Rich Mullins Reach Out and Love Again Unreleased Demo

The post-obit titles take been mentioned in various places (near notably at the official PSB website and in their fan club publication Literally, the two main sources of the information that follows) as songs that Chris and Neil have written but haven't yet completed and/or formally released. In some cases they're early titles for songs somewhen released under a different title, included hither just to "cover the bases" since such titles are sometimes cited equally unreleased tracks. I don't, however, include songs written past others that the Boys accept recorded in unreleased cover versions, such as "Homosexuality" and "So Long, Farewell."

If I've heard the song and am familiar plenty with it to offering detailed commentary, a link is provided to its entry in the "Unreleased Tracks" section of this website. Otherwise, I offer just a few lines of what petty I know near it from what I have read or have learned from others.

• A Roma

  The early instrumental demo for "I'm Not Scared." I tin't assistance just wonder whether the title, Italian for "In Rome," was meant as an malodorous pun.

• Nearly Time

  Originally titled "Multi-Kulti," Chris and Neil wrote this vocal in Feb 2011. High german chancellor Angela Merkel served as its lyrical inspiration. Neil considers information technology "quite a nice vocal," and so chances are good information technology will see the low-cal of day at some signal.

• And I Was Like

  The Boys have mentioned this song, which they worked on with producer Stuart Price, every bit a possible contender at i fourth dimension for inclusion on Hotspot.

• Any Longer

  Mentioned as an unreleased song in the 2020 edition of Annually. They began writing information technology in late November 2017. Nothing else is known about it at this time.

• Backburner

The name of this unreleased runway initially struck me every bit a placeholder (because this recording is, for the fourth dimension existence, on the "backburner," awaiting further development) until Chris and Neil tin can come up upwards with something permanent. So again, Chris Heath in his book Pet Shop Boys, Literally records an incident in which the Boys' friend Janet Street-Porter uses the word "backburner" in a sentence, at which signal Neil perks up and says that he'd similar to write a vocal with that championship. It'due south very important to note that a track titled "Dorsum Burner" seemingly attributed to the Pet Shop Boys has turned upward online, but that this is not the actual PSB rail; rather, information technology's an extremely clever "construction" created by someone using samples of Neil's voice and Auto-Tune (or something like information technology).

• Balkan Beats

  Originally an instrumental track composed by Chris around the time he and Neil were working on Elysium, it soon evolved into the song "Hell" when Neil realized that a concept and lyrics he was separately working on might go well with Chris'due south composition.

• Ball Starts Rolling

A vocal the Boys wrote and demoed in Spring 2011.

• Baroq
• Barry

  Chris composed and recorded the bones backing track for a song by this title in Dec 2011.

• Beautiful Beast

An early on and "quite funny" song ("totally camp nonsense" according to Neil) that hasn't nonetheless been completed. The Boys wrote information technology around the same time they recorded "Love Comes Quickly." It includes the line "Then you caught me there inside your snare, you beautiful animal." Their onetime managing director Tom Watkins even mentions it in his 2016 memoir Allow's Brand Lots of Money (nosotros all know, of course, where he got that title), where he cites an incident circa 1984-85 in which "Neil and Chris were driving around in Dave Ambrose's car, playing him a couple of new songs they'd written. Dave liked 'Beautiful Beast', a campy travesty the earth was never to hear." (Ambrose was an A&R human for EMI who signed the Boys to Parlophone in early 1985.)

• Beautiful Mistake

  Described by the Boys equally "Latin" in way, "a party tune" that they worked on during the Hotspot sessions. Information technology was originally titled "Frühling," the German give-and-take for spring (as in the season of the year).

• Before My Time

Almost nothing is known virtually this track bated from the fact that Neil and Chris wrote it in April 1998 and that, in Neil's words, it "was meant to audio like Air" (a somewhat arty French synth duo). A supposed demo instrumental version has been floating effectually on the Net for years, simply from all indications that track is not by the Pet Shop Boys. Another alleged demo identified equally "Before My Time" surfaced in late 2009, but it turned out really to be the instrumental rail for the 1986 release "Innocent Beloved" by the German singer Sandra.*

*I'm both fascinated and repulsed by the fact that somebody at some point must take made the witting determination to take a recording that they knew full well wasn't by the Pet Shop Boys, attach the documented name of an unreleased Tennant-Lowe vocal, then foist it off on others as an unreleased PSB demo. If they did it in an attempt to make money, it'southward certainly contemptible but at least understandable. But if they did information technology with no turn a profit motive in mind merely simply to derive some sort of perverse pleasance over having deceived other people, and then that seems nearly incomprehensible. In fact, it makes sense to me only if I recollect of it as an expression of pure, naked evil, albeit of a remarkably little nature—sort of a mosquito Hitler.

• Big Piano

• Bounciness

• Bubadubadubadum (aka "All My Wasted Time")
• Buggered If I Know

Fiddling is known about this track except that it plain stems from the Nightlife menses and, according to Neil, "starts off with something similar Elgar and was intended by Chris to sound like Divine."

• Can I Be the One?

This rails eventually became "Love Life."

