PSB接受卫报采访评出的十大最爱舞曲（哎呀有代沟了）
For their 12th album, Pet Shop Boys have jolted their career by turning up the BPM and drenching it in amyl nitrate. Electric is not just a return to thumping dance music; it out-thumps anything they have ever done before, and the result is their best collection since the 90s.
To celebrate this achievement, we asked Neil Tennant and Chris Lowe to nominate the 10 favourite floor-fillers that led them to this triumph. "Of course, once upon a time, all music was dance music, as one forgets," says Tennant. "The first time I remember dancing was to Let's Twist Again." So, from Tennant's formative years on the 70s London gay scene through to an annoying Latin banger from two years ago, here is Pet Shop Boys' dancefloor odyssey distilled into 10 awesome tracks. "We're not really ones for making lists to be inspired by. But you can probably hear something of all these tracks in Electric."
The Temptations
Papa Was a Rollin' Stone (1972)
NT: "It was the first gay club I ever went to, I think, and it was called Chaguaramas [it later became the punk hangout the Roxy]. Me and two friends lived in this flat in Tottenham and we used to dress up on Saturday nights and take the Victoria line in to the West End. This was before the clone era and it was very glamorous. They used to play Papa Was a Rollin' Stone, the full-length, which took up a whole side of the record. I remember thinking how unbelievably exciting, sophisticated and amazing the music sounded. And that's the first time as a sort of adult that I really appreciated dance music."
Disco-Tex and his Sex-O-Lettes
Get Dancin' (1974)
NT: "A friend of mine was at the London College of Fashion and we used to go to discos with that crowd. Everyone was dressed up to the nines and everyone was doing the Bump. This was such an over-the-top record, because he's a drag queen, Disco-Tex. At the end he goes, 'My chiffon is wet! My chiffon is wet!' This was before Divine, and it was a mainstream hit in Britain. There was something very populist and a bit cheesy, but something really daring about it as well. You could probably play it now even at a wedding, but at the time when it arrived as an import from America it was quite out there."
The Trammps
Disco Inferno (1976)
CL: "If we're talking first clubs, I used to go to Man Fridays in Blackpool, which was great. It had a light-up dancefloor and plastic palm trees. It was around the time of Saturday Night Fever, and this was my favourite song from the soundtrack. And I've been clubbing ever since. There were no ID cards then, so you could get in places. But I remember turning up just after I'd turned 18 and they said: 'How old are you?' I proudly said: '18.' They said: 'It's over-21s tonight.' I was gutted."
The Flirts
Passion (Bobby O 12" mix) (1982)
NT: "I remember listening to this record and saying: 'This is what we want to do.' Before I met Chris, my lyrics were very singer-songwritery, as indeed they still can be. But with [this band] we were trying to connect with the clubbing experience and also the street. It was this very basic electronic dance music that took that sort of Giorgio Moroder template and stripped it back. It had a lot of power to it. There was a category then called sleaze, and this was a sleaze classic. Though we've never done anything that sounds like Passion, sonically the electronic quality carries on. Our new album has links with this."
CL: "And it was never a hit in England, which is always a good thing."
Freeez
IOU (1983)
CL: "The New York era. We used to go to the Fun House and the Paradise Garage; sampling had just come in and people were literally breakdancing in the street. Madonna was coming up with Holiday and it was an exciting time musically. Nothing was referencing the past, everything was new."
NT: "Instead, it was all about technology. IOU was the start of sampling. It was played on a thing called an emulator. Also interesting is that they were a British band. Freeez were a British jazz-funk band originally, and they went over to New York with Arthur Baker, as New Order did. That whole Arthur Baker period was the beginnings of hip-hop, but it was also heavily influenced by Kraftwerk, so you had that emergent hip-hop and European dance music coming together. It was a powerful combination."
Sterling Void and Paris Brightledge
It's All Right (1987)
NT: "When house music came along, the British musical community jumped on it immediately. Yet when we went to Chicago in 1988 to promote our album, we asked the record company representative: 'Can you take us to a house club?' He said: 'What's that?' This was on the third Chicago House album, called Acid Tracks. It's such a euphoric record with these inspirational lyrics: 'I can hear it on a timeless wavelength, never dissipating, but giving us strength.' He's talking about music. I love it when you get a feeling of hope and love on the dancefloor rather than that aggressive thing you get nowadays."
