Pet Shop Boys
Alternative

THE REVIEW

The world of b-sides is fascinating and captivating in certain ways. On the occasion of the release of "Alternative" (1995), their first thematic collection, Neil Tennant, the seasoned leader of the Pet Shop Boys, said: "B-sides allow you to be creative. No rules to follow, no need to sound radio-friendly, the possibility to experiment and broaden the catalog." It's true. And, just to say, credit must be given to the London duo for never holding back in this regard. With the advent of the CD format and, subsequently, digital downloads, Neil and Chris produced an average of two to three b-sides per single. Even in the '80s, their enthusiasm led them to create maxi 45s just to make room for more "lati b" (b-sides).

This anthology 1985/95 is varied, and it brings to the surface passions, obsessions, historical memory, and facets of the duo that otherwise would not have emerged. It's not uncommon for fans to recognize the b-side with more credit than the reference a-side. When the promo of "So Hard" (1990) was sent to London radios, more than one DJ thought the track to promote was the b-side, "It Must Be Obvious," simply because it was more beautiful and complex. It's a matter of taste, but it's not the only case: "You Know Where You Went Wrong," on whose intro producer Shep Pettibone later worked for "Vogue" by Madonna, is of another level compared to the pathetic and sentimental "It's A Sin"; "Miserablism," a cult for many fans, would have certainly sold more than the a-side, the cute "Was It Worth it?"

Let's move on to other noteworthy episodes. "In The Night," musically modest but certainly more appreciated today than its host, the first incarnation of "Opportunities - Let's Make A Lot Of Money," which peeked at #116 on the charts, tells us about the Zazou, carefree jazz musicians playing in Paris during the German occupation; "Paninaro," placed as the first "b" side of "Suburbia," is a detailed homage to the fashion that exploded in Italy in the mid-'80s, which struck Lowe so much that he composed a rap text, entrusting Neil with the classic chorus "Paninaro! O-o-o-o," complete with a promotional clip shot in Milan; "Jack The Lad" (Neil: "'Suburbia' had two b-sides. Mine, this one, and Chris's, 'Paninaro'") takes us back to the traces of Lawrence of Arabia, carried on a sweet, catchy, and moderate melody: it certainly deserved more visibility. "Do I Have To" ("Always On My Mind") is a little gem, appreciated by Neil so much that he proposed performing it live during the tour of the album "Yes" (2009). "One Of The Crowd" ("It's All Right") sees Chris mumbling again on the lyrics: "I want to be one of many, I want to be trendy" on an acidic base. From the same single, Neil has, not surprisingly, his b-side, "Your Funny Uncle," a sweet farewell recounting the procession of a friend's funeral.

"Losing My Mind" ("Jealousy") was created for Liza Minelli, for the album "Results" (1989) produced by the PSB themselves, but Liza rightly wanted to cut the initial laughter (having full solidarity from the writer here) for a track that might make some jester think of "E penso a te."

Once, a taxi driver recognized Neil. "You're in the Pet Shop Boys, right?" "Yes..." "You know what my favorite song is?" "I guess 'West End Girls'...?" "No, 'Hey Headmaster'" "Uh, strange choice!" This is the story linked to the b-side of "Can You Forgive Her?," a finely crafted song but honestly without any pretensions. "Shameless" and "Too Many People," on the other hand, were produced from the matrix of their respective a-sides, "Go West" and "Can You Forgive Her?," and the result is appreciable. "Shameless" is deeply loved by the duo, which didn't include it in the reference album ("Very" - 1993) due to its bold title and some moments: "We're shameless, we're ready to crawl."

Interesting and worth listening to are the instrumental and house-tinged "Euroboy" and "Some Speculation," both extracted from "Yesterday, When I Was Mad." Credible and listenable, the PSB, even when Neil whispers irritably and sings to his loved one in the very refined "Decadence" ("Liberation") or when they cover Noel Coward in "If Love Were All" ("Yesterday, When I Was Mad"). The tone drops, however, when there is excessive experimentation for its own sake; see for yourself "The Sound Of The Atom Splitting" ("Left On My Own Devices"), also played during the intermission of the "Introspective" tour (1988).

The intriguing aspect of this double CD is that someone who only marginally knows the group might ultimately prefer this, let's call it, "alternative collection" to an anthology strictly tied to the hits. This is because the tracks are less commercial, maybe less accessible, but better defined and crafted. Yet still faithful to the line: that's why I doubt that someone who detests the group would end up appreciating it in the presence of "Alternative."

On the other hand, for those who follow (albeit with a distracted eye) the band's evolution and appreciate its stages and maturation, it's certainly a must.