Yes, for whatever reason, Neil's vocals become gentler and more fey as time passed. Whether it was because he found that register more comfortable, or it suited the material he wanted to write and things he wanted to say, who knows. I also LOVE how he sounds almost threatening on Sound Of The Atom Splitting.
Pet Shop Boys Rate. Part 1: 1985-1991. Winner.
- Thread starter Ray
- Start date
Yes, for whatever reason, Neil's vocals become gentler and more fey as time passed. Whether it was because he found that register more comfortable, or it suited the material he wanted to write and things he wanted to say, who knows. I also LOVE how he sounds almost threatening on Sound Of The Atom Splitting.
No...it's the sound of the atom splitting!
D
Deleted member 47
I love My Secret Heart too.
They/them, he/him
Mess.
51.
worst song on the album
one of many songs that show that the Boys are one of the most intelligent pop acts ever
51. Nervously
6.7680555556
Behaviour album track
Highest score: 10 (@Ray, @slurmjunkie, @Jóga)
Lowest score: 1 (@Sweet Music)
Neil: This was written by me, primarily, before I knew Chris, but I could never finish the end of the song. I'd written it on acoustic guitar. I was going out with a woman when I wrote it. I wonder what she thought of it.
Chris: Maybe it was fantasy.
Neil: I think maybe it was fantasy. Chris worked out the chords at the end of the chorus. He said, 'Isn't it this?' and I said, 'Oh, I've been trying to work that out for the last ten years'. This is such a gay song. It's a bit like a show tune. We went through a phase with Harold Faltermeyer trying to make it into what he calls 'an LA ballad', as though Whitney Houston was going to sing it. But then we did the arrangement which ended up on the album, very stripped down, which was also Harold's idea. It starts off just with synthesisers, and it gradually builds up and finally drums come in right at the end. The lyric is about two gay boys meeting each other and being too shy to have sex. I think I denied that at the time. It's sort of about sexual trepidation. It's all nervous and jittery, and it's got sexy breathing in it as well. And, actually, listening back to it now I think they do get together at the end of the songs. Because he smiles.
Ray: *gets tearful at those last two sentences*
Behaviour was my first Pet Shop Boys album – I became a fan because of double whammy of "So Hard" and "Being Boring". I played it to death. I learned English through listening to Pet Shop Boys. I remember having worked out the chorus to "This must be the place..." and being immensely proud of myself. And I was listening to "Nervously" one evening and suddenly I understood. I nearly fainted. Played it over and over and over again. I was thinking: this is me, this is me. Except it was still me in the future. I was maybe 15. I knew I was gay by then, but never tried to do anything with it – I lived in Poland two years after communism ended, come on. We "didn't have" gay people, really. And here was this newfound favourite band of mine singing this song. "We don't talk of love/we're much too shy". I didn't either. To anyone. I knew being gay was somehow a wrong thing, even though at that time nobody said to me explicitly – yet. And can you believe I was still shocked when Neil actually came out a few years later?
Musically the best thing about it are all the arpeggios. Oooohhhh the arpeggios. *Ray In Rhythm climax mix*
Let's start with people who should not expect to be taken seriously.
@Bleu Noir: worst song on the album, the Winner of the era
@One Stop Candy Shop: Why am I expecting the chorus of Boy Strange? Maybe because this sounds the same and both are not very good.
@Mikey1701: I have already said this elsewhere, but this feels like it was recorded for Kylie’s ‘Enjoy Yourself’ album (I can hear shades of ‘My Secret Heart’ which is NOT a good thing!), rejected and then give a Pet Shop Boys makeover. It feels disposable, which shouldn’t happen on a 10 track album.
Now people who confuse me.
@ohnoitisnathan: Sounds a bit Christmas-y.
@Sally_Harper: I can’t remember anything about this even though I JUST listened to it so I’m giving it the benefit of the doubt and assuming it’s a five.
@TrendyMüller: Nervously and Jealousy have a hard time to generate any emotional response on an album with so many deeply emotional cuts and melancholic masterpieces
And now people who GET me.
@Jóga: It conveys the feeling of falling in love and the early days of it so well. It breaks my heart every time.
