the lyrics off and all the vocals off.

Chris: And I thought, "Why not carry on the Tchaikovsky chord progression from the Nutcracker?". And then it really took off. (...)

Neil: It was a really good session this - it all happened in about two or three hours."

Chris: It was really, really great. We just thought, "My God, this is good". What was Brian's famous quote about this?

Neil: "You've just made the album 10% better"

 

Neil: Then I came up with the Bowie-like verse melody: "There's something... that look in your eyes tonight..." I was suddenly channelling David Bowie. (...) Chris and Tim [Powell] also spent a long time working on the rhythm track.

Chris: Tim really beefed the rhythm up, made it four on the floor.

 

 

BEAUTIFUL PEOPLE

 

Neil: Brian Higgins, when we first played him songs we'd written, really liked this song a lot.

Chris: It was fully formed.

Neil: I always think of our demo as being a bit more folky.

Chris: It didn't sound folky to me. The original aim was to be r'n'b. They're quite soulful chords. The exact arrangement was already there.

Neil: Anyway, folk and soul do meet in the Mamas and Papas and, even at this stage, the backing vocals were supposed to be like the Mamas and Papas. When we wrote this song I loved it to pieces. On the demo I do a guitar solo - we didn't keep that, unfortunately.

 

 

DID YOU SEE ME COMING?

 

"Did you see me coming?" was primarily chosen as the second single due to the enthusiasm of Parlophone record's radio promotion staff, who felt that it would get a lot of airplay. Before Yes was released, Neil and Chris considered it unlikely to be a single, thinking that songs such as "All over the world" and "Pandemonium" were more obvious choices.

 

Neil: I was worried the title sounded obscene. It wasn't meant to. My mother used to say "they must have seen you coming" if you'd been overcharged for something. It came from that. (...) The song is about someone walking into a bar and seeing someone and thinking, "God, I really fancy them, I could spend the rest of my life with them." (...)

Chris: Wasn't this the one Brian Higgins said...?

Neil: ... yeah, that it was "80% there". He always liked the bit where the Gregorian choir solo comes, because it's rather unexpected. He said, "Oh, that's beautiful". We brought Johnny Marr in, put the guitar on, and they beefed up the rhythm track. But it's one of those that's most similar to the original. It's the same vocal as the demo.

Chris: Great ad libs at the end.

Neil: I'm giving 110% on the ad libs. That's me thinking "What would Dusty do?".

 

 

VULNERABLE

 

Chris: It's another one that we played to Brian on our first visit - audition, I mean.

Neil: The demo was actually in a different key. We took it down because I couldn't sing it. They just sort of beefed it up. (...) Nick Gatfield [global president of A&R for EMI] wanted it to be a duet, and there was talk of us approaching Carla Bruni, which was Dave Dorrell's idea. I could imagine her singing it. The song itself is sung from the point of view of a woman we know.

 

Neil: The guitar is actually a sample played by Chris. I liked this song because I always felt it sounded very French, a bit like "Voyage Voyage" or something. I think it's got a particularly beautiful melody. The sort of melody that we write that is just taken for granted, really. But I sometimes wonder if the whole idea of melody is old-fashioned now.

 

 

MORE THAN A DREAM

 

Neil: This was originally called "Where the wild things are", which was a bad title, and it went through a lot of different changes. It was going to be scrapped at one point. Though Brian also had announced that it had a hit introduction. I think it probably does - if this was Girls Aloud it probably would be one. I worried that it was too not us to be on one of our albums. But at one point, just when we were on the verge of scrapping it, Chris went upstairs and wrote the melody for "coming soon, something good", and I love that melody.

 

(...) And Brian loved that melody coming after the intro, because the intro is very chirpy. Again it's very French. It reminds me of some French record in the Eighties like "Etienne Etienne".

Chris had also written this other bit - where it goes "Driving through the night, just you and me..." which Miranda and I had "lyriced" when the song was still "Where the wild things are". We always used to refer to it as the Belinda Carlisle bit. (...) I think for the chorus Miranda wrote the medley and I wrote the lyrics. In the verses, I had the idea of "coming soon, something good", and then the second verse Miranda and I wrote together. So it's a genuine collaboration. Brian got involved a lot in the structure of it.

[BiaIchihara]

BUILDING A WALL

 

Neil: The person who liked this track was Brian Higgins. Even when it was finished, Chris and I suddenly had a move to scrap it.