• Casanova in Beloved

Virtually goose egg is known about this reported track, although it seems extremely probable that information technology'due south an early version of the song that became "Casanova in Hell."

• China

The Boys wrote this in mid-April 2005. No other information is available at this time aside from the fact that, perchance aptly inspired, they immediately afterward had a Chinese dinner with Gary Barlow.

• Circo Loco

  A 2014 demo by Chris that evolved into "Pazzo!"

• Make clean Air Hybrid

Written in January 2015, inspired past Neil having noticed a "clean air hybrid" bus while talking a walk in New York City. He has described it as "a little bit psychedelic" and said that it will probably get a b-side at some point.

• Cloud-Dweller

  This song from November 2014—which Chris has described every bit "trance-y… a bit like Patrick Cowley" and "probably not very good"—borrows its championship from a phrase used by Joseph Stalin in disdainful, dismissive reference to writer Boris Pasternak, significant someone (to utilize the mutual English-linguistic communication metaphor) "with his head in the clouds."

• Collector'due south Item

  Again from the Super period, originally an electroclash track titled "Punk" that with changes in style and lyrics evolved into "Into Sparse Air." (Amid the original lyrics, which the Boys take described as satirical, were "Collector's particular, suitable for framing.") Apparently, yet, even after "Into Sparse Air," enough distinct material remained unused that they could resume working on a vocal with this same title a few years later during the Hotspot sessions.

• Cover Me in Chamomile

A brief fragment sung by Frances Barber, in the part of Billie Trix, in performances of the one-woman stage show Musik. Non all the same a "consummate" song, Barber said (in response to an audience member's question during a post-show Q&A) that Neil had sung the fragment to her during a visit to her home, after which information technology was added to the bear witness.

• The Solar day Before Tomorrow

Written during the Cardinal sessions, this track underwent a good deal of evolution and a number of title changes (including "Introduction") earlier Neil and Chris eventually settled on "God Willing."

• Expressionless of Nighttime

This has sometimes been cited equally an unreleased Tennant-Lowe song, simply it's probably not really "unreleased" at all. Rather, it's almost certainly an early "demo name" for what became "Jealousy" ("At expressionless of night, when strangers roam….").

• Dirty Tricks

Written while visiting Naples in early March 2005.

• Don't Ask Me

  They recorded a demo with this name at Ray Roberts'south Camden studio in 1984 around the same time they equanimous "Rent."

• Don't Go

Not a cover of the Yazoo striking from 1982, merely an original equanimous by Chris in 2014. The Boys recorded a demo of it in Berlin that November.

• A Dream

  The Boys wrote and worked on this song in December 2011 during their demoing sessions leading up to the recording of Elysium. It's very likely—but at this point unconfirmed—that this number evolved into "Within a Dream."

• Dreaming

Written in March 2008. Neil and Chris professed in mid-2009 to remembering cypher about it aside from a cursory reference in Neil's diary.


• The Enigma
  
  
• Fifty-fifty

A song written in early 2008, which the Boys seriously considered incorporating into The Nigh Incredible Matter. Whether they really did is uncertain at this betoken.

• Every Little Moment

An early alternate title sometimes cited for the song that became "For Every Moment."

• Everybody Will Dance

Written during the sessions for Super. Chris has said that he and Neil have decided against recording it themselves considering they feel it's "a little young" for them. So they're of a mind to offering it to someone else more age-appropriate.

• Faster

  BMI records list a song by this title composed by Tennant, Lowe, and Carl Craig, an American DJ/producer who remixed "Inner Sanctum" for the Boys. No farther information is currently bachelor almost this unreleased track.

• Fat Northern Bastards

Chris proposed recording this humorous vocal with UK Telly/radio/recording personalities Ant and Dec. A very brief excerpt tin can be heard on the About Pet Shop Boys double-disc set up released to their fan gild members in the late 1990s. Chris says there that it includes a sample lifted from the Beach Boys' "Barbara Ann"—the "ba-ba-ba" song—which then morphs into the word "bastards." The Boys seem quite fond of it, but I'll be surprised if it's always officially released.

• Former Children

  A song from early 2015 that has also been referred to simply as "Children" as well equally the completely unlike "Gramophone" (encounter beneath). Neil has said that lyrically information technology'due south "well-nigh how we're all one-time children."

• Franglais

This song was reportedly "written around the time [the Boys] were notwithstanding trying to rip-off the group Air's sound."

• Friendship

A lyric that Neil had written around 2007, perchance never prepare to music—that is, not until he and Chris decided to use at to the lowest degree part of it every bit new lyrics for their "Maybe More Mix" of "Did You lot Come across Me Coming?"

• Get On Information technology

  Recorded in Apr 1995 during the Bilingual sessions, only left unfinished. The Boys were considering it as a rails for Ian Wright. "It's actually good, that i," noted Chris.

• Become Over Information technology

  Not surprisingly (considering the final lyrics), an early working title for "Legacy," which Neil and Chris worked on in early on 2008.