Marc Houle
Borrowed Gear (2004)
CL: "We were both in Ibiza and walked past a stall and this was playing so Neil bought the CD, and it's a good example of dance music that isn't just for the dancefloor, it's great for driving to as well. We just played it on a loop driving round Ibiza. Circo Loco is my favourite club in the world as well. I love that minimal house, and I like observing how the Italians are dressed. One year it was great because all the boys were wearing pearls. They always have a very strong look, and there's a lot of fun in the car park."
NT: "Even I was in Ibiza. Imagine that! Pooh-poohing it. I've only been three times."
Shlomi Aber & Itamar Sagi
Blonda (2007)
NT: "It's quite a dark record. We played it every night before we came onstage on the Pandemonium tour, which lasted for three years. So if I was to hear it now, it would make me feel slightly nervous because I'd feel like I was about to go onstage. But every night the audience would go completely berserk to it. It's just one of those thrilling, dark, glamorous records. I love music where you can't quite pin it down, or it never quite resolves, and this is a bit like that."
Lykke Li
I Follow Rivers (The Magician Remix) (2011)
CL: "This song was the last time that I tragically pestered the DJ to find out what it was. It's huge everywhere in the world apart from Britain. It's just that fantastic combination of beautiful chords with really great moving lyrics. It's another example of when you hear a record in a club and remember it. You have to find out what it is at the time and put it into your phone immediately or you'll probably never hear it again. Although SoundHound is very useful if you're shopping at Selfridges because they have really great music in the meanswear department."
Sak Noel
Loca People (What The Fuck!) (2011)
NT: "When we were working on Elysium in Los Angeles, I had a Mini. All we listened to was 96.3, 'LA's Only Spanglish Station!' where the DJ talked in two languages somehow simultaneously, and they kept playing this record. We didn't realise it had been No 1 in the UK the previous month. This record drives you crazy, you can't hear enough of it. It's brilliantly moronic. Now, we know that 'brilliantly moronic' is the most difficult thing to do in pop music. It's a matter of luck really, but this is a brilliantly moronic record. And also it makes you so happy, and I love to hear music that makes me happy rather than wallow in misery or something."
To celebrate this achievement, we asked Neil Tennant and Chris Lowe to nominate the 10 favourite floor-fillers that led them to this triumph. "Of course, once upon a time, all music was dance music, as one forgets," says Tennant. "The first time I remember dancing was to Let's Twist Again." So, from Tennant's formative years on the 70s London gay scene through to an annoying Latin banger from two years ago, here is Pet Shop Boys' dancefloor odyssey distilled into 10 awesome tracks. "We're not really ones for making lists to be inspired by. But you can probably hear something of all these tracks in Electric."
The Temptations
Papa Was a Rollin' Stone (1972)
NT: "It was the first gay club I ever went to, I think, and it was called Chaguaramas [it later became the punk hangout the Roxy]. Me and two friends lived in this flat in Tottenham and we used to dress up on Saturday nights and take the Victoria line in to the West End. This was before the clone era and it was very glamorous. They used to play Papa Was a Rollin' Stone, the full-length, which took up a whole side of the record. I remember thinking how unbelievably exciting, sophisticated and amazing the music sounded. And that's the first time as a sort of adult that I really appreciated dance music."
Disco-Tex and his Sex-O-Lettes
Get Dancin' (1974)
NT: "A friend of mine was at the London College of Fashion and we used to go to discos with that crowd. Everyone was dressed up to the nines and everyone was doing the Bump. This was such an over-the-top record, because he's a drag queen, Disco-Tex. At the end he goes, 'My chiffon is wet! My chiffon is wet!' This was before Divine, and it was a mainstream hit in Britain. There was something very populist and a bit cheesy, but something really daring about it as well. You could probably play it now even at a wedding, but at the time when it arrived as an import from America it was quite out there."
The Trammps
Disco Inferno (1976)
CL: "If we're talking first clubs, I used to go to Man Fridays in Blackpool, which was great. It had a light-up dancefloor and plastic palm trees. It was around the time of Saturday Night Fever, and this was my favourite song from the soundtrack. And I've been clubbing ever since. There were no ID cards then, so you could get in places. But I remember turning up just after I'd turned 18 and they said: 'How old are you?' I proudly said: '18.' They said: 'It's over-21s tonight.' I was gutted."
