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on 14 December 2016
This was my choice as album of today 9th of November 2016

Pet Shop Boys Nightlife only has onee hit “New York City Boy” but is still one of the best albums ever made.Listening to is relaxing and is splendidly suitable as background music – say when you doing som important writing. This I have learnt today, and can recommend it to anyone

Highlight: Footsteps
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on 30 October 2017
Very Good Pet Shop Boys Album With All The Hits Singles
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on 30 October 2017
This is an incredible album been a fan of these legend s since they started brilliant mixes on CD 2 an all round brilliant album.
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on 3 September 2017
Great minidisc 👍🏻👍🏻👍🏻👍🏻👍🏻
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on 1 January 2015
if you are like me and like the pet shop boys then this will not dissapoint
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on 9 June 2013
Many of the Pet Shop Boys albums and tracks are worthy of high praise. I think this just might be their best
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on 11 February 2012
A fantastic upbeat album by the masters of pop. There are some epic tracks on this masterpiece including the breathtaking Happiness is an Option and You Only Tell Me You Love Me When Youre Drunk. The album start with the toe tapping For Your Own Good which is a must for getting ready to go for a night out. Well worth the money.
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on 19 June 2014
My original copy was very badly scratched,so I had to replace it , great CD much played & listened to.
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on 18 October 2015
The Pet Shop Boys' 1999 album Nightlife has all the elements you would expect for the renowned British duo: an overall dance club; great lyricism with vocals etching all of its imagery vividly; and some catchy electronic beats we all know and love from their musical legacy.

Whilst things seem to fall in place halfway through the album, with such tracks as Vampire, New York City Boys, and Footsteps providing plenty of substantial substance, the album is a solid musical journey, with a few unique elements that make it stand out from their previous albums. These include a lovely duet with Kylie Minogue, and a take on a George Clinton Junior song.

Nightlife is definitely a solid entry from the duo's back catalogue from the 1990s, so it is well worth starting here if you are new to their group's work from this decade, or have been curious to hear how their sound evolved from their 1980s heyday.
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on 8 March 2014
The Boys closed the nineties the same way they opened them: with a problematic album.

The best way for me to describe the feeling produced by this album is the fact that it seems uneven and all over the place musically. The beauty of both "Very" and "Bilingual" lied in the fact that both albums were tight, consistent, and thematically related (despite different co-producers in the case of "Bilingual").
Here, the only common thread to these twelve songs is the concept of "Nightlife" going through every lyric and the fact that these songs all tell the same story, from two different viewpoints: The lover wants to have fun ("New York City Boy", "Vampires", "Happiness is an option", "Radiophonic", "Boy Strange") while on the other hand his/her partner is worried senseless (all the remaining tracks except maybe "The Only One", ambivalent). The problem is that by systematically focusing his writing on the same theme, Neil Tennant's lyrics become repetitive and, after a while, boring. This is quite unfortunate as in some cases the lyrics are beautiful (on "I don't know what you want..." for example) but after a couple of songs, the element of surprise is definitely gone. In a way this statement is a tribute to Neil and to the Pet Shop Boys: a lot of the group's success depends on its lyrics - and not exclusively on the music and the tunes.

What about the music then? When listening to the album, it is clear at times that the Boys do not quite manage to go the distance the same way that they could with pretty much all their prior albums (with the exception of "Behaviour." - the other problematic album in the 1990s IMHO). Part of the issue (like for "Behaviour.") will in my view be a producers' problem. "Nightlife" has four producers: the Boys of course, Rollo, David Morales and Craig Armstrong. Armstrong ends up co-producing half of the album. One can understand why: he is a great orchestrator and he was very successful in the prior Noël Coward album produced by Neil Tennant (the song Armstrong performed with Shola Ama is one of the best there). But here his universe seems to be somewhat at odds with the Boys' and the orchestra all too often seems added to the songs rather than be an organic part of them, the way that Anne Dudley and Richard Niles (two much more "natural" classical collaborator for the Boys) could do it. Songs like "The only one", "Footsteps" or the much overrated "You only tell me you love me when you're drunk" are simply not very inspired. Rollo, the second co-producer of the album, manages a bit better although the overall outcome of "Boy Strange" is not totally convincing. The Boys themselves are not devoid of criticism. Their only stand-alone effort, "Happiness is an option" is extremely lame.

But the biggest frustration lies in the fact that, as in "Behaviour.", "Nightlife" offers us some of the best Pet Shop Boys tracks ever. "New York City Boys" and "I don't know what you want..." (reviewed before) show that David Morales is a "natural" Pet Shop Boys producer and that the combination of both universes tends to create magical music. The two opening tracks, "For your own good" (why wasn't this a single?) and "Closer to Heaven" are superb songs, beautifully produced and extremely musical). But the real PSB masterpiece in "Nightlife" is clearly the fantastic duet of the Boys with Kylie Minogue, "In Denial". Right here, the orchestration of Craig Armstrong blends naturally, the vocal chemistry between Neil and Kylie (what a voice!) is superb, the lyrics are very moving and overall the Boys composed a 3-minute opera with two characters and a feeling of time suspended: wow.

Too bad the rest of "Nightlife" is not always up to this beautiful moment of magic.

Please note that the US edition of "Nightlife" included one bonus disc including all the B-sides of the singles released so far ("Screaming", "Silver Age", "Je t'aime moi...non plus", "The ghost of myself", "casting a shadow") as well as a selection of some of remixes (the Morales remix from "what you want" - dull, THe Madkatt courtship 80 witness mix from the same song - better, then four remixes of New York City Boy: The Superchumbo uptown mix - acceptable, The Almighty Definitive mix - definitive indeed, the Thunderpuss 200 club mix - fun, and the Lange mix - seminal. The quality of all these goodies (B-sides plus remixes) could justify one more star to the above review.
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