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Rating: Sometimes it can happen that an album is conceived and takes shape in reaction to the one before it. If you're looking for a rather obvious example, you can compare "Behaviour" (1990) and "Very" (1993) by the Pet Shop Boys. Because if you try with "let's make a masterpiece album" and it doesn't work, you can always try again with "let's make a mega electronic dance album" and then tell me.
Attention: it's not that "Behaviour" didn't work on an organoleptic level. But when you're, all in all, still in the starting phase ("Very" is the fifth studio album), you also have to count the pennies (=sales). Then, over time, you can do whatever you want, when the foundations are solid and the bank account is well-stocked and secure.
The person writing to you is a die-hard fan of the Pet Shop Boys (really?) but that's not the point. There are albums that float: today you like them, tomorrow less, in ten years you forget you had them. Then, maybe, you revisit them. "Very" is an evergreen. And, if the meditative and melancholic "Behaviour" pushes you to introspection, the message of "Very" is: get up, go, fight to survive. Night and day, sobriety and exuberance.
"We wanted twelve potential singles", Neil declared in 2001. It seemed like a fantasy, but the Pets came close. "Very" is a punch in the stomach. It has generated stadium anthems, made both old and new fans dance, and invigorated the gay audience (not coincidentally, Neil came out during this period in the magazine "Attitude").
Let's go in order. On production, Neil and Chris: after working diligently for other artists (Neil: "Producing someone else's album is easier than producing your own". Thank you, Uncle Neil) the Pets felt ready for the big leap. On programming, the trusty Pete Gleadall, unanimously considered by fans as the third Pet Shop Boy. There were two rules. The first: all instruments must be reproduced by the emulator, especially the guitars. The second, which was more of a characteristic than a rule, was that the two verses in each song had to be different.
The album opens with the first single, "Can You Forgive Her?", a leading track in its DNA. Musically loaded, Chris Lowe in full "orchestra hit" trip, it talks about a gay boy who doesn't have the courage to leave his girlfriend, who mocks him for how he dances and the music he listens to. "Is it autobiographical?" they asked Neil. "No, I've never had sex in a bicycle shed" ("Remember when you were more easily led,
behind the cricket pavilion and the bicycle shed"). "I Wouldn't Normally Do This Kind Of Thing", third single, curiously edited in reverse: the sober album version was extended on the occasion of its release as a CD single. Here it talks about a serious gentleman who suddenly discovers love and lets himself go. "Normally I wouldn't do this kind of thing." Yeah right. Then you dream and slow down with "Liberation" (even if your foot doesn't stop tapping), another heretic who discovers love after laughing at lovers in his presumably previous gloomy existence. Musically a jewel, one of the album's high points.
"A Different Point of View" is a pleasant escape and, according to some, the low point of the album. Chris: "Never liked it. I put that orchestra hit in the chorus just to annoy Neil". I don't completely agree. Above all, listen to this refine: "Just this once...just say yes...please...". Try it to believe it. Then, there's a rather sad interlude, a slow one, "Dreaming Of The Queen", the story of a dream, made by Neil, where he and Lady D count the victims of AIDS: "There are no more lovers left alive....". Not coincidentally, the intro, suggests Chris, has a rather regal tone.
We return to dancing with "Yesterday, When I Was Mad" (fifth single) only to compose ourselves immediately with the best track on the album, "The Theatre", a refined representation of the homeless outside theaters. It could have, should have been a single. Chris: "I imagine the video, especially the scene where I walk past the homeless giving them money, accompanied by Neil who instead ignores them...". Luciano Pavarotti is mentioned and perhaps, this track, inserted in "Behaviour" instead of the useless "So Hard", would have made that album truly immortal. At least in my eyes. Musically, in its structure and approach, a gem.
"One And One Make Five" is a classic in PSB fashion, delicate and pumped just right (compromise is the duo's definitive imprint) and the guys wanted it as the first single. It doesn't have the potential and Parlophone had a keen eye in the matter. The late Dainton, their personal assistant until cancer claimed him in 2004, enters the refine with a "Here we go, here we go, here we go....".