@Future Lover: A very lowkey moment, even on an album like this. Very personal as well - we don't get that a lot from the Boys. It's touching and relatable for a young gay guy like myself.
@DominoDancing: A great set of lyrics I can identify with a lot better than I'd like to admit...but I have to say, musically I find it a bit too cheesy to go for a really high score.
@Peer_Gynt10: one of many songs that show that the Boys are one of the most intelligent pop acts ever
worst song on the album
one of many songs that show that the Boys are one of the most intelligent pop acts ever
51. Nervously
6.7680555556
Behaviour album track
Highest score: 10 (@Ray, @slurmjunkie, @Jóga)
Lowest score: 1 (@Sweet Music)
Neil: This was written by me, primarily, before I knew Chris, but I could never finish the end of the song. I'd written it on acoustic guitar. I was going out with a woman when I wrote it. I wonder what she thought of it.
Chris: Maybe it was fantasy.
Neil: I think maybe it was fantasy. Chris worked out the chords at the end of the chorus. He said, 'Isn't it this?' and I said, 'Oh, I've been trying to work that out for the last ten years'. This is such a gay song. It's a bit like a show tune. We went through a phase with Harold Faltermeyer trying to make it into what he calls 'an LA ballad', as though Whitney Houston was going to sing it. But then we did the arrangement which ended up on the album, very stripped down, which was also Harold's idea. It starts off just with synthesisers, and it gradually builds up and finally drums come in right at the end. The lyric is about two gay boys meeting each other and being too shy to have sex. I think I denied that at the time. It's sort of about sexual trepidation. It's all nervous and jittery, and it's got sexy breathing in it as well. And, actually, listening back to it now I think they do get together at the end of the songs. Because he smiles.
Ray: *gets tearful at those last two sentences*
Behaviour was my first Pet Shop Boys album – I became a fan because of double whammy of "So Hard" and "Being Boring". I played it to death. I learned English through listening to Pet Shop Boys. I remember having worked out the chorus to "This must be the place..." and being immensely proud of myself. And I was listening to "Nervously" one evening and suddenly I understood. I nearly fainted. Played it over and over and over again. I was thinking: this is me, this is me. Except it was still me in the future. I was maybe 15. I knew I was gay by then, but never tried to do anything with it – I lived in Poland two years after communism ended, come on. We "didn't have" gay people, really. And here was this newfound favourite band of mine singing this song. "We don't talk of love/we're much too shy". I didn't either. To anyone. I knew being gay was somehow a wrong thing, even though at that time nobody said to me explicitly – yet. And can you believe I was still shocked when Neil actually came out a few years later?
Musically the best thing about it are all the arpeggios. Oooohhhh the arpeggios. *Ray In Rhythm climax mix*
Let's start with people who should not expect to be taken seriously.
@Bleu Noir: worst song on the album, the Winner of the era
@One Stop Candy Shop: Why am I expecting the chorus of Boy Strange? Maybe because this sounds the same and both are not very good.
@Mikey1701: I have already said this elsewhere, but this feels like it was recorded for Kylie’s ‘Enjoy Yourself’ album (I can hear shades of ‘My Secret Heart’ which is NOT a good thing!), rejected and then give a Pet Shop Boys makeover. It feels disposable, which shouldn’t happen on a 10 track album.
Now people who confuse me.
@ohnoitisnathan: Sounds a bit Christmas-y.
@Sally_Harper: I can’t remember anything about this even though I JUST listened to it so I’m giving it the benefit of the doubt and assuming it’s a five.
@TrendyMüller: Nervously and Jealousy have a hard time to generate any emotional response on an album with so many deeply emotional cuts and melancholic masterpieces
And now people who GET me.
@Jóga: It conveys the feeling of falling in love and the early days of it so well. It breaks my heart every time.
@Future Lover: A very lowkey moment, even on an album like this. Very personal as well - we don't get that a lot from the Boys. It's touching and relatable for a young gay guy like myself.
@DominoDancing: A great set of lyrics I can identify with a lot better than I'd like to admit...but I have to say, musically I find it a bit too cheesy to go for a really high score.