• Give Me the Moonlight

  Reportedly an early title for the vocal that ultimately evolved into "Delusions of Grandeur," inspired past the fact that the chord progression is based on Beethoven's Moonlight Sonata. It's possible—though past no means certain—that the title may likewise accept been a nod to British singer Frankie Vaughan's big 1955 hit "Give Me the Moonlight, Give Me the Girl," which became his signature tune.

• Gramophone

This song, written in Feb 2015 and worked on early the following calendar month, was originally titled "Former Children," although in that location are suggestions that the Boys may accept shifted the title back to its original.

• The Grind two

The title assigned by the Boys to their demo recording of a piece of music that opened Human activity 3 their ballet The Near Incredible Thing. This demo, withal, had a "world premiere" of its own in early July 2010 as an audio component of "Room Divider," a group exhibition of new works at the Wilkinson Gallery in London. In a modified form information technology eventually came to exist titled "Back to the Grind."

• He Dreamed of Machines
  
  
• Heads Will Gyre

  Chris and Neil wrote this song in February 2011. Information technology was considered a candidate for inclusion on Elysium (co-producer Andrew Dawson was, in Neil's words, "rather corking" on it), simply they were unable to terminate the recording of it on fourth dimension. As belatedly as 2017 information technology still remained unfinished.

• Heaven Is a Playground (aka simply as "Sky")

An early on version of "Leaving" with a different chorus and lyrics that Neil and Chris worked on in January and February 2010.

• Hello Hi

  Neil's diary (as revealed in the January 2013 issue of Literally) noted that he and Chris had worked on a song past this proper name in the fall of 2011, although they profess to remember nothing at all almost it. "It'due south obviously changed its name," says Neil.

• He'southward Not Coming Home

Demoed by the Boys in Berlin in November 2014, beginning with a piece that had been composed by Chris on the piano. They've described it as a "very, very distressing" song that apparently concerns someone murdered by stabbing.

• Hey Tito

About no data has been released about this rails aside from its simple withal ambiguous title and the fact that the Boys apparently wrote information technology in the late 1990s.

• Holding Back

BMI records list a vocal by this title composed by Neil and Chris, but no other information is available at this fourth dimension.

• H ome

The original championship of the song that appeared on the album Release as "Here." It was written for their musical Closer to Sky simply dropped. "Home" actually seems like a improve championship than "Here," merely Neil and Chris probably made the alter on business relationship of the inclusion of the vocal "Home and Dry out" on Release as well.

• H ope

Probably written solely by Chris, this was to have been some other recording with Ian Wright, a follow-up to "Practise the Right Thing." But information technology was never completed.

• How Lucky I Am

  Equanimous in its original form during the Bilingual sessions—and on occasion referred to with the slightly altered title "How Lucky Am I?"—this vocal evolved several years later into "The Nighttime I Fell in Dearest."

• I Can Ever Rely on You lot to Permit Me Down

The Boys started piece of work on this vocal in the mid- or late eighties, around the same time as "It'due south a Sin," simply apparently oasis't nonetheless finished it. Just they like it well enough (it's "a funny, tricky one") that they oasis't given up on the prospect of finalizing and recording it. By his own admission, Neil is peculiarly keen on completing and releasing it at some point, oftentimes suggesting that they do then.

• I Demand You

I'm not even 100% sure that this is the bodily championship, but a brief segment of its demo played during a PSB radio documentary in the belatedly 1990s. The but words were Neil singing "I need y'all—ah, ah, ah, ah." He described information technology as "very eighties-sounding," to which Chris rejoined, "I always liked that." He and then added, "I don't call back we're eighties plenty!"

• I Will Fall

  Written in July 2015 during the period leading up to the recording of Super. Neil says that it was the concluding song that he and Chris composed for the album, although of course they decided against including information technology. It's a love song that Neil "tin can imagine George Michael singing."

• I'grand in Love with a Woman

  An early song that the Boys had written for a duo who called themselves "The Hudsons," of which their director at the fourth dimension, Tom Watkins, was a fellow member. Watkins had obviously suggested the championship, which he thought would be terrific (and somewhat risqué) for a "gay disco tape." But subsequently Chris and Neil had at least partly written the song, Watkins inverse his heed almost it. Then they decided to repurpose the music and the "Passion, love, sex, money…" bit from the original song, turning them into "Paninaro."
  

• I'grand Keeping My Fingers Crossed

A very early Tennant/Lowe vocal, written pre-fame, that Neil says had "the same umba-umba rhythm" every bit New Order'south "Blueish Monday"—only the Boys had written it before they had ever heard that vocal. As a result, hearing "Blueish Monday" for the first fourth dimension fabricated Neil, equally he puts information technology, "a fleck depressed." In fact, as Neil notes in a brief segment on the DVD The New Guild Story, he told Chris that they should only give upwards working on it considering New Order had, in effect, beat out them to the punch. And then this song was never really completed. (The title, incidentally, is oftentimes reported as "Keeping My Fingers Crossed," without the initial "I'thou.")

• I'm Not Crying, I'thousand Laughing

Written in March and April 2008 during the Yes sessions, this song evolved into "All Over the Globe," though the final lyric and melody are completely different. "It had the same introduction," according to Neil, adding, "the 'oh-way-oh-oh-mode-oh' was all there."