"To Speak Is A Sin" is a slow track with ancient origins, pre-dating “It’s A Sin”, and talks about the embarrassment and wall of silence that often comes between patrons of London gay clubs. Musically, we're always on high levels. The track is also appreciated in its live version, proposed in "Discovery". "Young Offender" is the most refined moment of the entire album. The computerized sounds that, by the duo's will, reproduce echoes and effects present in the video games of the time throughout the album, are denser here. The chord progression devised by Lowe is engaging, of high level, the lyrics avoid the usual themes by telling the story of an online chess game between a mature man and, presumably, a boy.
It closes with an overdose of lightness. "One In A Million" has a long story. In 1986, an Italian language demo was made, but the idea sank (thank goodness, I add). The final version, this one, was about to be offered to Take That because it was deemed too poppy, too light. But then....boom! It's cute alright, but not predominant in the album's economy.
Of "Go West" (second single) I can only say I usually skip to the instrumental outro, which is the best part of the track. I've said it all. Cover of the Village People which, as far as I'm concerned, could have avoided seeing the light. It was Chris who insisted when in 1992 the group was invited to perform at the Hacienda for a concert, proposing an alternative version of "Violence" and, indeed, the cover of "Go West". Chris labored to convince Neil, who wanted none of it. So much so that the first version, a 1992 demo, was thought of as a potential b-side. The track, but you already know this, was a hit. A true anthem for the gay community, rubbing shoulders with “It’s A Sin” for the role of the duo's trademark.
The "Very" sessions also gave rise to a handful of instrumental tracks, included in the limited edition named "Very Relentless" and an interesting batch of b-sides: "Forever In Love", "Confidential" made for Tina Turner, who released it in 1996. It's a pleasant slow track, but it turned out later that poor Tina expected something along the lines of "It's A Sin". And also, "Hey Headmaster", "Shameless", "Too Many People", "Falling" (made for Kylie Minogue, musically originating from a failed remix of "Go West"), "If Love Were All", "Decadence", "Euroboy", "Some Speculation". The single (which went straight to number one in 1994) "Absolutely Fabulous", made for the show of the same name, also revolves around "Very".
"Very" is the younger, lighthearted brother of "Behaviour". Look at the covers: red roses on a white background and an orange Lego-like composition. The two, as happens between siblings, love each other, they esteem and appreciate each other. But while the elder prefers to stay on the couch with a cup of tea and a pair of intimate, trusted friends, the second prefers to run through the streets eager to come out, to blossom for what it is: a wonderful, very pleasant, innocent escape.
Tracklist Lyrics and Videos
01 Can You Forgive Her? (03:54)
Another night with open eyes
Too late to sleep, too soon to rise
You're short of breath, is it a heart attack?
Hot and feverish you face the fact
You're in love, and it feels like shame
Because she's gone and made a fool of you in public again
You're in love, and it feels like pain
Because you know there's too much truth in everything she claims
So ask yourself now: Can you forgive her
If she wants you to?
Ask yourself: Can you even deliver
What she demands of you?
You drift into the strangest dreams
Of youthful follies and changing teams
Admit you're wrong, oh, no, not yet
Then you wake up and remember that you can't forget
She's made you some kind of laughing stock
Because you dance to disco, and you don't like rock
She'd make fun of you, and even in bed
Said she was gonna go and get herself a real man instead
So ask yourself now: Can you forgive her
If she begs you to?
Ask yourself: Can you even deliver
What she demands of you?
Or do you want revenge?
But that's childish, so childish!
(But that's childish, so childish!)
Remember when you were more easily led
Behind the cricket pavilion and the bicycle shed
Trembling as your dreams came true
You looked right into those blue eyes and knew
It was love, and now you can't pretend
You've forgotten all the promises of that first friend
It's bad enough, she knows how you feel
But she's not prepared to share you with the memory
So ask yourself now: Can you forgive her
If she begs you to?
Ask yourself: Can you even deliver
What she demands of you?
Ask yourself now: Can you forgive her
If she begs you to?