@Peer_Gynt10: one of many songs that show that the Boys are one of the most intelligent pop acts ever
D
Deleted member 16293
I think that was my lowest score left (3) so I'm glad it's out.
It's not that it's bad, it's just that the rest is better.
It's not that it's bad, it's just that the rest is better.
Nervously is a beautiful, fragile song that captures the hope and fear of love and sex brilliantly ... The opening chords sum all that up in just a few synthesised sounds ... The arpeggio keeps this from sounding like something from a musical ... The guitar and counter melody emphasising the mood ... Neil’s vocal building in line with the confidence of the narrator ... For such a simple song, musically it is very strong ... A 7/10 for me as the lyrics are a lacking a little (hence my ‘musical’ comment earlier) …
Edit: @DominoDancing is such a contrarian ... or is it me?
Edit: @DominoDancing is such a contrarian ... or is it me?
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I've never liked it, just not my PSB bag at all. I still gave it something like 6, which was the lowest for any album track that isn't a bastardised mash-up.
Never have liked Nervously, just feels so flat and out of place on Behaviour.
They/them, he/him
I'm here for Where The Streets Have No Name (I Can't Take My Eyes Off You) simply because it's the biggest diss in pop. Taking U2 overly serious, po-faced dreary boreathon rock track and turning it into a ridiculously over-the-top disco banger and then pairing it with the hilariously bitchy How Can You Expect To Be Taken Seriously- which I am adamant was directed at Bono.
When will Katy and Taylor? When will Azealia?
When will Katy and Taylor? When will Azealia?
Which interview was it where the question was "is this ONLY about Sting?"
Always thought this was taken from a musical the Boys hadn't got around to writing yet, and not knowing what to do with it put it on Behaviour. Not really my cup of tea, but still a 7.5.
Cackling. I'm actually willing to admit that my comment about the music was a bit harsh, but I am never going to agree that this is anything but a perfect set of lyrics. It's just how much I can identify with it. I have been THAT nervous boy in situations.
I have an opinion on this, but I've already written it for my commentary, so I'll just wait for the song to leave the rate. Which will hopefully be soon.
50.
The spoken 'violence breeds violence' bits are genius.
I was getting on all right with this until the hideous Gollum-esque “VIOLENCE…BREEDS...VIOLENCE”
50. Violence
6.7986111111
Please album track, revisited later (see part 2 of the rate coming to your Internet-connected devices in 2018)
Highest score: 10 (@Farnaby, @etienne, @Eric Generic)
Lowest score: 2 (@Peer_Gynt10)
Neil: "Violence" was the last track to be written for Please.
Chris: It was inspired by a sound on the PPG. It's the bass sound on the record. Actually, the same sound is also used for the organ. It sounds quite soulful.
Neil: My vocal is really thin-sounding on this. Helena Springs sings on it as well. In the instrumental middle bit we are still in 'Axel F' territory. It's about Northern Ireland. At this time there were bombs in London. It was also partly inspired by another Penelope Spheres film, The Boys Next Door, which is about two teenagers who go up to lots of people in Los Angeles shopping malls. Chris said I should put in 'violence breeds violence'.
Chris: 'Violence breeds violence'. It's a bit like 'War is stupid', isn't it?
Neil: I always thought it was a bit of a corny line but I couldn't think of anything else. I like the last verse best. The song is really about how violence is male. It's a male concept. A friend of ours who was in jail when this album came out said that everyone in his prison loved this – they thought it was the best track on the album. I don't think they thought it was glorifying violence. I think they liked the fact that it was hard. [Or they were all reformed criminals – Ray]
Chris Heath: Have you anything to say?
Neil: Actually of course I think we do. People always ask in interviews, 'Does your music have a message?' and of course it doesn't have a message as such, but I think our records are good at individual comment or commenting on or describing feelings, and they're very individual. And we deliberately don't set ourselves up as something. All those rock stars are embarrassing. [...] It's like when pop stars are against war: 'Listen! We're all against war! It's a really bad thing!', as if people think 'Oh, we think war's fantastic actually but I've now changed my mind because John Lennon's told me peace is a good thing.'