• If Anyone Can, the Action Man Tin

Early in the Nightlife sessions Chris had suggested that he and Neil should write an "answer song" in response to the 1997 hit "Barbie Girl" by Aqua. So they began working on a musical tribute to the late sixties and early seventies cartoon/action effigy Action Man, a licensed copy of the American "G.I. Joe," renamed as appropriate for the U.Grand. market—in essence, a "Barbie for boys." But Neil and Chris avowedly found the terminate upshot too embarrassing to release. (See? – They really aren't "Shameless" later all!) Instead they repurposed some of the music into what somewhen become "I Don't Know What You Desire But I Can't Requite Information technology Whatever More." A short snippet, however, of the original runway—its championship phrase most Activity Human—wound upwards in a couple of officially unreleased David Morales "I Don't Know…" remixes.

• Imagine

  BMI records list a song past this title equanimous past Neil and Chris, but given the famed John Lennon song it seems unlikely the Boys would assign the same championship to one of their own compositions. It's possible information technology could exist an alternate title for "In His Imagination," but that seems unlikely since the same BMI records listing that title every bit well. And then this remains a mystery for the time existence.

• In the Guild or in the Queue

• Indie

An early on demo of "Upward Against It." This was about certainly never seriously considered as the final championship and was probably only used past the Boys to refer to the instrumental track earlier Neil had written lyrics for it.

• Information technology'southward Not a Crime

A very early song, written in 1982, that was on the demo tape that Neil gave to Bobby O when they start met the following year. Little else is known about it, although of grade the title phrase would ingather upwards again in "Left to My Own Devices." Neil has in fact confirmed that he very consciously borrowed some of the lyrics of "Information technology's Not a Crime" for the final poetry of the latter song—the portion beginning "It's non a criminal offense when yous look the fashion you do/The mode I like to film you."

• Information technology's Up to You

A primarily instrumental track from the recording sessions for Very that the Boys past their own access "struggled with." They overcame their difficulties past merging it with another, much older unfinished song to plough it into "I in a One thousand thousand."

• I've Got Plans Involving You

In Chris Heath's volume Pet Shop Boys, Literally, he briefly quotes Neil (on folio 116 of at to the lowest degree some editions) about this unreleased vocal: "Sometimes the inspiration backside a song is something funny, though often the song itself isn't remotely funny.… When I was at Smash Hits, the one everyone liked similar that was 1 called 'I've Got Plans Involving Y'all.'" So obviously this vocal dates dorsum to the very early days of the Tennant-Lowe partnership.

• Kaputnik

Composed by Chris in February 2015, subsequently which Neil provided "chant vocals." The title is a slang term for something that has proven a failure or that otherwise doesn't meet expecations, derived from the Russian words kaput (significant "cleaved" or "useless") and Sputnik (the famed 1957 Russian satellite, the get-go man-made object placed into orbit, the name of which means "traveling companion" or "fellow traveler"). Its choice is possibly a reflection of Neil's ongoing fascination with Russian culture.

• Male monarch of Popular

A title that Neil and Chris used for "King of Rome" for a while in early on 2008. They first wrote it every bit "King of Rome," retitled it "King of Pop," and ultimately returned to its original championship. Speaking earlier Michael Jackson'south death, Neil conceded that he "was thinking what a tragic figure Michael Jackson is, endlessly roaming the earth." As prescient every bit that is, the Boys are probably quite glad that they decided confronting using this title and taking the vocal in that direction.

• King'south Lament

  An instrumental segment equanimous by the Boys for the second staging in 2012 of their ballet The Most Incredible Affair. It has been described by the orchestrator, Sven Helbig, as "four minutes of desperate orchestra music," and its melody is reportedly a variation on that of the released ballet runway "Aid Me." Although information technology has of form been heard past those who have attended the live ballet in its "rejiggered" form, this item piece has yet to be released in whatsoever recorded format.
  

• Life'south Difficult

Fifty-fifty the championship of this one is uncertain. In Chris Heath's book Pet Shop Boys, Literally Neil briefly describes this very early on number: "Our outset Bobby O-influenced song." Part of the lyrics go—

Life's hard
It'due south all you lot've got
And all yous get
Is a broken heart

• Limbo

Chris and Neil worked on this song in Dec 2000. Neil has described it as "really expert track but it's only half-finished."

• Little Boy Lost

  Neil has mentioned this as an unreleased song from which he took the line "So agape, plays the machines in the arcade" for "Birthday Male child." For this reason it will at present probably never be completed and released.
  

• The Living Daylights (aka "James Bond Instrumental #2")
• Living in a Lonely Time

  The Boys—apparently Neil more often than not, though Chris volition undoubtedly have input if he hasn't already—wrote a song with this title in 2020 during the COVID-19 pandemic lockdown. Chris said that "it sounds similar Gilbert O'Sullivan," which Neil took equally a compliment. Neil added that he "tin imagine Cher singing it."