Chris: The backing track went through a major transformation. It went through trance - the verse melody actually came from the trance melody that we then legated into that - and then it went rock.

Neil: Johnny Marr played weird guitar - we told him to play like Robert Fripp on "Heroes". It's Stuart Price's favourite track on the album.

 

Chris: My voice is on it because Neil asked me. It wasn't my idea.

Neil: I thought "protection, prevention..." would be good with two voices.

Chris: I'm happy to oblige.

 

 

KING OF ROME

 

Neil: I had an idea of writing about the King of Rome, who was Napoleon's son. (...) he had no family, and he was lonely, and he didn't know his father. He just seemed like an incredible symbol of loneliness and exile.(...)

I was writing the words for "The King of Rome", having written pretty much the whole lyrics, I suddenly thought it could be "The King of pop" instead. (...) I was just thinking what a tragic figure Michael Jackson is, endlessly roaming the world. (...) Brian Higgins wasn't keen on it being about Michael Jackson, and when I told him what it had been originally called he said, "Yeah, we'll go back to 'The King of Rome'." Actually he used to call this song "Baby come back to me".

Chris: Or "It couldn't be more tragic" - that was his other title for it. The music never really changed. I was expecting a bit more production on it, but Brian liked it as it was. It was just a drum loop.

 

 

PANDEMONIUM

 

Neil: Unlike the rest of the album, "Pandemonium" was written in the previous year, in 2007, when we were writing songs for Kylie Minogue.

Chris: I think it's a really good drunken having-a-laugh-with-your-mates type of record. It's got that kind of Seventies glam rock feel to it.

Neil: Johnny Marr liked that about it.

Chris: Johnny plays harmonica, which we didn't know he could play. He went to the boot of his car and whipped out his harmonica.

Neil: We got a load of people from Xenomania to do the "ooh"s and "it's pandemonium", including Bob Stanley from St Etienne.

 

 

THE WAY IT USED TO BE

 

Neil: It's probably never going to be a single, because the song is very long, and it's a very difficult song to edit, because the story is the story.

Chris: This was a Xenomania backing track. I absolutely loved this the first time I heard it, and I got dispatched upstairs with it.

Neil: It was going to be a duet all the way through. We were thinking of asking Tina Turner. But we didn't. Miranda and I had the idea that it was like a film. It's the story of a relationship - at the beginning it's two people meeting again after a long gap, and then you have a long flashback to the start of their relationship when they're first in love. Miranda and I sat down and wrote the story. They've been on holiday to Rome and then they've moved to Manchester (...) and then they move to New York, a fatal mistake, and the relationship falls apart, and one of them moves to Los Angeles. In the end, they've met again, and they're getting back together.

Chris: A happy ending?

Neil: To denote that, at the end of the song I wanted to change the key, but it sounded a bit naff. It didn't work.

Chris: Tierce de Picardie.

Neil: What's that?

Chris: It's when you suddenly end on the major chord.

 

 

LEGACY

 

The Chinese government (department of General Admission of Press and Publication) didn't approve the distribution of "Legacy" within China. The Pet Shop Boys suggested that rather than remove it completely, it should instead be included as an instrumental.

 

Neil: It's quite interesting to be confronted with the reality of that. I think that having the instrumental track makes the point. It reminds you that China is a totalitarian country. It's interesting because China is quite free in artistic expression, as long as it's not political.

 

Neil: Returning to the book The Rest Is Noise I read about a chord called the tritone which used to be, in the Middle Ages, regarded as devilish. It's a particular combination of notes, a major triad with a a flattened fifth so that it has a note that does not belong in the key, and it has an amazing quality. (...) I was also listening to Johnny Greenwood's music for There Must Be Blood. But Chris started writing the music to "Legacy".

Chris: This is a bit more tonal, but it was inspired by interesting chords that weren't pop chords. (...) The fun bit of this song is the waltz. It's such a release. Waltzes are pretty exciting, I think. Waltzes are just so exuberant (...). And it was great fun to record - there are timps and cymbals. When we do a waltz it's a Viennese waltz. It was Neil's idea.

Neil: I was thinking Roxy Music would have had a waltz. There's a Roxy Music track ["Bitter-Sweet"] on their fourth album. I just thought it was a fantastically pretentious thing to do - go into a waltz and then sing it in French.

