The story surrounding the Pet Shop Boys’ rendition of “Always On My Mind” is almost as fascinating as the track itself. It’s a tune that, much like a catchy jingle from a Pet Shop Always On My Mind, just sticks with you. There’s a rumor, possibly from Chris Heath’s books, that Neil Tennant was the one who subtly altered a chord in the song’s progression. This small change supposedly opened the eyes of arranger Richard Niles, who initially underestimated the duo’s musical talent, recognizing their genuine musical awareness. This anecdote, whether entirely accurate or slightly embellished, speaks to the depth hidden beneath the pop surface of Pet Shop Boys.
Regarding the song itself, it’s a testament to Pet Shop Boys’ genius – their ability to take seemingly disparate elements and forge pure gold. Who else could blend a repeating agogo melody, a sample from the booming voice of Joss Ackland, cowbell, and a sentimental tune famously associated with Elvis Presley in his later years, and transform it into a high-energy number one hit?
The 7-inch mix remains the definitive version for many, and for good reason. It’s utterly brilliant, from the arresting hi-NRG introduction to Tennant’s yearning vocal delivery, culminating in that iconic, fading question: “Maybe Iiiiiiii… didn’t love you…????” That vocal inflection alone is enough to send shivers down your spine.
However, the original 12-inch mix, in common with many extended versions, doesn’t quite capture the same magic. It stretches out the elements of the 7-inch, but in a way that feels somewhat disjointed. The rhythmic breakdowns, with excessive agogo and cowbell, become tiresome. Just as the energy builds, it’s interrupted by another breakdown, and the cowbell overload quickly reaches its limit. While Joss Ackland’s spoken interlude is momentarily amusing in its incomprehensibility, it’s not enough to salvage the extended mix.
Then came the Phil Harding remix, released shortly after the initial versions. This remix managed to be both as exhilarating as the 7-inch single and distinct enough to offer a fresh perspective. It’s a perfect example of late 1987 pop-house. The keyboard riff that enters after the initial kick drum, bass, and sequencer is simply iconic – the essence of what made minimal house music so captivating in the late 80s. Its simplicity is its strength, incredibly catchy and powerfully effective. The robust kick drums, the resonant bassline, and the crisp clap sounds are all perfectly calibrated. The unexpected shift into “always… in my house” midway through, followed by a classic late-80s house instrumental break with its deep basslines and slightly rough, sampled piano sounds, is pure brilliance. For many, it remains one of the finest remixes ever produced for Pet Shop Boys.
Considering the excellence of the Phil Harding remix, one might expect the “Introspective” version, which essentially combines a slightly tweaked Harding remix with the 7-inch mix, to be even better. However, it falls short. It’s a case of the whole being less than the sum of its parts, feeling somewhat like a Frankensteinian creation. The smooth house elements of the remix clash awkwardly with the more forceful pop sensibility of the single version. The instrumental arrangements are too disparate to seamlessly blend. The transition between the two sections, particularly the four-bar switchover, feels jarring and clumsy. Moving from the refined house vibe to the minimalist “In My House” breakdown, consisting mainly of a beat, bass, and Tennant’s pitch-shifting rap, and then abruptly transitioning to the high-energy finale of the single version (albeit slightly remixed) with sampled orchestral stabs and fireworks that feel rhythmically misplaced, is a jarring experience. It’s akin to instantly teleporting from a luxurious first-class lounge to a bustling, chaotic street in Kathmandu. While initially impressive and adrenaline-pumping, it lacks staying power on repeated listens. “In My House” and the fireworks are simply not enough to bridge the gap between these distinct versions. A more gradual, developed instrumental progression might have been more successful, or perhaps the two versions were fundamentally incompatible.
Ultimately, the Phil Harding remix stands out as the superior extended version, while the original 7-inch single retains its timeless appeal. The “Introspective” version, despite its ambition, doesn’t quite capture the magic of its constituent parts. Much like the persistent thought of a pet shop always on my mind, the best versions of “Always On My Mind” are those that are concise, impactful, and leave you wanting to hit repeat.