Chris: He's enough to make you want to go to war, John Lennon...
Ray: Something that I realised is that familiarity breeds comfort. When I listen to Please as "that record I know and love" I never feel the way I did when rating individual songs. Because "Violence" actually isn't all that good. Obviously its exit at #50 suggests you agree with me. And four people asked me separately if they can rate the Hacienda Version. (Yes. In part two.)
Let's begin with the 'War is stupid' bit fans and non-fans.
@Mikey1701: A solid album track that doesn’t really manage to push itself into greatness. Violence… breeds…. violence” is probably my favourite moment from the song, something I’ve found myself singing to myself on occasion.
@Jóga: The spoken 'violence breeds violence' bits are genius.
@Sally_Harper: I was getting on all right with this until the hideous Gollum-esque “VIOLENCE…BREEDS...VIOLENCE”, and then it got even worse with the wailing adlibs in the background. Violence breeds violen…tly reaching for the “skip track” button. The 3 is for the verses, which deserved better. (I’m probably going to get dragged to hell for this opinion but¯\_(ツ)_/¯)
Then move on.
@ohnoitisnathan: Say no to 'Violence'. [Coincidentally, I also say no to 'The War Song'.]
@Peer_Gynt10: I’m really not a fan of the entire side 2 of Please.
@One Stop Candy Shop: It's more like a b-side. The vocals are not as good as the rest Please.
@Bleu Noir: bit of a bore
I'm getting a feeling some of you dislike it.
@Heaven on Earth: The other night when my insomnia took over, I was watching some television and an episode of Law & Order: Special Victims Unit came on. It was a heartbreaking episode concerning violence amongst children, especially when what wasn’t a racially motivated murder became mythologized as one. The writers made a specific point of “a cycle of violence” and listening to this song, my mind harkens back to that episode. “Violence breeds violence,” and it’s a senseless waste. In my commentary for “It’s Alright,” I write about me dreaming of a utopian unity, but “Violence,” a song from a couple years before reminds one, even if such a reminder isn’t necessary, that that dream will never be accomplished as long mankind is around. “And all the others/Running ’round so hot and bothered/Anything to give their lives some meaning.” To validate your life, your mortality, your immorality, your dominance, by taking away somebody else’s life, it is heartbreakingly awful that this barbarian trait even exists. In the Law & Order: Special Victims Unit episode I mentioned, the initial killer, who was only a child, is murdered by another child in outrage over the unfortunate initial victim who’s also a child. Violence simply doesn’t make sense, and that meaningless dominance is eloquently expressed here. [I love you.]
Yeah but does anybody BY CHANCE like the Hacienda Version??????
@TrendyMüller: The rinky-dinky organ drags the thing down for me. Although it´s a great song and I love the adventurous bass-line. I prefer the Hacienda Version.
@DominoDancing: Another song they'd revisit later to produce a much superior version. The songwriting and lyrics are simplistic, and the production is too basic and a bit too "harsh". Only the vocal melody shows hints of the elegance which will later elevate the Hacienda version to a whole different level.
The spoken 'violence breeds violence' bits are genius.
I was getting on all right with this until the hideous Gollum-esque “VIOLENCE…BREEDS...VIOLENCE”
50. Violence
6.7986111111
Please album track, revisited later (see part 2 of the rate coming to your Internet-connected devices in 2018)
Highest score: 10 (@Farnaby, @etienne, @Eric Generic)
Lowest score: 2 (@Peer_Gynt10)
Neil: "Violence" was the last track to be written for Please.
Chris: It was inspired by a sound on the PPG. It's the bass sound on the record. Actually, the same sound is also used for the organ. It sounds quite soulful.
Neil: My vocal is really thin-sounding on this. Helena Springs sings on it as well. In the instrumental middle bit we are still in 'Axel F' territory. It's about Northern Ireland. At this time there were bombs in London. It was also partly inspired by another Penelope Spheres film, The Boys Next Door, which is about two teenagers who go up to lots of people in Los Angeles shopping malls. Chris said I should put in 'violence breeds violence'.