And ask yourself: Can you even deliver
What she demands of you?
Or do you want revenge?
But that's childish, so childish!
02 I Wouldn't Normally Do This Kind of Thing (03:04)
Ask me why
I'll say it's most unusual
How can I even try to explain
why today I feel like dancing
singing like lovers sing
when I wouldn't normally do this kind of thing?
I wouldn't normally do this kind of thing
Ask me when
I'll say it started when I met you
and ever since then I knew that the past couldn't last
For right now I think I'm running
a race I know I'm gonna win
and I wouldn't normally do this kind of thing
I wouldn't normally do this kind of thing
If people say I'm crazy
I tell them that it's true
Let them watch with amazement
say it won't last beyond breakfast
it's a phase he's going through
denigrate or speculate
on what I'm going through
because it isn't the sort of thing I'd normally do
Ask me what
I'll say I think it's good for you
Believe it or not I know where it's all leading to
I feel like taking all my clothes off
dancing to The Rite of Spring
and I wouldn't normally do this kind of thing
I wouldn't normally do this kind of thing
I wouldn't normally do this kind of
this kind of thing
03 Liberation (04:07)
Take my hand
I've changed my mind again
Really I believed it true
that all who fell in love were foolish
But I was wrong
I've learned that lesson well
All the way back home at midnight
you were sleeping on my shoulder
Take my hand
Don't think of obligations
Now, right now
your love is liberation
To free in me
the trust I never dared
I always thought the risk too great
but suddenly I don't hesitate so
Take my hand
Don't think of complications
Now, right now
your love is liberation
Liberation
The night, the stars
A light shone through the dark
All the way back home at midnight
you were sleeping on my shoulder
Take my hand,
Don't think of hesitation
Now, right now
your love is liberation
Liberation
Back home at midnight
All the way back home at midnight
04 A Different Point of View (03:26)
When I'm sitting so close to you
There's only one thing that I wanna do
But I know what you're likely to say
That I'm going about it the wrong way
We can't agree about anything
Where to go or even where we've been
And I know what you're likely to do
Say that I've never care about you
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
You don't believe a single word I say
If I'd say black was white, you'd say it was grey
But in spite of been treated this way
I still dream of you all night and day
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
Just this once
Just say yes
Please
You've got a clever way of haunting me
I'm never scared, but you're still daunting me
'Cause I know what you're likely to say
And I know that you'll get your own way
And all I wanted to say was that I love you
But you tell me now you don't believe it's true
You got a different, a different
A different point of view
You got a different
Point of view
You got a different, a different
A different point of view
You got a different
Point of view
06 Yesterday, When I Was Mad (03:56)
Darling, you were wonderful, you really were quite good
I enjoyed that, though, of course, no one understood
A word of what was going on, they didn't have a clue
They couldn't understand your sense of humour like I do
You're much too kind
I smiled with murder on my mind
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
You have a certain quality, which really is unique
Expressionless, such irony, although your voice is weak
It doesn't really matter 'cause the music is so loud
Of course it's all on tape, but no one will find out
You hated me too
But not as much as I hated you
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Then, when I was lonely
I thought again
And changed my mind
Then we posed for pictures with the competition winners
And argued about the hotel rooms, and where to go for dinner
And someone said: "It's fabulous you're still around today,
You've both made such a little go a very long way"
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Yesterday, when I was mad
And quite prepared to give up everything
Admitting, I don't believe
In anyone's sincerity, and that's what's really got to me
Then, when I was lonely
I thought again
And changed my mind
07 The Theatre (05:11)
(Tennant/Lowe)
--------------
(Yeah)
(Yeah)
(Yeah)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Yeah)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Tu ru tu tu tu tu)
(Yeah)
(Yeah)
It's another world here
The streets are gleaming
I was even dreaming
That they're paved with gold
Seventeen, at half past ten
All the crowds are surging past
An electric display
There's another world here
Below shop windows
Upon the pavement
Where you wave goodbye
Boys and girls
Come to roost
From Northern parts
And Scottish towns
Will we catch your eye?