• Living Legends

A track dating back to the eighties, described every bit "elegiac but danceable" with "a really gorgeous tune." It was at one time a serious candidate for inclusion on Behaviour. The Boys decided against finishing it in its original form, even so, because it employed a "listing of famous names" device, but Madonna and then vanquish them to the punch with "Vogue." Neil has stated that information technology subsequently "turned into" "A Red Alphabetic character Day."

• Looking for Honey

  The Boys recorded two demos of a vocal past this proper noun in 1984 at Ray Roberts'south Camden studio.

• Loop #125

The "placeholder title" for an early on version of "KDX 125," recorded as a demo in 1992.

• The Lost Room

  This song was written during the menses 2014-2015 forth with others that found their way onto Super—and very nearly fabricated information technology onto the album itself. Neil has suggested that it volition somehow exist used as a "bonus runway," although precisely when and how that bonus volition be fabricated bachelor hasn't still been revealed. Chris refers to its way every bit "techno," although he has also noted that they've recorded more i rendition, including what he describes as "a jazz version." In Neil's words it'southward "an extremely dark vocal" based on 1906 novel The Confusions of Immature Törless by the Austrian author Robert Musil (and the 1966 German film based on it, and Young Törless), nearly how boys bully each other in an Austro-Hungarian military machine school around the turn of the last century.

• Love and War

Beginning recorded in Glasgow as a demo while the Boys were writing songs in 1989-90 for Behaviour. Chris and Neil worked some more than on it several years after during the Bilingual sessions, only equally of November 2003 (when Neil answered a fan question about it on the official website) they still hadn't finished information technology. "Just," Neil added, "nosotros probably will one twenty-four hours." On another occasion he described it as "a stone song" and said that he has always imagined Canadian rocker Bryan Adams singing it. Included among the lyrics are the lines "Now you know the score / That all is fair in beloved and war / And this is a war."

• Dearest Messages

Recorded with David Morales in 1998 during the Nightlife sessions, using the same backup singers as "New York City Male child."

• Honey Your Enemy

Reportedly somewhat in the manner of Massive Attack, this track has been described by the Boys equally having "really nice cord chip and such a loose feel that you don't desire to practise anything with it to spoil it." Their beginning try to record it was in Apr 1995, merely information technology manifestly remains unfinished to this day.

• Making Waves

  A still-unfinished song that the Boys began writing in June 2011 while touring with Take That.

• A Man from the Future
  
  
• Melancholy Melody

Simply Chris playing an original melody on the pianoforte, recorded "live" on a cassette recorder. Information technology lasts a footling less than 2½ minutes. The championship is undoubtedly a placeholder.

• The Memory and the Control
• Method in Your Madness

Composed in February 2015 during the Super sessions, Neil has noted that this song is a stiff candidate for inclusion on their next anthology. Its lyrics are adapted from old, unused ones written by Neil way back in 1983. They've said it's very "poppy" and sounds like "Pandemonium, Office two."

• Mid-life Crunch

Chris and Neil wrote this for their musical Closer to Heaven but decided confronting using it. It was meant primarily to help the audition get to know the character Vic a little better.

• Moronic

An instrumental written by Chris in January 2008. He titled it "Moronic" because, in his ain words, "it is." It eventually evolved into "The Grind," an early segment of The About Incredible Thing. Every bit Chris said in the July 2009 event of Literally, "Information technology worked considering it'due south during the daily grind of everyone's existence in this boondocks [the setting of the ballet's storyline], then the moronic quality fitted the daily drudge."

• Munich

An instrumental composed by Chris in his Munich hotel room (hence the title) during the Boys' 2011 tour with Take That. A few years after, he and Neil decided to use it every bit the musical foundation for the song that became "The Pop Kids."

• My Side of the Story

Party written in 2007 as a possible submission to Madonna. The Boys worked on information technology some more than in Apr 2008, only as late every bit 2017 it has remained unfinished. They seem to retrieve quite highly of information technology, notwithstanding, so chances are good that they'll consummate it at some bespeak. It includes a reference to "sexual activity [sic] o'clock in America" every bit well as the lines:

I used to have a beau
He used to have a girlfriend
Nobody ever understood
My side of the story

• Natural Wonders Every Kid Should Know
• Nearly But Not Quite

I know naught about this reported Tennant-Lowe rail aside from its title.

• The Next Big Thing

Neil has mentioned this as a vocal that he and Chris wrote with Xenomania during the 2008 Yes sessions. He describes it every bit "actually quite good," so it may yet appear at some point. The chorus goes, "Something tells me, babe, you're the side by side best thing…." (That's a [sic] on "best" as opposed to "big" co-ordinate to Literally 34.)

• Dark and the Urban center

  A vocal that the Boys wrote in the spring of 2011 following Neil's inspiration from having just watched the 1950 picture show noir of the same name.

• The Racket

• Nu Sleaze (sometimes alternately written Nu-sleaze)

Primarily a "Chris track" in a swingbeat style—plainly Chris sings lead in the verses, though Neil sings the chorus—this was recorded during the Nightlife sessions. Originally titled "Go Up on It," it took George Michael's "Fastlove" phrase "Gotta go upward to go downwardly" and reversed information technology, stating "You've got to get down to get up." But the Boys never got effectually to finishing it. Although they had considered releasing it as a bonus track with the 2017 reissue of Nightlife, Chris vetoed its inclusion. But he decided that he liked the chorus plenty to repurpose it for their Super rails "Burn."