Chris: 'Violence breeds violence'. It's a bit like 'War is stupid', isn't it?
Neil: I always thought it was a bit of a corny line but I couldn't think of anything else. I like the last verse best. The song is really about how violence is male. It's a male concept. A friend of ours who was in jail when this album came out said that everyone in his prison loved this – they thought it was the best track on the album. I don't think they thought it was glorifying violence. I think they liked the fact that it was hard. [Or they were all reformed criminals – Ray]
Chris Heath: Have you anything to say?
Neil: Actually of course I think we do. People always ask in interviews, 'Does your music have a message?' and of course it doesn't have a message as such, but I think our records are good at individual comment or commenting on or describing feelings, and they're very individual. And we deliberately don't set ourselves up as something. All those rock stars are embarrassing. [...] It's like when pop stars are against war: 'Listen! We're all against war! It's a really bad thing!', as if people think 'Oh, we think war's fantastic actually but I've now changed my mind because John Lennon's told me peace is a good thing.'
Chris: He's enough to make you want to go to war, John Lennon...
Ray: Something that I realised is that familiarity breeds comfort. When I listen to Please as "that record I know and love" I never feel the way I did when rating individual songs. Because "Violence" actually isn't all that good. Obviously its exit at #50 suggests you agree with me. And four people asked me separately if they can rate the Hacienda Version. (Yes. In part two.)
Let's begin with the 'War is stupid' bit fans and non-fans.
@Mikey1701: A solid album track that doesn’t really manage to push itself into greatness. Violence… breeds…. violence” is probably my favourite moment from the song, something I’ve found myself singing to myself on occasion.
@Jóga: The spoken 'violence breeds violence' bits are genius.
@Sally_Harper: I was getting on all right with this until the hideous Gollum-esque “VIOLENCE…BREEDS...VIOLENCE”, and then it got even worse with the wailing adlibs in the background. Violence breeds violen…tly reaching for the “skip track” button. The 3 is for the verses, which deserved better. (I’m probably going to get dragged to hell for this opinion but¯\_(ツ)_/¯)
Then move on.
@ohnoitisnathan: Say no to 'Violence'. [Coincidentally, I also say no to 'The War Song'.]
@Peer_Gynt10: I’m really not a fan of the entire side 2 of Please.
@One Stop Candy Shop: It's more like a b-side. The vocals are not as good as the rest Please.
@Bleu Noir: bit of a bore
I'm getting a feeling some of you dislike it.
@Heaven on Earth: The other night when my insomnia took over, I was watching some television and an episode of Law & Order: Special Victims Unit came on. It was a heartbreaking episode concerning violence amongst children, especially when what wasn’t a racially motivated murder became mythologized as one. The writers made a specific point of “a cycle of violence” and listening to this song, my mind harkens back to that episode. “Violence breeds violence,” and it’s a senseless waste. In my commentary for “It’s Alright,” I write about me dreaming of a utopian unity, but “Violence,” a song from a couple years before reminds one, even if such a reminder isn’t necessary, that that dream will never be accomplished as long mankind is around. “And all the others/Running ’round so hot and bothered/Anything to give their lives some meaning.” To validate your life, your mortality, your immorality, your dominance, by taking away somebody else’s life, it is heartbreakingly awful that this barbarian trait even exists. In the Law & Order: Special Victims Unit episode I mentioned, the initial killer, who was only a child, is murdered by another child in outrage over the unfortunate initial victim who’s also a child. Violence simply doesn’t make sense, and that meaningless dominance is eloquently expressed here. [I love you.]
Yeah but does anybody BY CHANCE like the Hacienda Version??????
@TrendyMüller: The rinky-dinky organ drags the thing down for me. Although it´s a great song and I love the adventurous bass-line. I prefer the Hacienda Version.
@DominoDancing: Another song they'd revisit later to produce a much superior version. The songwriting and lyrics are simplistic, and the production is too basic and a bit too "harsh". Only the vocal melody shows hints of the elegance which will later elevate the Hacienda version to a whole different level.
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D
Deleted member 47
You’re all shameless (and I’m speechless).