 

 

THIS USED TO BE THE FUTURE

 

When the Pet Shop Boys decided that their album sounded a bit long, after playing it back to the record company at Abbey Road studios, they decided to remove the song "This used to be the future". (It originally came between "King of Rome" and "Pandemonium".)

 

Neil: I'd had the title "This used to be the future" lying around in my notebook for quite a while. And also the idea of writing a song about the way the future was meant to be, and how it hasn't turned out. When I was a child in the Sixties there was going to be this glorious future of Le Corbusier town planning and space travel, and everything would be rational and liberal. (...)

It occurred to me one day that that we have this combination in Iran, say, of fundamentalist religion and nuclear technology. You also have that potential in Pakistan. And there's a dialect happening where something that's come out of an utter process of rationalism has joined forces with fundamentalism. And that was never meant to be the future. In fact the past has become the future. I didn't want to go on and on about fundamentalism in it, but I just wanted to make that point right at the end - that's why it ends with "amen".

 

Neil: We also thought that that we'd get Bernard [summer] to sing the melody which sounded a bit like Bernard, though in the end we didn't ask Bernard because we thought maybe it would seem a bit Eighties to have Bernard Summer, Neil Tennant and Phil Oakey singing the song. So Bernard was replaced with Chris Lowe.

 

Chris: [Phil Oakey] did a few different [vocal] styles. He said, "Do you want me to try my Iggy Pop vocal?" Which is the one that's on the finished record.

 

Once they had decided to create the album that would become Yes etc., Neil and Chris asked Xenomania to work on the new mixes. The Pet Shop Boys chose six of the album songs to be remixed. «We went down for two days», says Neil. (The Pet Shop Boys couldn't be there for the mixing of the last two tracks and this is why they are not credited as co-remixers of those.)

[BiaIchihara]

Retirement? That’s for factory workers who race pigeons

 

IT’S 32 years since NEIL TENNANT and CHRIS LOWE formed the PET SHOP BOYS – and they are still getting better and better.

 

New album Electric sees them embrace their love of dance music, and get their best-ever reviews. After a euphoric show in Munich the pair tell SFTW about their endurance and the latest chapter in their story.

 

BACKSTAGE at Munich’s Tollwood festival, the Pet Shop Boys are knocking back champagne.

 

“Champagne? On a Wednesday night!” mocks Neil Tennant as he takes a sip.

 

“And it’s vintage” (vintaaage in the singer’s North Shields twang).

 

But there are plenty of reasons for tonight’s revelry.

 

Firstly it has been a mind-blowing show. The Pet Shop Boys are at the top of their game visually and musically. Dancers with minotaur heads and jackets made of drinking straws are met by thousands of fans for the party of the year.

 

It is also Neil’s 59th birthday — but the biggest cause for celebration is that the duo have just released their 12th studio album, Electric, to their best reviews in years.

 

“Years?” shrieks Chris Lowe. “They’re the best we’ve had in our CAREER! And we’re over the moon.”

 

Neil and Chris have been making synth-pop for more than 30 years, since meeting in an electronics shop on King’s Road, London in 1981.

 

Neil says: “We do what we want to do for our own personal satisfaction.

 

“The musical, creative bond between Chris and I is still so strong. We are always working on something new.”

 

The only time the Pet Shop Boys experienced trouble in their career came in 1999 following their album Nightlife when their promoter went bust. “The album did well but we’d been booked on an arena tour of Britain,” says Neil. “Chris and I said, ‘We think this tour is too big’.

 

“We were playing Sheffield Arena and there were 3,000 in a venue for 18,000. It was a financial disaster.

 

“I remember having a minor meltdown and I said to Chris that we should knock it on the head.

 

“But Chris just never replied. So it was never addressed. So we carried on. And we are still here.”

 

On stage the pair are phenomenal. Off stage they are also a double act. While Neil is the witty, charming leader, Chris has a deadpan sense of humour unexpected of the persona who hides away behind costume and sunglasses when he’s in the spotlight.

 

Electric, Pet Shop Boys’ first release on their own x2/Kobalt label, arrives just ten months after their Top 10 album Elysium, their final release with Parlophone, who they had been on for 28 years.

 

“It does feel like a new chapter for us,” says Chris, 53. “Though when we started the album we were still with Parlophone.”

 

“Yes, we’d actually been at EMI for longer than anyone else apart from a woman in business affairs,” adds Neil.