• Oh, Dear (aka "Walking Down the Loftier Street")

• 1 Day Nosotros'll Be Gratis

An early on title for "Discoteca."

• Simply in His Death
• Just Love

• Only Lovers

An early instrumental demo version of "Dreaming of the Queen," recorded in 1992.

• The Opera

  Mentioned equally unreleased in the January 2013 upshot of Literally, quite possibly the same song as one that Neil had previously spoken of titled "We're Non Going to the Opera" (see below).

• Other Ranks
• Other Things

Unfortunately I don't know anything about this one aside from its reported title.

• The Out Oversupply

  An early title for a vocal, started in February 2011 and worked on during the following summer, that evolved into "Hell." The championship, all the same, was repurposed and surfaced again during the Super sessions, this time practical to a different "techno-y" that had previously been titled "Fruit and Flowers." The lyrics, co-ordinate to Neil, are a takeoff on the pop classic "The In Crowd," which went "I'm in with the in crowd." In this case, however, it's almost going "out with the out oversupply."

• Pandering

A song written in February 2008, during their Yes writing sessions.

• Particle
• Pedal

An instrumental written in January 2008 that Chris has described as existence "audacious musically." At in one case the Boys alluded to information technology peradventure going into The Well-nigh Incredible Affair, although whether it actually made it into the score remains to be seen.

• Pet Shop Noise

  An unreleased instrumental the Boys recorded in 1984 with their first producer, Bobby "O" Orlando. Despite the similarity in titles, it's completely different from the released rails "Pet Shop Boys." And although it is fundamentally an instrumental, it does include lines spoken by Neil—excerpts of lyrics from other unreleased songs that he and Chris had already written at the fourth dimension.

• Playing Hard to Become

• The Postman, He Delivers

Evidently too from the Nightlife sessions, little is known about this runway bated from its wonderfully salacious title.

• Punk

  An early descriptive "placeholder championship" for an electroclash track that evolved first into "Collector's Item" (meet above) and ultimately "Into Thin Air."

• Random

  Written by Neil and Chris with Xenomania in early 2008 during the incredibly productive Yeah sessions, only obviously left unfinished.

• Revelation

  An intermediary stage between "Where the Wild Things Are" and "More Than a Dream."

• Rich in Paradise

  A song that Chris mentioned in early 2016 as one that he was working on at the time. He had left himself a reminder on his smartphone to "write a vocal melody" for it.

• The Road Not Taken

The Boys' setting to music of i of American poet Robert Frost'south all-time-known poems, published in 1916. It's among the songs they've composed so far every bit function of a prospective projection of setting poems to music "for schoolchildren to sing."

• Room with a View

  BMI records list a song past this title equanimous past Neil and Chris—or, more accurately, those records actually read "Room with a Viewer" (my emphasis), but that seems a likely mistake unless our musical heroes decided to write a song about a voyeur.

• Satisfaction Guaranteed

"A quick dance track" that Chris worked on in Nov 2000, during the Release sessions. (It's possible, however, that this is not a PSB original but rather a embrace of an old Gamble-Huff song recorded by Harold Melvin and the Bluish Notes back in 1973.)

• Sense of Time

  The Boys have said that this one "sounds like Tel Aviv beach music." (I'm afraid I don't know what to brand of that since I oasis't the vaguest idea what "Tel Aviv beach music" sounds like. )

• 7/4

A still incomplete track, with only this working title derived from the fact that it'due south written in vii/4 time. Non much else is known about it, but information technology'southward nigh certainly non a "dance track." (Have you ever tried to trip the light fantastic to music in seven/four time?) Could this, however, be an antecedent of one of the tracks in their Battleship Potemkin film score ("Comrades!" and "Odessa") written in seven-fourth dimension?

• Shame

An early version of "To Step Aside."

• Ill

  The name Chris assigned to a bankroll track he began working on in February 2011. It quickly evolved into "Memory of the Futurity."

• Skeletons in the Closet

Written in March 2015 and worked on more the following calendar month—some other of the many songs composed during the sessions leading upwardly to Super. Neil has said that they may incorporate it into a hereafter version of their musical Closer to Heaven.

• Sooner or Later

  An erroneous championship supplied by Bobby "O" Orlando for "Later This night," an early version of which the Boys recorded with him in 1984.

• Stick It On aka Boom Hits aka Half dozen Free Stickers

This brief track, originally demoed in 1984 at Ray Roberts'due south Camden studio, surfaced in March 1985, subsequently they had recorded and released the original Bobby O-produced version of "Westward Terminate Girls" just before they recorded and released the large international hit version produced by Stephen Hague. It served as a radio commercial for Boom Hits magazine, where Neil was still working at the time. Information technology can be heard in the 1996 BBC radio documentary Virtually Pet Shop Boys, which was later released as a limited-edition CD for the official fan club, and once more on the 2012 BBC Radio 4 broadcast "Neil Tennant's Blast Hits Christmas." It has as well appeared on YouTube and elsewhere online.

