PSB Winner #10 – It Couldn’t Happen Here

And so we reach the finishing line of our Pet Shop Boys marathon, first begun in honour of their new single, “Winner” (to recap on what it’s all been about go to our introduction, here). For those of you who have been keeping an eye out, you’ll know we’ve been naming what we consider to be the 10 greatest Pet Shop Boys songs, as well as the B Sides, the ones that almost made it but didn’t quite. Looking back we realise that much as we love the pop Pet Shop Boys (and they feature heavily in the B Sides, from Always On My Mind through to Domino Dancing), it’s the melancholic, thoughtful side of the duo (from Jealousy through to Being Boring) that we love most of all. And that’s certainly represented in our final choice.

A Side – It Couldn’t Happen Here

And from the apocalypse springs beauty. There have been many famous songs written about the AIDS epidemic that emotionally and physically decimated the gay community in the early 80s (ranging from the Pet Shop Boys’ own “Being Boring” to Bruce Springsteen’s “Streets of Philadelphia”) but none have matched “It Couldn’t Happen Here”. Though the music is orchestral, lush and beautiful to the point of being almost – but not quite – too much, the lyrics are of horror and disbelief, as well as a terrible, weighty sorrow.

Written long before new treatments stopped the HIV virus from being an automatic death sentence, Tennant heartbreakingly captures the moment when the gay community was first able to see the extent of the hell that had fallen and would continue to fall upon it – friends dying by the dozen, usually in agony, often terribly young. He doesn’t name the disease once in the song, but nobody with any awareness of the world around them could fail to understand what this terrible “it” in the title was.

For those who didn’t live at the heart of those plague years (and that includes the writers of Pop Lifer, who were 11 at the time this song was released, and only aware of AIDS through the terrifying public advertisements, and media hysteria) “it almost seems impossible”, in Tennant’s own words. Many religious tubthumpers gleefully said the gay community had brought the apocalypse upon themselves. One of the worst things was that some in the gay community secretly, partly believed this. After the hedonism of the seventies, the surge towards public recognition and personal freedom after centuries of repression, AIDS could seem like some terrible Biblical punishment for having dared to live a life that we had been told was wrong. As Tennant sings, “we’ve laughed too loud, and woke up everyone.”

As Pop Lifer reader Michael Kay emails, the fear was that AIDS would reverse all that progress, would destroy not only gay men, but the fledgling gay rights movement itself. As Michael writes “the gay community has risen beyond all expectations since, but 1987 was a whole different world, and this song captures it perfectly and beautifully. Did I mention that it sounds bloody amazing too? It hasn’t dated to this day, and still brings a tear to my eye.”

We can only agree. It is perhaps the most exquisite song the Pet Shop Boys have ever released, something for which arranger Angelo Badalamenti must take much credit, given the sublime orchestral backing (though the duo’s extraordinary instinct for choosing unexpected and exceptional collaborators also deserves credit – this was released long before Twin Peaks made Badalamenti famous). That all of this beauty, all of this grace, was bestowed upon such a terrible and ugly disease is what makes the song so remarkable, and definitive proof that pop music can be great and powerful art, that there is absolutely no contradiction in this. Key lyric: “Now it almost seems impossible/ We’ve ended up right back where we started from.”

Apologies but for copyright reasons the video is unavailable. Still, some snooping around on Google should sort you out, but if you don’t own “Actually”, the album it came from, and one of the finest pop records of all time then do yourself a favour and buy it here.

B Side – Paninaro

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PSB Winner #9 – Love Comes Quickly

Penultimate entry in our run down of the Pet Shop Boys’ 10 greatest songs (our A sides) and the next 10 best (our B sides). It’s all in honour of their current single “Winner” which – ironically – isn’t really a winner at all. But these songs are… For introduction and general love letter to the band click here.

A Side – Love Comes Quickly

Until “Being Boring” signalled the beginning of the Pet Shop Boys’ slow and stuttering commercial decline, “Love Comes Quickly” was the duo’s only flop single (number 19 with a blank bullet). Which just goes to show what idiots the British record buying public can be when they don’t agree exactly with us. Released immediately after West End Girls, it was clearly designed to offer a sharp contrast to that strange smash hit: a conventional love song compared to WEG’s oddball meditation on urban stress, a shinily produced slice of pure pop compared to WEG’s muted atmospherics, simple and streamlined compared to WEG’s restless complexity. Oh, one other thing of note – it is so utterly fucking gorgeous that PopLifer gets a little emotional even thinking about it. Lowe’s sleek, bass-driven production is the engine, but it’s Tennant’s soaring vocal – including his loveliest ever falsetto break – that gives the song its wings. It also started the proud tradition of Pet Shop Boys songtitles as filthy innuendos, one which reached a peak three years ago with “Did You See Me Coming?”. Key lyric: “You can fly away to the end of the world but where does it get you to?/ Love comes quickly, whatever you do.”

B Side – Domino Dancing

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Class Act: Grayson Perry’s Vanity of Small Differences

From aspirational to shabby chic. The middle classes dissected by Grayson Perry.

As Pop Lifer touched on in our bluffer’s guide to the Olympic Opening Ceremony, Britain seems to be looking in the mirror a great deal this summer, even more than usual. Elizabeth Windsor been our head of state for 60 years and, of course, the Olympics is taking place in London, reminding us of what it feels like to be genuinely at the centre of attention (rather than just thinking we are).