 

“And we were actually in negotiations for this to be released on Parlophone but the Kobalt deal came about and so we decided to go with that. So it does feel new and exciting.”

 

Seeing the duo perform tonight, an outlandishly stylish spectacle featuring hit after hit mixed with new tracks, explains why the duo have endured.

 

“I guess we never really feel out of touch,” says Chris. “And age really isn’t an issue as our fans get older with us and we don’t find it hard to pick up new generations on the way.”

 

So turning 59 tonight. How does that make you feel? I ask Neil.

 

“I really don’t feel my age,” he replies. “I have friends of all different ages and I’ve always been into popular culture so that keeps me young.

 

“Even before the Pet Shop Boys I worked for Marvel Comics and then Smash Hits so I like to know what the kids are thinking. Even if I don’t like it, I know what’s going on.

 

“As for retiring, I never think about it. You retire if you’re working in a factory in Rochdale and you can’t wait to leave and concentrate on your racing pigeons. But my life has never been like that.

 

“Years ago I wrote Being Boring and when I was a teenager, me and my friends’ ethos was we were never going to do boring jobs. And I’ve never had a boring job.”

 

Electric, a euphoric collaboration with producer Stuart Price, sees the pair return to their first love, dance music. Price, who is married to Pet Shop Boys’ manager Angela Becker, has worked with The Killers, Brandon Flowers and Madonna.

 

“Yes it’s odd we’ve never worked with Stuart before,” says Chris. “But this one was perfect for him.”

 

Neil adds: “You have to thank Chris for where we have gone with Electric. This album started out as a joint thing but it was Chris who took it to another level.

 

“I was thinking this record was going to be a disco one or even dance remixes, a different version of Elysium with new tracks but Chris wasn’t having it. He drew up the list of all the songs we had then wrote some new songs.

 

“Then we got Stuart on board and suddenly we had a new album.”

 

The working relationship between Price and the band was one of trust and order. “We’d arrive in the morning and finish by 6pm,” says Neil.

 

“And Stuart would have the TV on in the studio with the sound on. ALL DAY,” he stresses.

 

“It drove me MAD but Stuart said it gave a rhythm to the day.

 

“We’d get to the studio at 11.30am in time for Escape To The Country and then go for lunch when the antiques thingy was on. Then we’d get quiz shows followed by some Australian kids’ TV programme. Once the news came on we’d know it was six time for home.”

 

The group experimented with different styles but both Neil and Chris agree it has always been about the songs rather than the producer.

 

Neil adds: “When it comes to producers, it’s always the songs and who they suit. For Fundamental (their 2006 album) we got Trevor Horn in as we knew we were going to make a big production album so who better than Trevor?

 

“Then on 2009’s Yes, the songs were really pop so we went to Brian Higgins and Xenomania. And it was amazing.

 

“Then the next album, Elysium in 2012, it was a reflective, Los Angeles album. We wanted someone who had worked on those great Kanye West albums, so we approached Andrew Dawson and that record has a great production. They are all different statements and that is what keeps us ticking.”

 

Tracklisting

Tracklisting ... for Pet Shop Boys' Electric

 

The appeal of Pet Shop Boys, a duo who have sold 50 million records worldwide, is that there are no egos and no squabbles. While Neil credits Chris’s “desire to make music 24 hours”, it is Neil’ s restlessness that drives the work.

 

Says Neil: “I feel sorry for Chris having to put up with me. I’m this restless person.

 

“We saw this programme about The Beatles where John and George were moaning about Paul being on the phone, wanting to go into the studio. Chris was laughing saying it was like me.” Both Neil and Chris say making Electric was such an exciting time that they are planning two follow-up albums soon.

 

“The idea is to make a trilogy,” says Chris. “With Stuart involved though I’m not sure we’ve told him yet,” he cackles.

 

There are so many high points on Electric that it’s hard to single out tracks. Love Is A Bourgeois Construct “is pure Pet Shop Boys with that title,” says Neil.

 

“The lyric came from a novel by David Lodge called Nice Work. Putting such a literary phrase into a title for a pop song appealed to me out of bloody-mindedness really.”

 

And their cover of Bruce Springsteen’s The Last To Die was suggested by Chris’s sister.

 

“We listened to it on my iPhone,” says Chris. “And it has this great guitar riff that we could imagine being on a Pet Shop Boys record.”