• Telegraph Boy

This rather scandalous rail written past Neil and Chris in the late 1990s allegedly concerns "telegram deliverers supplementing income as hire boys." Information technology's unknown whether it has anything to do (except perhaps equally an initial inspiration) with the infamous 1889 Cleveland Street scandal that rocked Victorian London, in which male prostitutes, working as telegraph messengers, were discovered to be providing "illicit services" to aristocratic clients, some of them with government connections. Given Neil'south penchant for history, withal, it wouldn't exist all that surprising.

• Thick as Thieves

  Originally begetting the placeholder title of "Fragment," this song was written and demoed by the Boys while they were working on songs for Elysium.

• Thoughts Are Complimentary

  The Boys' setting of a German poem, "Die Gedanken sind frei," that dates dorsum at least to the early 1800s. (Information technology has previously been ready to music and has long served every bit a German folk song—with both the poet and composer unknown—only the new PSB music is original.) They worked on it in November 2011, again during their writing sessions for Elysium, although they envisioned it as part of their aforementioned project of putting various poems to music.

• The Runway That Wasn't

Apparently an early on championship for the brief track on Please that ultimately was released equally "Opportunities (Reprise)."

• Traveling

  A song that avowedly "sounds like [the ring] Snow Patrol." Neil and Chris worked on this track, originally titled "A Change Is as Practiced as a Residual," during the 2018 Hotspot sessions.

• The Trial
• Twisted

Though sharing a title with the classic Lambert, Hendricks, & Ross jazz-song song from the 1950s (later famously covered by Joni Mitchell), this is instead a PSB original composed by Chris in tardily January 2015. It sounds as though it's still an instrumental for which Neil hasn't yet supplied any lyrics.

• Unbelievable Scenes

The Boys reportedly wrote this in 1998 with a view toward offering information technology to Robbie Williams, but never finished it. They resurrected it in Jan 2005, at which time it began to evolve into "Avoiding."

• Waiting

  Like "Dreamland," this unreleased vocal was written with Olly Alexander, but remained unfinished at least equally of early 2020. As a means of describing it, the Boys accept said it's "from our arctic-out album."

• A Wall

An early title for the vocal that became "Building a Wall."

• Wallish Walls

  A nigh curiously titled unreleased song mentioned in Annually 2020, named, according to Neil, after a place in Canton Durham in northern England. The Boys were working on it in early 2018.

• Nosotros're Not Going to the Opera (aka "The Opera")

PSB manifestly worked on this vocal with co-producer Andrew Dawson during the sessions for Elysium, but either they didn't finish it or they but decided against including it on the album. Neil described information technology on two separate occasions every bit "a folk vocal about being gay in the 'eighties" and "a folk vocal almost Clause 28." (Clause 28 was an extremely controversial law enacted in Britain in 1988, repealed in 2000, that outlawed the "promotion" of homosexuality in schools.)

• What Does it Experience Like?

BMI records list a song by this title equanimous by Neil and Chris, but no other information is available about it at this time.

• What Would I Know?

Neil considers this "the worst song he's ever written." Every bit such, it may never come to light, although the Boys felt enough about it to have it copyrighted.

• When Will I See Your Face Once again?

BMI records list a song by this title every bit a songwriting collaboration between Tennant, Lowe, Chris Zippel, and Clarence Bouse. Zippel of course is a German language producer/mixer who has worked with the Boys on several tracks, including "London" and "Positive Role Model," amongst a few others. Meanwhile, the simply likely Clarence Bouse I've been able to locate is a U.S.-built-in but Russia-based singer-songwriter who has a few pocket-size releases to his credit.

• Where the Wild Things Are

  The Boys wrote this in collaboration with Xenomania's Miranda Cooper during the Aye sessions. They took information technology as far as the recording stage, complete with orchestration and a spoken intro. Just then Neil and Chris decided to scrap information technology. They instead appropriated part of its tune for "More than Than a Dream," which indeed made it onto Yes.

• Why Do I Love You?

  Also somethines referred to more just every bit "Do I Dearest You?" Information technology was composed during the Super songwriting sessions, based on a Vivaldi chord alter. It shortly, however, evolved into "The Dictator Decides," though with totally new lyrics. The original lyrics (which Neil feels were "like Bryan Ferry") included the lines:

  Why do I dearest you?
  What am I to you?
  Do you lot see right through me
  When I speak to you lot?

• Will You Love Me?

Another of the unreleased Super era songs.

• Without You

Written in January 2008 from the point of view of their belatedly friend and acquaintance Dainton Connell about his wife Mandy. Neil writes in his diary that he "tin can imagine Suggs [the vocalizer for Madness] singing it."

• Yes in a No Kind of Manner

This track apparently sounds, equally Neil one time described it, "a scrap like Madness and a bit like The Walker Brothers." He and Chris worked on it in 1994 but apparently haven't gotten around to finishing it.

• You've Got to Start Somewhere
• Youth

  An early working title for a song that evolved into "Gin and Jag."

