Postmodern ironists cloaked behind a veil of buoyantly melodic and lushly romantic synth pop confections,
established themselves among the most commercially and critically successful groups of their era with cheeky, smart, and utterly danceable music. Always remaining one step ahead of their contemporaries, the British duo navigated the constantly shifting landscape of modern dance-pop with rare grace and intelligence, moving easily from disco to house to techno with their own distinctive image remaining completely intact. Satiric and irreverent -- yet somehow strangely affecting -- they also transcended the seeming disposability of their craft, offering wry and thoughtful cultural commentary communicated by the Morse code of
synth washes and drum-machine rhythms.
Pet Shop Boys formed in London in August 1981, when vocalist
Neil Tennant (a former editor at Marvel Comics who later gained some recognition as a journalist for Smash Hits magazine) first met keyboardist
Chris Lowe (a onetime architecture student) at an electronics shop. Discovering a shared passion for dance music and synthesizers, they immediately decided to start a band. After dubbing themselves
Pet Shop Boys in honor of friends who worked in such an establishment -- while also obliquely nodding to the sort of names prevalent among the New York City hip-hop culture of the early '80s -- the duo's career first took flight in 1983, when
Tennant met producer
Bobby "O" Orlando while on a writing assignment.
Orlando produced their first single, 1984's "West End Girls." The song was a minor hit in the U.S. but went nowhere in Britain, and its follow-up, "One More Chance," was also unsuccessful.
Upon signing to EMI,
Pet Shop Boys issued 1985's biting "Opportunities (Let's Make Lots of Money)." When it too failed to attract attention, the duo's future appeared grim, but
Tennant and
Lowe then released an evocative new
Stephen Hague production of "West End Girls," which became an international chart-topper. Its massive success propelled
Pet Shop Boys' 1986 debut LP,
Please, into the Top Ten, and when "Opportunities" was subsequently reissued, it too became a hit.
Disco, a collection of dance remixes, was quickly rushed into stores, and in 1987 the duo resurfaced with the superb
Actually, which launched two more Top Ten smashes -- "It's a Sin" and "What Have I Done to Deserve This?," a duet between
Tennant and the great
Dusty Springfield. Later that year, "Always on My Mind," a lovely cover of the perennial Elvis Presley standard, reached number one in several countries and the Top Ten in the U.S. A documentary film titled
It Couldn't Happen Here was released one year later.
In October 1988,
Pet Shop Boys issued their third studio LP, the eclectic
Introspective. "Domino Dancing" and "Left to My Own Devices" both reached the Top Ten in Great Britain. The following year,
Pet Shop Boys collaborated with a variety of performers, most notably
Liza Minnelli, for whom they produced the 1989 LP
Results. They also produced material for
Springfield, and
Tennant joined
New Order frontman
Bernard Sumner and ex-
Smiths guitarist
Johnny Marr in the group
Electronic, scoring a hit with the single "Getting Away with It."
Tennant and
Lowe reconvened in 1990 for the muted, downcast
Behavior, produced by
Harold Faltermeyer. Their hit medley of
U2's "Where the Streets Have No Name" and
Frankie Valli's "Can't Take My Eyes Off You" was released in 1991, and was followed in 1993 by
Very, lauded as among the duo's finest efforts to date.
After a three-year absence,
Pet Shop Boys resurfaced with
Bilingual, a fluid expansion into Latin rhythms.
Nightlife followed in 1999 and sparked the dance club hit "New York City Boy," whose success allowed the group to tour the U.S. for the first time in eight years. While on tour, the duo also collaborated with playwright Jonathan Harvey on a musical surrounding gay life and societal criticisms, which the three had been planning since 1997.
Closer to Heaven made its West End debut in 2001 and had a successful run for most of the year;
Pet Shop Boys' score of the original cast recording was also a hit in the U.K. They still had time to make a record for themselves, too -- in April 2002,
Tennant and
Lowe issued
Release, and
Disco 3 was compiled for release the following year.
Pet Shop Boys continued releasing material throughout the decade's latter half. In 2005, they put together a volume of the
Back to Mine series and released their soundtrack designed to accompany the 1925 silent film
Battleship Potemkin, a soundtrack they'd performed a year earlier at a free concert/screening in Trafalgar Square. A year later, they issued
Fundamental, a mature, sometimes political album produced by
Trevor Horn. The live album Concrete: In Concert at the Mermaid Theatre appeared at the end of the year, and
Yes -- a collaborative effort with the production crew
Xenomania -- marked the band's tenth studio effort in March 2009. While playing shows in support of that album,
Pet Shop Boys also released a hits compilation,
Party, to coincide with the Brazilian leg of their tour. In 2010 the tour was documented on the CD/DVD release
Pandemonium, and another greatest-hits compilation, Ultimate, arrived.
Their 2011 effort, The Most Incredible Thing, was a two-disc ballet score composed for the Sadlers Wells Theater in London, while 2012's Format rounded up the duo's B-sides and bonus tracks from the years 1996-2009. Also in 2012, the duo released the sports-themed single "Winner" and performed the track at the 2012 Olympics Summer Games, held that year in their hometown of London. The track landed on that year's album Elysium, which was produced by Kanye West affiliate Andrew Dawson.
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Jason Ankeny, Rovi