 

Neil adds: “When we did that song with Stuart, it sounded like The Killers. It is like an equation — Pet Shop Boys performing Bruce Springsteen, produced by Stuart Price equals The Killers.

 

“Because we know Brandon Flowers brings together the influences of us with Springsteen. He’s a huge fan of both.”

 

Opening track Axis is classy — and inspired by Madonna.

 

Neil laughs: “Axis had a rubbish vocal at first. Then I pretended to be Madonna on Erotica and said it in an American accent. Now when I hear the voice at the start of the show, I don’t think of it as me but my alter-ego, ‘The Electric voice’.”

 

“It was such a fun album to make,” says Chris. “And it’s been great to see audiences let themselves go at the shows. And that’s what people want from Pet Shop Boys.”

 

Artwork

Electric ... Pet Shop Boys artwork

 

Another standout is Thursday, a duet with rapper Example.

 

“Us with Example, who’d have thought?” laughs Chris. “Basically we needed a rapper and Stuart suggested Example.”

 

Neil adds: “I was worried that Example would groan at the prospect of working with us too but he agreed — but only if he sang too.

 

And two weeks later he came back with the whole part written. We got to meet when he played at the O2 with us in June in London.

 

“He was really nervous. He came with his whole family — his mum, dad and new wife (Erin McNaught). He said it was as nerve-racking as when he used to do his MC battles.”

 

Pet Shop Boys’ show ends tonight with an encore of old and new. Live favourite Go West is followed by their 1985 No 1 West End Girls and then new single Vocal, a song the audience doesn’t know — not that you can tell by their wild reaction.

 

Neil says: “The whole audience went crazy. I thought, ‘Wow!’ Then the laser kicks in.

 

“Tonight, everyone was raving!”

 

“And thank god those lasers worked,” says Chris. “They cost a bloody bomb. It’s what most of the budget went on.

 

“But we’ve always been up there as a live act. We’re not just studio boffins. That’s why we were able to headline Glastonbury in 2010 at the same time as Muse. We had as big a crowd too.”

 

Neil adds: “We follow our instincts. Nothing is ever planned and responses to our music often puzzle us. But that’s what keeps us together and will keep us going for a long time yet.

 

“It’s all about the music, it’s in our songs. The feeling of the warmth around us all is so strong.

 

And that’s really what we’re setting out to do. We’ve always tried to create our own crazy Pet Shop Boys world and bring as many people into it as we can.”

[BiaIchihara]

Neil Tennant goes west

 

 

Taken from the August issue of Dazed & Confused

 

In 1993, Pet Shop Boys followed the elegiac Behaviour (1990) and the high-gloss of Bruce Weber’s “Being Boring” video with spiked hats and lurid orange boiler suits for the electropop Very. The duo weren’t wearing their artistic approach to pop lightly as they entered a fruity digital age. Naturally, it was 1993’s iconic dunce hats that the band returned to for their performance at 2012’s London Olympics Closing Ceremony.

 

''Go West sounds almost identical to the Soviet National anthem, which was a complete coincidence. So you had these men singing “Go West” at this time when communism was gone and they were going west politically''

 

“We were very much reacting against the whole Madchester thing – we hated grunge! I mean, we loved Nevermind by Nirvana, but we wanted to do something bright with poppy and cartoony visuals. I got my first computer in 1993, and there were all these arcades, so we wanted to make a soundtrack to all these computer games. We were working with (art director) David Fielding, and his ideas were so totally crazy. He came up with the pointy hats, which were based around the line in “Can You Forgive Her?” about being in school (“Remember when you were more easily led / Behind the cricket pavillion and the bicycle shed”). It was a closet song about having sexual experiences in school and so he thought up the dunce hats. I was reading this book by Anthony Trollope called Can You Forgive Her? and a friend of mine said, “That sounds like a Pet Shop Boys song title!”

 

So I thought of the line “She's made you some kind of laughing stock / Because you dance to disco and you don't like rock.” We had this idea with Howard Greenhalgh, who directed the video, to make digital cartoons, which was aiming towards Chris’s desire to be in a video without actually being filmed for it. We have so few photographs from that time because everything’s digitally manipulated. We went into Top Of The Pops with our own art director, and that was unprecedented. We had three dancers dressed in silver cricket outfits dancing with Chris, and I was sat on top of a ladder and there was a huge blue egg. When you look back at it, it’s like a miniopera.