The Flirts
Passion (Bobby O 12" mix) (1982)
NT: "I remember listening to this record and saying: 'This is what we want to do.' Before I met Chris, my lyrics were very singer-songwritery, as indeed they still can be. But with [this band] we were trying to connect with the clubbing experience and also the street. It was this very basic electronic dance music that took that sort of Giorgio Moroder template and stripped it back. It had a lot of power to it. There was a category then called sleaze, and this was a sleaze classic. Though we've never done anything that sounds like Passion, sonically the electronic quality carries on. Our new album has links with this."
CL: "And it was never a hit in England, which is always a good thing."
Freeez
IOU (1983)
CL: "The New York era. We used to go to the Fun House and the Paradise Garage; sampling had just come in and people were literally breakdancing in the street. Madonna was coming up with Holiday and it was an exciting time musically. Nothing was referencing the past, everything was new."
NT: "Instead, it was all about technology. IOU was the start of sampling. It was played on a thing called an emulator. Also interesting is that they were a British band. Freeez were a British jazz-funk band originally, and they went over to New York with Arthur Baker, as New Order did. That whole Arthur Baker period was the beginnings of hip-hop, but it was also heavily influenced by Kraftwerk, so you had that emergent hip-hop and European dance music coming together. It was a powerful combination."
Sterling Void and Paris Brightledge
It's All Right (1987)
NT: "When house music came along, the British musical community jumped on it immediately. Yet when we went to Chicago in 1988 to promote our album, we asked the record company representative: 'Can you take us to a house club?' He said: 'What's that?' This was on the third Chicago House album, called Acid Tracks. It's such a euphoric record with these inspirational lyrics: 'I can hear it on a timeless wavelength, never dissipating, but giving us strength.' He's talking about music. I love it when you get a feeling of hope and love on the dancefloor rather than that aggressive thing you get nowadays."
Marc Houle
Borrowed Gear (2004)
CL: "We were both in Ibiza and walked past a stall and this was playing so Neil bought the CD, and it's a good example of dance music that isn't just for the dancefloor, it's great for driving to as well. We just played it on a loop driving round Ibiza. Circo Loco is my favourite club in the world as well. I love that minimal house, and I like observing how the Italians are dressed. One year it was great because all the boys were wearing pearls. They always have a very strong look, and there's a lot of fun in the car park."
NT: "Even I was in Ibiza. Imagine that! Pooh-poohing it. I've only been three times."
Shlomi Aber & Itamar Sagi
Blonda (2007)
NT: "It's quite a dark record. We played it every night before we came onstage on the Pandemonium tour, which lasted for three years. So if I was to hear it now, it would make me feel slightly nervous because I'd feel like I was about to go onstage. But every night the audience would go completely berserk to it. It's just one of those thrilling, dark, glamorous records. I love music where you can't quite pin it down, or it never quite resolves, and this is a bit like that."
Lykke Li
I Follow Rivers (The Magician Remix) (2011)
CL: "This song was the last time that I tragically pestered the DJ to find out what it was. It's huge everywhere in the world apart from Britain. It's just that fantastic combination of beautiful chords with really great moving lyrics. It's another example of when you hear a record in a club and remember it. You have to find out what it is at the time and put it into your phone immediately or you'll probably never hear it again. Although SoundHound is very useful if you're shopping at Selfridges because they have really great music in the meanswear department."
Sak Noel
Loca People (What The Fuck!) (2011)
NT: "When we were working on Elysium in Los Angeles, I had a Mini. All we listened to was 96.3, 'LA's Only Spanglish Station!' where the DJ talked in two languages somehow simultaneously, and they kept playing this record. We didn't realise it had been No 1 in the UK the previous month. This record drives you crazy, you can't hear enough of it. It's brilliantly moronic. Now, we know that 'brilliantly moronic' is the most difficult thing to do in pop music. It's a matter of luck really, but this is a brilliantly moronic record. And also it makes you so happy, and I love to hear music that makes me happy rather than wallow in misery or something."
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