While you pretend not to notice
All the years we've been here
We're the bums you step over
As you leave the Theatre
(Yeah)
(Yeah)
It's another world here
Somebody is singing (Yeah)
I was only wishing
For a bit of cash
From a patron of the arts
Or at least the phantom of the opera
Will I catch your eye?
While you pretend not to notice
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
All the years we've been here
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
(Ha ha ha ha...)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
(Everybody)
Pavarotti in the park
Then you walked back up the Strand
Did you catch my eye?
And then pretend not to notice
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
All the years we've been here
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
In the end, you pretend
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
'Cause it's so much easier
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre (Yeah)
(Yeah)
(Yeah)
(Tu ru tu tu tu tu Tu ru tu tu tu tu
Tu ru tu tu tu tu Tu ru tu tu tu tu)
We're the bums you step over
(Tu ru tu tu tu tu Tu ru tu tu tu tu Tu ru tu tu tu tu)
As you leave the Theatre
(Yeah)
(Yeah)
(Ha ha ha ha ...)
(Ha ha ha ha ...)
(Ha ha ha ha ...)
16 Shameless (05:04)
(Tennant/Lowe)
-------------
(Ooh ah ah ooh ah ah ooh ah ooh) [Hello]
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh) [Dahhhling - mmwah!]
[How dare you? Do you know who I am?]
[You look fabulous! - mmwah!]
I know what you think
It's clear as mud in your eyes
We're the plastic poseurs and prostitutes
You've obviously come to despise
But you don't know nothing
You're not hot enough to matter
You don't understand it's the glamorous life
A dream that no one can shatter
We're shameless
We will do anything
To get our fifteen minutes of fame
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
I'm ambitious
Believe me, I'm going to be big
I'm a slave to glamour
Applause and clamour
My makeup, my wardrobe, my wigs
Don't call me pathetic
I'm harder than you'll ever guess
Relentlessly tough, for when the going gets rough
The tough get their picture in the press
We're shameless
We will do anything
To get our fifteen minutes of fame
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
(Anything, anything, anything at all)
(We'll do anything, anything, anything at all)
(We'll do anything, anything, anything at all)
(We'll do anything, anything, anything at all)
[It's going perfectly alright]
[How dare you? Do you know who I am?]
[It's an absolute disgrace]
Tell me you love me
Admit it, you're really impressed
Would it not amuse you
For me to seduce you
Have you ever seen me undressed?
We're shameless
We will do anything
To get our fifteen minutes of fame (Give me fifteen minutes)
We have no integrity
We're ready to crawl
To obtain celebrity
We'll do anything at all
We're shameless
We will do anything
To get our fifteen minutes of fame (Give me fifteen minutes)
We have no integrity
We're ready to crawl to obtain celebrity
We'll do anything
With anyone
Go absolutely anywhere
For anything
At all
(Ooh ah ah ooh ah ah ooh ah ooh) [I'm terribly sorry]
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
(Ooh ah ah ooh ah ah ooh ah ooh)
17 Too Many People (04:26)
(Tennant/Lowe)
-------------------
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The husband or the hedonist
The businessman or the communist
The artist or the showbiz creep
The lover or the nervous geek
The question of identity is one that's always haunted me
Whoever I decide to be depends on who is with me
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The tactless twit putting his foot in it
Or the sensitive soul who's a role model
The urban jet setter - never at home
Or the country recluse - just leave me alone
Extrovert or introvert
Love is kind, and love hurts
Rebellion or conformity
What is my identity?
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
The intellectual and bon-viveur
or the naive simpleton, so immature
A devoted son and family man
Or the wicked uncle who doesn't give a damn
How often these have tempted me
The question of identity depends on what I'm meant to be
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
I sometimes think that I'm too many people
Too many people, too many people
I sometimes think that I'm too many people
Too many people, too many people at once
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By Ale87
The two Boys retreated into their shell and from within, they see all those groups... who 'renounce' the pop works done in the '80s.
'Very' was the last album to achieve a certain success with both critics and the public, an album to which I am very attached for various reasons.