• Yous're the Exception That Proves the Dominion

This song was, similar "Pandemonium," one of several written for Kylie Minogue in 2007 or early on 2008 only rejected. Neil has described it as "a really good, funny song." Abandoning its lyrics, withal, he and Chris decided to contain its music into The Most Incredible Thing as the instrumental "The Competition."

• You Know Where You Are with the Winter

  A vocal with this extremely intriguing title was mentioned as unreleased in Annually 2020. The Boys worked on information technology in late November 2017. Neil has described it as "a Christmas vocal well-nigh how winter doesn't actually let you lot down the manner summer can."

• Zazoom

  BMI records listing a vocal with this curious title composed by Neil and Chris, just no other data is available virtually it at this fourth dimension..

In improver, here are the titles of a few other unreleased tracks that take been reported past various other fansites (nigh notably Euphoric, And then Pet Shop Boys, and the now seemingly defunct "Pet Store Boys Reality") just about which I have no data whatever. If anyone can provide whatsoever details regarding these songs,

• Almost But Non Quite
• Individual Places
• Why Non?

In that location's too an unusual "special case" that I would be remiss to ignore –

• Do You lot Go Dearest? (aka "At the Terminate of the Day, Practice You Get Love?")

  The start version of this song was co-written past Ray Roberts (together with a female vocaliser with whom he was working at the fourth dimension), at whose modest studio the Boys composed and recorded some of their earliest demos. Neil, upon hearing it, liked its "Do yous get honey?" refrain and thought "the backing rail was lovely," but felt that the verse melody and lyrics could be improved to make it more "romantic and wistful." Ray agreed, and so Neil wrote a new melody and lyrics, after which Neil sang—"specially high," equally he has put it, "full of sexual longing"—atop the original backing on a new demo. It was never intended to be a PSB rail, however, the idea beingness that the original female vocalizer would re-record it. Only that never happened. If it ever had been completed and released, Neil surely would have merited a co-writing credit. Since, however, Mr. Roberts has now passed abroad, information technology's unlikely this vocal volition ever accomplish the public's ears.

Finally, hither are the titles of several songs written solely by Neil before he met Chris:

• All Things to All Men
• A Homo on the Idiot box
• Can You Hear the Dawn Break?

  This was the about pop of the original songs that Neil wrote and performed with his "hippie folk ring" Dust in the early 1970s, years before he met Chris. Noting that the music was "based around the chord of Eastward minor 7th," Neil quotes from the lyrics in the introduction to his 2018 volume One Hundred Lyrics and a Poem. For copyright reasons I'll repeat just the first poetry hither:

  Baby, tin can yous hear the dawn intermission?
  Can you meet the sun shake?
  You've come up and I've gone
  Can y'all hear it break?

• I Heard What You lot Said

A pre-PSB vocal written by Neil from which he repurposed some lyrics to become office of "I Want to Wake Upward."

• The Sound [?] of the Peaceful Twenty-four hours Before War
• To the Waters and the Wild
• What Is the Color of the Air current?
• The Love Song [?]

  Four other Dust songs dating from 1971. The 2nd word of the title of the first of these songs is uncertain. It'southward too uncertain whether the 4th number, "The Love Song," was actually written (solely or in role) past Neil, who has described it as an "ballsy" that was "unbelievably pretentious and… went on interminably."

• She'southward in Love with the Man She Married

  Neil wrote this song in the late '70s. He says that it concerns a woman who has a brief holiday fling with a younger homo, but she decides not to leave her married man because she'due south still in dear with him. He and Chris toyed with the idea of recording it with Dusty Springfield, but cypher ever came of information technology.

• She's So Eclectic

  Written before he met Chris, this song is described by Neil in his I Hundred Lyrics and a Poem introduction as somewhat satirical and "new moving ridge" in tone. It concerns a trendy immature adult female—presumably his or at least his narrator's girlfriend—in terms of her eclecticism ("She's got such catholic taste") and how he'south "and so, oh, o h, oh, oh-oh-oh fed upwards with it." (More of its lyrics are quoted in One Hundred Lyrics and a Poem.)

• Summer Rain
• The Taxi-Driver
• Telephone Blues

  Other songs composed by Neil before he met Chris. He fabricated simple solo demo recordings of some of them in 1981. Neil wrote the last of this set, "Telephone Blues," when he was 17, and it was among several of his songs performed in 1972 by the Academy Theatre in Newcastle in a curt play that he wrote titled The Infant. Its lyrics, conceded equally "self-pitying" by Neil himself, include the lines—

  You took my soul
  and you turned information technology to golden
  with your alchemist'due south stone
  merely you lot left it common cold

  Neil recorded a new demo of information technology in 2020 during the COVID-19 lockdown, and so it's possible a PSB version may still plough up.

• Has Anyone Seen My Cat?

  Neil wrote this song—his very first—when he was only nine years former. In fact, he and a childhood friend wrote an entire musical titled The Daughter Who Pulled Tails, of which this song was a part. Now, how precocious is that?

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Source: http://www.geowayne.com/newDesign/lists/unreleased.htm

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