Nightlife

Editorial Reviews

Barnes & Noble - David Sprague
A decade and a half down the line, and they still love the nightlife, still love to boogie, and still bring post-grad dialectic to the dance floor like nobody else. It's been quite a spell since Neil Tennant and Chris Lowe last breezed through these parts, but as evidenced by this hammy, wry, and subtly tangy set, the Pet Shop Boys are none the worse for wear. NIGHTLIFE is a bit truer to old-school disco convention than anything the Boys have done in the '90s, but there's nary a whiff of revivalism in the air on such biting tracks as the strobe-ready "New York City Boy" and the achingly sashaying "You Only Say You Love Me When You're Drunk." At this point in time, ...
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~ORIGINAL 1999 PARLOPHONE/SIRE RECORDS RELEASE~BRAND NEW, FACTORY SEALED~ *SHIPS WITHIN 24HRS!!*

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1999-11-02 Audio CD New ~ORIGINAL 1999 PARLOPHONE/SIRE RECORDS RELEASE~BRAND NEW, FACTORY SEALED~***Fast Delivery***Check out my other listings: BOOKS, CDS, DVDS, VIDEOS, ... GAMES*** Read more Show Less

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Editorial Reviews

Barnes & Noble - David Sprague
A decade and a half down the line, and they still love the nightlife, still love to boogie, and still bring post-grad dialectic to the dance floor like nobody else. It's been quite a spell since Neil Tennant and Chris Lowe last breezed through these parts, but as evidenced by this hammy, wry, and subtly tangy set, the Pet Shop Boys are none the worse for wear. NIGHTLIFE is a bit truer to old-school disco convention than anything the Boys have done in the '90s, but there's nary a whiff of revivalism in the air on such biting tracks as the strobe-ready "New York City Boy" and the achingly sashaying "You Only Say You Love Me When You're Drunk." At this point in time, Tennant and Lowe could get by on nothing more than cleverly twisted beats -- of which this dozen-song set has plenty -- but that wouldn't be true to the Pet Shop Way, which calls for lush, unabashedly synthetic melodies and deadpan vocals that are so laid-back, they're practically laid-out. It's ever so elegantly wasted, and there's no velvet rope to worry about...so what are you waiting for?
All Music Guide - Stephen Thomas Erlewine
Nightlife is a loose concept album -- more of a song cycle, really -- about nightlife naturally, a collection of moods and themes, from love to loneliness. In that sense, it's not that different from most Pet Shop Boys albums, and, musically, the album is very much of a piece with Very and Bilingual, which is to say that it relies more on craft than on innovation. Depending on your point of view, this may not be such a bad thing, since Pet Shop Boys specialize in subtle craft and masterful understatement. Such skills serve them well when they're essentially following familiar musical territory, which they are on Nightlife. At its core, the record is very much like Very -- a clever, skillful updating of classic disco, highlighted by small contemporary dance flourishes, and infused with a true sense of wit, sophistication, and intelligence. Pet Shop Boys do this music better than anyone else ever has, and they're at the top of their form here, but it's hard to shake the initial impression that they've done this before. Each individual song works beautifully, from the wistfully dejected "I Don't Know What You Want But I Can't Give It Any More" to the exhilarating Village People homage "New York City Boy," but as a whole, Nightlife seems less than the sum of its parts. Repeated listens reveal the songs' charms, yet Nightlife coasts on its craft a bit too much, which makes it feel like one of their second-tier albums.
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Product Details

  • Release Date: 11/2/1999
  • Label: Sire / London/Rhino
  • UPC: 643443108621
  • Catalog Number: 31086

Album Credits

Performance Credits
Pet Shop Boys Primary Artist, Primary Artist
Audrey Wheeler Vocals
Richard Norris Keyboards
Peter "Ski" Schwartz Keyboards
Matt Dunkley Conductor
Peter Lockett Percussion
Pauline Taylor Vocals
Ali MacLeod Guitar
Metro Voices Choir, Chorus
Chris Armstrong Keyboards
Mark Bates Keyboards
Stephen Hilton Keyboards
Jenny O'Grady Choir Master
Technical Credits
Pet Shop Boys Producer
David Morales Composer, Producer
Steven Barkan Engineer
Andy Bradfield Engineer
Hugo Dwyer Engineer
Pete Gleadall Programming
Chris Lowe Composer
Richard Norris Programming
Neil Tennant Composer
Gavyn Wright Orchestra Leader
Geoff Foster Engineer
Peter "Ski" Schwartz Programming
Rollo Producer
Chris Armstrong Arranger, Programming, Orchestration
Stephen Hilton Programming
Ian MacNeil Costume Design
Tim Young Mastering
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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A Good Outing

    Who would have guessed that, nearly a decade-and-a-half after sashaying their way to the top of the U.S. singles charts, the Pet Shop Boys would still be successfully peddling that most over-bred (and under-fed) of music biz animals ¿ the unabashedly campy dance-pop ditty. Long after their Friend-of-Dorothy cohorts Dead or Alive, Soft Cell, and Frankie Goes to Hollywood packed up their ruby Guccis and hit the road back to monochromatic Kansas, fortysomethings Neil Tennant and Chris Lowe are still kicking out the Technicolor jams in an industry driven by bland boy bands, navel-shakin¿ teen divas, and leather-slacked Latin lotharios with all the spice and substance of watered-down salsa. Upon initial listen, Nightlife may come as something of a let-down to Pet Shop patrons expecting anything as out-and-out infectious as past classics ¿What Have I Done to Deserve This?,¿ ¿Opportunities (Let¿s Make Lots of Money),¿ or the Dorian Gray-ageless ¿West End Girls.¿ But provided the time to simmer and quicken, the record eventually insinuates itself as one of the duo¿s most consistent discs to date. As usual, the Boys weave their themes around the delicate dichotomy of desire and disillusionment ¿ a dichotomy endemic, but hardly exclusive, to the male homosexual milieu. Juxtaposing blind, pie-in-the-sky optimism (i.e. ¿denial¿) with an almost indelible air of despair, the tracks here run the gamut from traditional club-thumpers (the solid, if somewhat by-the-numbers, Village People pastiche ¿New York City Boy¿) to melodramatic ballads (the irresistibly over-the-top ¿In Denial¿). On ¿Closer to Heaven,¿ Tennant ratchets his sweetly synthesized falsetto up to near-Bee Gees frequencies, while ¿Happiness is an Option¿ weds majestically multi-stacked vocals to the melody of Rachmaninov¿s ghostly ¿Vocalise.¿ Finally, Tennant¿s penchant for independent clause song titles and cynicism-driven wit manifests itself to stellar effect on the tracks ¿I Don¿t Know What You Want But I Can¿t Give It Anymore¿ and ¿You Only Tell Me You Love Me When You¿re Drunk¿ ¿ both of which seem destined to achieve signature-song status in the ever-expanding PSB canon. While it seems unlikely the Pet Shop Boys will ever again ascend the U.S. singles charts, their sleek and beguiling beats still speak to the hearts and hips of discriminating listeners all across this raucous collage of a continent. From West Hollywood to the West Village ¿ from the West Virginia to West Texas ¿ the Pet Shop Boys continue to proffer music of inclusion, entirely irrelevant of one¿s assigned or self-selected station on the gay-straight spectrum.

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