 

“Go West” was a cover version that we’d done in Manchester for Derek Jarman’s last art exhibition in 1992. It became a very big hit in Russia because we discovered that “Go West” sounds almost identical to the Soviet National anthem, which was a complete coincidence. So you had these men singing “Go West” at this time when communism was gone and they were going west politically. We were trying to do pop songs, and I think that we did something hyperpop. In those days, music video channels played videos, so we said, “Having created this artistry, why spoil it?” So we refused to do any promotion around Europe, and we had our best selling album ever, to this day. But it’s not my favourite album by us. I prefer Behaviour."

[BiaIchihara]

This a old interview + pic with Neil for a magazine, I've put just the links since the size of the images are too large to be posted here

 

http://24.media.tumblr.com/tumblr_lzax01EXpj1r6rt5vo1_1280.jpg

 

http://31.media.tumblr.com/tumblr_lzax01EXpj1r6rt5vo2_1280.jpg

[BiaIchihara]

The Ultimate Pet Shop Boys Quiz

 

It's no exaggeration to say that the Pet Shop Boys are one of the most pioneering acts of all time.

 

A truly unique act that challenged perceptions of what pop music and live concerts could be, they have influenced everyone from Lady Gaga to The Killers, and continue to delight their fans; their latest album Electric ranks alongside any of the works from their long career.

 

Their fans are known for their loyalty and devotion, so we've compiled this fiendishly difficult quiz to test your knowledge. Find out how much of a Pet Head you really are by clicking the link below to get started.

[BiaIchihara]

[YOUTUBE]9Tg_zvDg3Xo[/YOUTUBE]

[BiaIchihara]

40 Pieces Of Wisdom From Pet Shop Boys Lyrics

 

With a musical partnership so strong it's now in its fourth decade, it's fair to say the Pet Shop Boys have a philosophy (or 40) amongst their back catologue.

 

The title of their very latest single Love is a Bourgeois Construct gives you a hint of the type of lyrical originality that has defined their work and no-one does an eloquent literary quip quite like Neil Tennant.

 

Here are 40 pieces of advice, courtesy of the Pet Shop Boys, that you could live your life by.

[BangBangLou]

Love! Pet Shop Boys are playing tonight in Oakland and I can't go!

They had 2 shows in Oakland, the 1st was on Saturday and I've been so bummed since then after seeing pictures from people who went! But, wow, tickets were more expensive than I thought they would be! sorry needed to share my PSB sadness.

[BiaIchihara]

[YOUTUBE]lJGTDDCDmQY[/YOUTUBE]

[BiaIchihara]

Premiere: Bright Light Bright Light & Ana Matronic, “West End Girls (Pet Shop Boys Cover)”

 

[sarik31]

I wish they will come again to Italy.....

[BiaIchihara]

Love! Pet Shop Boys are playing tonight in Oakland and I can't go!

They had 2 shows in Oakland, the 1st was on Saturday and I've been so bummed since then after seeing pictures from people who went! But, wow, tickets were more expensive than I thought they would be! sorry needed to share my PSB sadness.

 

There may be another chance for you

 

April 8th - Fox Theater (Oakland, California)

April 11th - Majestic Ventura Theater (Ventura, California)

April 15th - The Majestic Theatre (Dallas, Texas)

April 16th - ACL live at the Moody Theater (Austin, Texas)

April 18th - Comerica Theatre (Phoenix, Arizona)

April 25th - Revel Casino Hotel (Atlantic City, New Jersey)

April 26th - Terminal 5 (New York)

 

General admission pre-sales and VIP packages go on sale TODAY at 10am local venue time from here: http://tix.concertmaps.com/petshopboys/

[sarik31]

40 Pieces Of Wisdom From Pet Shop Boys Lyrics

 

With a musical partnership so strong it's now in its fourth decade, it's fair to say the Pet Shop Boys have a philosophy (or 40) amongst their back catologue.

 

The title of their very latest single Love is a Bourgeois Construct gives you a hint of the type of lyrical originality that has defined their work and no-one does an eloquent literary quip quite like Neil Tennant.

 

Here are 40 pieces of advice, courtesy of the Pet Shop Boys, that you could live your life by.

 

 

Neil Tennat lyrics are more then original...I used to have a teenage crush on him...

 

In two week's time I will be in London and I hope to buy their new Cds , here in Italy limited edition are hard so find