As 60 million people put on their mirror face (lips pursed, eyes slightly narrowed, enigmatic smile), we are happily trading self-deprecatory jokes via Bond, Bean and Brookie. However, every family has a dirty little secret – those wedding and birth certificates that don’t add up or that mysterious year when Uncle Fred was on ‘holiday’. Britain’s dirty little secret is the class system.

Hang on a minute, though, Britain’s class system is not a secret! So many songs, films, novels are dripping in with references to class! Well, yes, but the uncomfortable truth that we don’t like to acknowledge is, that (unlike with our complicated history where we have established a cool detachment) we still all too often adhere to the nuances of a social order we know is wrong but still seem to need. We are still being recorded daily by the class register.

Grayson Perry’s exhibition ­The Vanity of Small Differences is a magnificent, vibrant representation of how these nuances are manifested through that prism of snobbery, taste. This is a subject very close to Pop Lifer’s heart. Indeed this blog is a (very) modest new front in the battle against that grotesque red herring – high art / low art. This spectrum is not so much married as conjoined to the class system. TV schedules, festival billings, newspaper review sections – these and many more outlets for cultural representation and review – end up inadvertently reaffirming a code which is both difficult to describe and escape. Perry comes close to both and this is a significant achievement.

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The Forgotten Files #1 – Olympian by Gene

First in an occasional series of blogs on little moments in pop culture which have largely been forgotten, but which still own a little piece of us. Alternative title: we remember so you don’t have to.

All this talk of Olympians suddenly made us remember this song, “Olympian”, by Gene. It’s very beautiful, as you will hear if you click play below.

For those of you who are under 35, or who spent the mid 1990s pounding their brains with ecstasy and BPMs rather than weeping in their student hovels over indie pop, Gene were a distinctly second tier Britpop band with a bad (and eventually fatal) case of Morrissey-worship.

Indeed, the one and only time PopLifer saw Gene live, it was at Morrissey’s “Meltdown” festival on the South Bank in 2004. Stepping inside the venue on our way to see the mardy Manc himself, we heard a muddy noise coming from a tiny little room underneath the cavernous main auditorium. It sounded like bad early Smiths, being sung by a singer coming down with a cold. That’s rather witty, we thought, Morrissey has booked a Smiths tribute band to play second fiddle to his own solo set. That’s one in the eye for Marr, Rourke and Joyce! Continue reading

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PSB Winner #8 – Being Boring

So, where were we? Ah yes, the Pet Shop Boys, and our run down of their 1o greatest songs (our A sides) and the next 10 best (our B sides). It’s all in honour of their current single “Winner” which – ironically – isn’t really a winner at all. But these songs are… For introduction and general love letter to the band click here.

A Side – Being Boring

A few facts about “Being Boring”. 1. It was the first indication that the band’s vast commercial appeal of the late 80s – known by fans as the “imperial phase” – was beginning to fade, with the single slumping to a disappointing number 20 in the singles charts, their least successful single since “West End Girls”. 2. This is probably due to the fact that it broke the PSB’s established modus operandi, which tended towards understated verse/ MONSTER chorus/ understated verse/ MONSTER CHORUS. In “Being Boring” this is substituted for understated verse/ understated chorus/ understated verse/ understated chorus. 3. It has since become a fan favourite (PopLifer reader TeaLovingDave names it their best “without a doubt” and the subject of more study and writing than any other song by the band – it is now always at the core of their live performances. 4. Famously and bizarrely, Axl Rose is a declared obsessive fan of the song, and somewhow alchemised its gentle subtlety into the overwrought pomp of “November Rain”. 5. It is a creation of astonishing grace and beauty, both a celebration of the optimism of youth and a regretful farewell to it, a hymn to the importance of friendship and a heartbroken tribute to those lost along the way. 6. For the few people who hadn’t yet worked out that Neil Tennant was gay, it might not have been obvious that the horrifying plague of AIDS accounted for the lost friends: for those who knew, the impact of the lyrics could and still can leave them suddenly gasping for breath, awash in tears. 7. It has what may well be the sexiest video of all time, in which the Pet Shop Boys wisely stand aside and wryly watch Bruce Weber’s beautiful young things romp through the kind of party we always wanted to be invited to but never were. Key lyric: “All the people I was kissing/ Some are here and some are missing/ In the 1990s”.

B Side – Rent Continue reading

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Afrofolk, starring Adrian Roye & The Exiles – Picture This #13

Adrian and Kimberly wanna be startin something – photo courtesy Ain Lim Emotions – http://www.facebook.com/#!/ainlimemotion

One downside to living in London: they keep throwing these big bloody parties that make the city hellish for its normal residents, and send an army of imported bureaucratic jobsworths onto the public transport system with the sole intention of making Londoner’s lives more miserable.

One upside to living in London: the amazing vibrancy of the music scene here. One day before Cannock MP Aidan Burley made his infamous comments about the Olympic opening ceremony’s “multicultural crap”, PopLifer was lucky to be in the audience for the second of the Afrofolk Sessions in Hackney, headlined by Adrian Roye & The Exiles. Continue reading

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